#W Presents Interiors Supplement (Autumn Edition)

Interiors Supplement 2019

Sustainability Made Simple Venetia Berry, Akojo Market, IntoArt The New Craftsmen, IKEA _DesignCan_& SubjectMatterArt

What Do Millennials Want?

POSITIVE VIBES

Heritier Freres

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Everlane

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INTERIORS SUPPLEMENT (2019) FORWARD In Defence of Millennials Pp. 51-53

PERSPECTIVE _DesignCan_ Pp. 54 Venetia Berry Pp. 56-57 IKEA Pp. 58-59 Art Collectors: The Next Generation

By Kitty Dinshaw Pp. 60-63

#WORKINFASHION PRESENTS...

Pp. 64-73 *Cover: LALLA rug Available via Akojo Market ©2019 ALL RIGHTS RESERVED URBAN FLOW DESIGNS LTD

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In Defence of Millennials

By Yasmin Jones-Henry “Listen up Baby Boomers: Millennials care about lifestyle.

We care about interiors.

We care about design.

We love the aesthetic too.�

5 Pom-Pom Pillow Cover) (Candor

I don’t even know where this misinformation came from or who decided that because we were raised in a century that brought with it wi-fi and instant messaging, that as a result of our association with tech we have no aspiration for the finer things in life.

This topic is a source of irritation for a number of reasons. But mostly because it’s the epitome of #fakenews.

Some old person, filled with resentment for all that is young and new, sat in a darkened room, and invented that wretched label – and proceeded to assign a profile to everyone born after 1982.

Standing at a colleague’s leaving do last year, a friend (who is 7 years older than me and born in the 1980s) turned and began to vent.

“You know I really don’t get why they bunch us all together in the same age bracket. You were born in ’92.

A totally different decade to the 80s.”

Fair point. “Also, I graduated in the middle of the financial crisis in 2008. The world looked totally different for me, than it did for you.”

Taking another sip of my drink I raised an eyebrow to show that I had taken her point.

“Also...” there was more... “I’m in my thirties. I have (no offence) a higher salary and more disposable income than you. You rent. I just purchased my first property...”These words have been gnawing away in the back of my conscience ever since.

This is an epic oversight by brands and publications.

With every magazine, brand and ad agencies that fails in its attempt to relate to Millennials, they only show us, just how little they actually know us. Drawing from a demographic that spans such huge strides in technology and social engineering, is a big deal. It’s the difference between having an i-pod or cassette player and vinyl.

It’s the difference between going to the arcade, and having a PSP. It’s the difference between posting your prom pictures in a photo album on Facebook or sticking them into an actual photo album.

It’s the difference between being in a group chat with your school friends, and actually having to go to a park or a ‘place’ to play with friends.It is true, as a result of camera phones, social media, 3G internet – the

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Millennial’s social experience as an impressionable child walking into teenagehood is a very different experience to their elders...

But the fundamentals seldom change.

When selling anything, it a cardinal sin to presume. What do people want? Yet, when it comes to my brethren, the elders do it all the time. What do Milllennials want? Has anyone actually asked us?

Well, I’ll tell you. We want to live well. It’s that simple. For those of us who were in our early teens when the world plunged into the financial crisis of 20072008, many of us would have been embarking on sitting exams in the hope of future employment – without any security that there would even be a future, as we watched footage of grownups in suits, walking out of offices with boxes containing all their earthly belongings.

In London, property prices came crashing down. In England, we have a saying, ‘an Englishman’s home is his castle’ – well with the castles were under siege, we were left feeling vulnerable, unsafe and uncertain as to how long this instability would last. Then of course let’s not forget climate change...

I was 11 when my cousin was shipped off to Iraq. When I think back to 2000-2010 I reflect on the transition from an 8 year old to an 18 year old, trying desperately to make sense of a world that was evidently going through an existential crisis.

So is it any surprise that now, this same demographic have entered the job market, can vote and have some measure of consumer power, they are using their power to champion the very essence of stability itself.

Veganism is a symptom of a growing conscious and awareness that if we, the next generation do not break with the toxic habits of our predecessors, we will have no planet to call home. The dietary revolution is part of a wider movement often referred to as #wellness on Instagram.

Wanting to live well, to have good mental health, pleasant surroundings and and nothing but positive vibes - amounts to an industry estimated to be worth 26 billion Euros in the UK (Wellness Institute, 2017).

