using patterns more today than ever before? Evidence suggests that the design process can still show a degree of reluctance to embrace it. Kathryn Larivva, associate for urban design at Bradley Studios (FCB), said: ‘We use patterns to make something quite bespoke and give it a point of diff erence, but we use it quite sparingly because it is a bolder choice. It may not prove to be “timeless” if you use a certain pattern that is fashionable this week but in ten years’ time may not be seen as such and could look quite dated. When we look around at pattern today and see things that look great on Pinterest, are we going to be looking back on some of it and seeing it in a diff erent light, and wanting to cover it over? ‘T ere really is a lot of scope to make something with patterns but you have to bold and brave to do it. T at’s why I think in
general, people tend to look to the past at the things that are tried and tested, and which have clearly stood the test of time. It can feel more comfortable sometimes to go with something you might have seen and resurrect that.’
Knowing how new patterns created today will be viewed in the future is the great unknown, and perhaps explains why there is a degree of nervousness surrounding their use. Darren Lewis, head of 2D at MET Studio, said: ‘Patterns from diff erent eras are really interesting. During the Festival of Britain, the carpet at the Royal Festival Hall was designed by Peter Moro and Leslie Martin and features