#PERSPECTIVE So whoever keeps touting that line that ‘Millennials don’t care about lifestyle’ clearly has no relationship with reality or no internet access to research the data.

Sitting amongst my peers last week, this topic came up over coffee. One friend laughed as she confessed she picks restaurants and venues based on the decor and the ‘vibes’. We might not be able to furnish country homes, but interiors – the aesthetic is still a big influencer when it comes

#Lifestyle to our senses and our spending habits.

It’s true, the actions of our parent’s generation, the state of the economy and job market we have inherited means we will be poorer than the Baby Boomers. But, that doesn’t equate to being poor.

Strap yourselves in folks! 2019 will see more ethical and sustainable luxury lifestyle brands and designers featured on @WorkinFashion.me and in the next edition of #TheCollective. If they won’t give the people what they want... then I will.

[End]

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Birdsong, London

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Second Edition out in November Follow us on Instagram: @WorkinFashion.me 9

#PERSPECTIVE

Did you know the UK’s design industry is 88% white and male? Did you know that diversity in design is on the decline?

Design Can, the new campaign and online tool calling for the design industry to be representative of the world it serves, is ready to engage with the world today.

Visit design-can.com for further details.

There you’ll find their manifesto, practical ways to help in a section called You Can and a resources section stacked with articles, reports and a growing archive of talented creatives.Follow on Instagram at @_designcan_ and using the hashtag #DesignCan. Photography: Holly Whittaker (on Instagram @_hollyphoto)courtesty of Zetteler PR

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#Design

Paradise Row www.paradiserowlondon.com/

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The Art of Sustainability According to Venetia Berry Interview by Yasmin Jones-Henry I first met Venetia Berry while sitting in my friend’s living room.

Nika Diamond-Krendell(founder of Paradise Row) had invited me to meet the artist she intended to feature as her guest for the first flagship event of her new venture ‘Paradise Curates’.

After bonding over the plight of the millennial and reminiscing about teenage angst, MSN and the general challenges we’re all facing under the current climate, I discovered I found another ally in Venetia.

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Not only was her work desirable, she’s extremely easy to talk to and relatable.

While I had shared the difficulties I had encountered in fashion in the realm of transparency and deciphering greenwashing while trying to ‘walk the walk’, I later discovered—thanks to one of her insta-story posts—she too, was going through a period of introspection.

So, in light of all things sustainable, I asked her if we could have another chat about it, the interview is what followed:

YJH: You recently shared an insta story about your investigations into cruelty free paint, what was the outcome? Have you found oils/acrylic that is non toxic/ free from animal fats?

VB: I was taught how to make and prime canvases at art school, we used three layers rabbit skin glue to prime the canvases for painting – skipping this step would mean the paint would be completely absorbed by the fabric of the canvas and eventually mould. I had been using this technique ever since, despite it being a slightly smelly process! However, I gave up meat last year and have since been interested in alternative art materials, for the sake of the environment and animal welfare.

When I started looking into it, I naively thought that it would only be the rabbit skin glue I would need to replace. In reality there are a startling number of art materials containing animal ingredients, whether it be the skin for glue, the bones for the deepest black, hog hair for brushes or ox bladders for paint thinners.

The best point of research I came across was a blog post by Jacksons Art pointing out some of the leading brands that create materials without animal products. It may be hard to believe but most brands don’t shout about this, these details are hidden away amongst the FAQS. Jacksons also now have a ‘Vegan’ filter on their site, which has proved extremely helpful. So far I have swapped my rabbit skin glue for Lascaux acrylic size, which provides a great base for oil or acrylic. paint and some inks from Schminke.

At the moment I use Michael Harding oil paint, when it runs out I intend to replace it with Langridge oils. Luckily I have never been a fan of the hog hair brushes, so I am okay on that matter!

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You can barely see it on the canvas, unlike the rabbit skin glue, which can give a slightly shiny reflection. I have also acquired a set of Lascaux acrylic I intend to use up all of the animal based products I do have, because throwing them away would not be help to anyone.

YJH: In terms of spaces (be it your own personal space at home or studio) what do you look for in your ideal surroundings?

VB: I am a real homemaker – I love rearranging my home and adding new things to improve the atmosphere. It is slightly harder to create this atmosphere in my studio, as it is my workspace, and considerably less tidy than my flat!

However, I found a big green velvet sofa on eBay, which has transformed my studio.

I also love having plants around, I love how they can break up the typical straight lines of a room as well as helping to clean the air, much needed in my Brixton flat and studio. Something else found in both my flat and studio is an abundance of books.

I am lucky enough to own a fair few beautiful art books which I can flick through for inspiration. I really can’t stand a bare wall; both my flat and studio walls are covered in framed exhibition posters, etchings and paintings. Mostly my own works at the moment, as I very slowly start collection the work of other artists.

So if you can imagine this, with a burning candle, a cup of tea and Desert Island Discs playing in the background – those are pretty much my ideal surroundings!

YJH: IKEA has admitted they're totally redesigning their business model to suit Millennials lifestyle/spending habits) what would you like to see more of/change from the interiors world?

VB: In the last few years there has been more of a push towards individuals as opposed to brands. In my opinion, this is wonderful and often collaborations can be integral to an artist, illustrator or designer’s success. It would be great to see large companies continue to collaborate with individual creative.

This is a win-win situation for everyone, as the buyer is able to own something with a limited edition. There is nothing worse than going to a friend’s house only to discover that its contents match your own!

[End]

Art Lovers & Art Collectors: The Next Generation

by Kitty Dinshaw

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#PERSPECTIVE

As the world changes, so too must the artworld. Galleries can no longer rely on being exclusive and intimidating, the preserve of the wealthy, in an era where we consume art daily on our phones and are inspired to go to exhibitions by other people’s selfies.

There is no doubt that art is as relevant to the millennial generation as it has been to generations past, if not more so. Art is accessible in a way it never was before and the explosion of contemporary art, especially in mediums such as performance and installation work, has contributed to a growing democratisation.

When I was a child, a trip to an art gallery meant wandering through endless huge rooms with religious paintings that all looked similar, meant nothing to me, and were equally incomprehensible to anyone without an art history degree. When I took my seven year old son to see Lee Bul at the Hayward Gallery, some thirty years later, there were sculptural costumes hanging from the ceiling, brilliant and engaging performance films, and even the ubiquitous “selfie moment”.

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#Art

It’s art in a glorious, exciting, colourful form which is speaking directly to the generation that consumes it at an ever-faster pace.

Museums, galleries and art fairs have caught on in a big way. Yayoi Kusama’s pumpkins might be the most Instagramfamous artworks ever, but most museum and fair directors, curators and artists across the world are alive to the viral power of social media. And of course, art is finding an audience as never before.

Only a decade ago, if you wanted to see a new Tate show, you had to visit the Tate.

Now you can see most of it on your phones, either filtered through Tate’s own feed, or from those you follow.

Instagram has also opened up the market to artists in an incredibly positive way; particularly women or minority artists, long ignored or underrepresented by the art establishment. Now artists don’t need a gallery, curator, critic or collector to support them and their work - just some basic knowledge of how a fairly simple app works.

Artists can live and work outside the established art world and it makes little difference. We cannot underestimate the importance of this and the positive change that will flow as a result.

Major institutions are listening to their new audience: curating shows that people actually want to see, and inventing new ways of engaging with art.

Friday Lates have been happening for a number of years now, and are hugely popular. I was excited to attend (completely by chance) a twenty minute gallery tour by one of Tate Britain’s staff, picking out his favourite works by women artists in the collection. Apparently that tour was a twice-weekly occurrence!

Lunchtime tours and talks are now common at Tate, the National Gallery, and international museums too, designed to catch office staff on their lunch break.

In Britain, there is a logical thread that connects the explosion in art appreciation and enjoyment to the 2001 Act of Parliament that made all museums and galleries in the country free. The millennial generation have grown up knowing that art is not off limits to them, because it quite simply hasn’t been.

This relates back to my point about museums and galleries listening and engaging with a new audience - their whole model,

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their whole raison d’etre, changed in 2001. They needed to rely more on government and Arts Council funding, rather than ticket sales, and for that they needed to show they had a larger purpose than just hanging great art on the walls.

Special exhibitions (which are still ticketed and often expensive) have to be truly exceptional now, as museums know that if they aren’t...well, their visitors can always get their hit of art by viewing the permanent collection for free.

So how do we, in the commercial area of the art world, encourage this new generation of art-lovers to become artcollectors - and therefore help a new generation of artists to thrive?

For starters, there simply has to be less snobbery, particularly around price. I still struggle to understand how it can benefit artists (except at the truly blue-chip places where the work is sold “behind the scenes” anyway) for a potential buyer (someone who has seen an artist’s work on Instagram, for example) to walk into an intimidating space where no-one greets them, no-one talks to them and where there are no prices on the walls.

At the end of the day, galleries are selling art. Very few are actually non-profit, and so most need to pay their rent to survive. So why try to disguise that fact?

Enjoying art is a beautiful and rarefied experience, yes, but so is shopping at Liberty or Dover Street Market. No-one would ever suggest that they remove the price tags from their clothes.

At Subject Matter, we’re also pretty evangelical about the role online galleries play in democratising the art world; possibly because we are online ourselves! The popularity of online art galleries is growing year on year, as are third-party platforms such as Artsy.

You can browse, buy and frame art, all from the comfort of your sofa. Yes, we don’t have a physical space, so we have to be innovative: pop-up exhibitions to provide that still-necessary offline experience, photoshopping artworks into clients’ room shots for them, or DM-ing with clients on a Saturday afternoon when they are home, they have time, and they need your advice! And of course the obligatory free shipping and free returns, vital for any online enterprise.

This is all valuable work: we are contributing to a more open art world, we are embracing change, and most importantly, we are making art-buying easy, fun and enjoyable.

The more people that enjoy buying art, and do so regularly, the more artists will be able to give up their second, third or fourth jobs and do what they love full-time.

Ultimately, one cannot disconnect art from the artists who make it. That amazing Instagram image was taken by someone, somewhere in the world. That artist you saw in the blog article is making but also wants to be selling. That solo show you saw a while ago has now closed but you loved the artist and want to follow their development.

The more people that buy art, the more artists will thrive. We are at a moment where we can effect real, lasting positive change - both as art-lovers and art-buyers. Let’s do it!

[End]

Click HERE to view the exhibition in the Subject Matter Art Gallery

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#Profile

#WorkinFashionPresents

James M. Levelle: Race For Future

By Yasmin Jones-Henry With the destruction of the Amazon rainforest through fire and deforestation; increasing numbers of deaths caused by illnesses related to pollution; microplastics contaminating our oceans; global warming accelerating at an alarming rate as temperatures continue to soar: it’s easy to feel overwhelmed by the chaos of it all.

It’s even easier to retreat to the safety of our armchairs (or duvets) smartphones in hand – tweeting, posting (avec relevant hashtags) broadcasting our thoughts on the current political-socio-economicenvironmental crisis that seems to have gripped our planet in an ever tightening vice.

But when the wi-fi goes down, or if for some reason (it’s happened before) Instagram goes down – what is actually being done #IRL (In Real Life?).

It’s a rhetorical question I ask myself on a daily basis when I find myself swiping, scrolling and double tapping in the search for a small daily dose of pixelated positivity.

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So when I received James’ email, asking to meet me (in person) to discuss a new expedition he was planning in relation to all of the problems listed above, I was somewhat stunned.

My attempts to squeeze any information out over the phone or via email amounted to nada, and I was instructed to meet him at a hipster cafe in Stoke Newington (‘The Good Egg’). Now for those of you who know me, as a self proclaimed hermit, you know this an indication of his sheer force of personality – and persistence in ensuring I had absolutely no excuse to cancel.

I’d seen him action once before on a television docu-series about hurricanes. Hurricane Man (for those who haven’t seen it) depicts a team of explorers and storm chasers, gathering data about some of the world’s deadliest hurricanes. Unfortunately the first and only episode I watched had me watching through my fingers alongside other viewers as James confesses (later in our conversation) that he almost died – such was the risk. So why do it? “What’s this all about?” I asked him about five seconds after he sat down.

#Profile

#WorkinFashionPresents

The expedition he explained, was inspired by his return home from his tomb raiding travels in Egypt where he discovered London was effectively on lockdown as a result of the Extinction Rebellion protests. The sudden urgency, the sudden explosion of rhetoric around the climate crisis in the public domain, gave him inspiration for his next big project.

Always in pursuit of the next adventure, James explained that he felt this one, would need to be a collaboration. His expedition ‘Race For Future’ will see him travel 7000+ miles from the UK to Chile as he makes his way to the UN’s Environmental Summit in December.

En route he will be collecting and filming messages from young people in towns and villages that he’ll be travelling through, in order to deliver them as a presentation to the world leaders he’ll be meeting at the UN Summit.

“Race For Future is about elevating the power of influence children wield, connecting them to the political infrastructure they’re excluded from” James explains, “It’s their future.”

James’ mission is twofold. My favourite part of his story is the fact that he has created a global platform for young people to have a collective voice on the current environmental crisis. The other, is the fact he is venturing into unchartered territory. We know carbon emissions exacerbate the problem, but what we’re lacking is information and data on how to make travel more sustainable.

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During his travels, James will also be exploring how we can solve the climate chaos on a global scale, while evaluating what positive environmental impacts individuals can make at a local level.

History certainly makes space for the trailblazers who push the boundaries for the betterment of humanity. I think it was Pliny who coined the phrase ‘Fortune Favours the Brave’ – 7000 miles, fossil fuel free: I believe the odds will be in James’ favour.

To follow his progress, and to receive updates: Instagram:@James_m_Levelle, #RaceForFuture or visit www.RaceForFuture.com

#WorkinFashionPresents

#Interiors

Amaya Ducru Clouthier and Ines Olaechea, Founders of 85˚, Paris

85° is the mean of degrees of latitude and longitude that covers the Latin American territories.

“We want to be the bridge between these 85° of cultures and Europe. So, we created a concept store based in Paris that introduces a curated selection of contemporary design from Latin America that merges craftsmanship and sustainability with a unique modernity of line and redefinition of luxury.

As a fashion and design omni-channel business in the European market, 85° is supported by its cross-media divisions such as e-com, pop-up shops and events, showroom, and image consulting. We value working with designers who are conscious of their surroundings, who are dedicated to a timeless vision of luxury, and together, we celebrate the exchange of knowledge they practice with their craftsmen and women, and their studio.”

Amaya & Ines Contact: Email: info@85paris.com Instagram: @85Paris Web: www.85paris.com

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MAKUA ALMA

ATELIER FOLKLORE

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IKEA + The Millennial Market The times are indeed changing. As IKEA looks to the future , they have also taken steps to future proof their business model by adapting and evolving their services and product range to better suit the taste of their Millennial and Gen Z audiences.

Hege Saebjørsen Country Sustainability Manager, IKEA Group, explains the ways in which IKEA is incorporating the philosophy of the circular economy into their wider brand narrative.

The first major seismic shift she notes, is the change in buying habits between the previous generationand their Millennial counterparts. As the Millennials socioeconomic standing means, they will become serial-renters, IKEA have responded to their needs in favour of access over ownership.

Already using 100% sustainable cotton that is GOTS certified.

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Investing in innovative textiles for their new products . For the past year and a half they have also integrated recycled polyester into their material mix.

As the younger more environmentally conscious consumer, looks for products to fill their personal spaces with—they are also search for an option that brings with it fewer environmental and socio-economic challenges.

Knowing your curtains were woven with cotton that is sustainable and ethically sourced; knowing that the recycled polyester has ensured virgin plastics haven’t gone straight to landfill to be incinerated, should help us all to sleep a little easier at night.

These are the value added traits sustainability brings to the ’lifestyle experience. https://www.ikea.com/gb/en/

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#WorkinFashionPresents

#Interiors

Akojo Market: Ethics and Artisans

by Yasmin Jones-Henry 1.

What was the motivation for starting Akojo Market?

Our co-founder Natasha traveled frequently to Ghana and always returned with beautiful products and amazing stories of basket weaving women’s collectives in the Volta region, recycled glass bracelet initiatives in Accra and the female founders inspiring positive change within artisanal businesses.

She wanted to bring these products to a UK audience and champion the makers by creating a platform and a community where brands can draw on her knowledge, particularly in supply chain compliance, to grow internationally whilst improving the transparency and sustainability of their operations. Partnering with Annie, our co-founder and Creative Director’s skills in marketing, curating and digital communications, was a natural fit!

2. There has definitely been a gap in the market for creating an ethical luxury ecommerce platform for artisans in Africa. How has it been received?

The platform has been received extremely well by customers, potential investors and our brands. We have had many sales in the first month and interest from the industry. At present, there are many “buzz words” around ethics, transparency and sustainability in retail, and this can confuse customers.

We break this down as simply as possible, using clear criteria that determines at a high level a company’s ethos and accountability in business. Anyone can download our free guidance on vetting business partners and suppliers from our website’s APPROACH page.

Most importantly, through our conversations and due diligence processes, our brands and artisans are understanding what they need to implement and achieve to be “ethical”, and that is the driver to real change

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– change that enables women to be financially independent, to send their children to school and to be in business in five years time with a growing workforce.

3. Your launch date is set for June 4th, what are your plans for the future?

Our core objective is to generate sales for our brands and support their needs as they grow. With increased profits, these brands’ ability to do good in their local communities are endless. So, expanding our customer base in the UK to become a well known platform for beautifully curated, unique African inspired/made products is our immediate goal. We will then expand to the EU, US and Rest of World, tackling two primary challenges: meeting customer demand without compromising on quality and sound work practices; and managing a seamless shipping and logistics operation, carrying this out in the least environmentally polluting way possible. [End]

Don’t just take my word for it – check them out for yourself! https://akojomarket.com/

INTOART 26

JOHN SMEDLEY KNITWEAR

#WorkinFashionPresents

#Interiors

Into Art

In Conversation with Ella Ritchie, co-founder of IntoArt YJH: What inspired you to launch Intoart in 2001?

ER: Myself and Sam Jones founded Intoart in response to a lack of high-quality arts education and limited opportunities for artists with learning disabilities. We had both just graduated from Central St Martins in Fine Art Printmaking. Alongside studying in my third year of the BA course, I had been working on summer projects with people with learning disabilities through recreational activities but when it came to the arts activities the resources being made available and expectations of people were very poorly invested in.

Determined to challenge preconceptions and overturn prejudices, we set up the first 8week Intoart project in Peckham in 2001, with a commitment to working with adults with learning disabilities for whom there was limited access to the visual arts and art education.

We have remained committed to our founding values and expanded to work in the design field.

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Intoart aims to provide a platform for people with learning disabilities to become both visible and equal in the art and design world – not merely applauded for participating, but recognised and respected as creatives in their own right.

Over the past 18 years Intoart has grown to become a permanent, full-time programme and studio space, moving into our new space at Peckham Levels earlier this year. We support the work of 21 artists and designers, working across a range of media including painting, print, illustration, fashion, ceramics, product and graphic design.

Intoart have realised exhibitions, commissions and research projects with contemporary art galleries and museums in the UK and internationally, including to date, V&A, Tate, Southbank Centre, Whitechapel Gallery and Studio Voltaire.

YJH: Describe what Intoart offers in 3 words ER: Ambition / Craftsmanship/ Integrity

#WorkinFashionPresents YJH: What are your long-term plans?

Where would you like Intoart to be in 5 years time?

ER: For more people with learning disabilities to be recognised and seen as artists and designers in their own right. We will continue to develop innovative programmes and new partnerships.

In five–years’ time we would love to have a number of new and exciting high profile collaborations under our belt that align with our practice and are experienced by many people who had never previously heard of us and what we do.

YJH: What advice would you offer to anyone looking to launch a social enterprise/initiative of their own?

ER: We have built up the organisation incrementally and had a close eye on maintaining the quality of our practice whilst increasing the ambition. We have always valued our partnerships, collaborations and working with individuals who contribute ideas, widen networks and opportunities – it’s really important to nurture new relationships and invest in long-standing ones.

YJH: What can projects #W readers look out for next from Intoart?

ER: This November, we launch a new capsule collection Intoart X John Smedley of nine garments designed by Intoart artists.

The collection will be launching in John Smedley stores on 15 November in time for their flagship Christmas window displays. It’s the first collaboration of its kind for both Intoart and John Smedley, as well as the biggest commercial impact that Intoart has had on the design industry to date. We are really excited to work with a major design brand to realise the potential of Intoart’s artists and designers, and hope that it will lead to further opportunities and collaborations.

The collaboration came about through renowned designer and creative director Holly Fulton, who, alongside her partner, illustrator James Lambert, have had a relationship have enjoyed a long-standing collaborative relationship with both John Smedley and Intoart.

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#Interiors

Andre Williams’ knits feature his attentiongrabbing typographical style and wry wit, using Azure Blue to add emphasis to his high-impact comical messages.

Yoshiko Phillips draws on mythical creatures and animal imagery to create a series of eye-catching patterns in Blaze Orange that evoke the notions of predator and prey. With accents in Cerise Pink, Ntiense Eno Amooquaye’s designs explore the iconography of fashion and its embodiment in the image of the fashion model.

It was important to us that the original lines drawn by each artist, and that their distinctive styles are prserved throughout the transition from paper to wool. The resulting nine garments have been successful in achieving this and we look forward to seeing the public’s response to the collection.

The collection will available to buy from johnsmedley.co.uk and John Smedley shops on Brook Street, Jermyn Street and New Cavendish Street, London, from 15 November 2018 Social media Instagram: @intoart_uk

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#WorkinFashionPresents

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#Interiors

Catherine Lock

Mark Henderson

Founder & Creative Director, The New Craftsmen

Co-Founder & Executive Chairman The New Craftsmen

Prior to founding The New Craftsmen, Catherine spent 15 years as a product, trend and brand developer for British high street brands such as Sainsbury’s and Habitat . Her global travels exposed her to a colourful array of making, and makers, within workshops and homes which fuelled her fascination for the human and cultural aspects of craft, whilst merging it with that for her love of beautiful, well designed objects.

In 2010 Catherine shifted her focus, touring the British Isles to meet regional craftsmen and traditional manufacturers. Having built her knowledge of materials, processes and provenance, she now works with craft makers to develop exclusive collections and bespoke products.

Mark has worked in luxury goods for most of his professional life. He is Chairman of Gieves & Hawkes, No 1 Savile Row, Chairman of the London Luxury Quarter (Mayfair & St James’s), and a Director of Walpole (the UK luxury industry association).

In 2004 Mark established the Savile Row Bespoke Association.

His commitment to encouraging and nurturing emerging makers is renowned throughout the sector, and he is also a trustee of Queen Elizabeth Scholarship Trust (QEST) and a patron of the Heritage Crafts Association (HCA). Mark firmly believes that craft makers and making can be enhanced by dynamic exhibitions and the cross germination of skills and experience. www.thenewcraftsmen.com 34 North Row, Mayfair London W1K 6DG

Adam Ross

Cameron Short (Printmaker)

Catarina Riccabona

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Bristol Weaving Mill

Featured Art/Stockists/Social Ahluwalia Studio

Guy Morgan Apothecary

https://www.ahluwaliastudio.com/ Instagram: @Ahluwalia_Studio

www.guy-morgan.com Instagram: @GuyMorganApothecary

Akojo Market

Lakwena Maciver

https://akojomarket.com/ Instagram: @Akojomarket

Alice Early

(‘The Future is Gold’) https://www.subjectmatterart.com/search? q=Lakwena Instagram: @Lakwena

https://aliceearly.co.uk/ Instagram: @AliceEarly

Laura Ironside

Ayni

https://www.lauraironside.com/ Instagram: @LauraIronsideStudio

https://85paris.com/search? q=Ayni&type=product&submit_search=Search Instagram: @AyniUniverse

Bethany Williams http://www.bethany-williams.com/ Instagram: @Bethany_Williams_London

https://mashu.co.uk/ Instagram: @Mashu

Mother of Pearl (AW18)

Birdsong, London

https://motherofpearl.co.uk/ Instagram: @MotherofPEarl

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Paradise Row London

Bottletop

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Saul Nash

Burberry

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https://uk.burberry.com/the-econyl-capsule/ Instagram: @burberry

Subject Matter Art

Caralarga

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https://85paris.com/collections/caralarga Instagram: @Caralarga_mx

Christopher Raeburn https://www.raeburndesign.co.uk/ Instagram: @Raeburn_design

Everlane https://www.everlane.com/ Instagram: @Everlane

Heritier Freres https://heritierfreres.com/ Instagram: @HeritierFreres

IKEA https://www.ikea.com/gb/en/ Instagram: @IKEAUK

IntoArtUK https://intoart.org.uk/ Instagram: @IntoArtUK

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Mashu

Sdress Fashion https://sdress.com/ Instagram: @SDressFashion

Sourcemap https://www.sourcemap.com Instagram: @sourcemap

The New Craftsmen https://www.thenewcraftsmen.com/ Instagram: @TheNewCraftsmen

Venetia Berry https://www.venetiaberry.com/ Instagram: @VenetiaBerry

Zetteler PR/Design Can https://www.zetteler.co.uk/ Instagram: _Zetteler_// @_designcan__

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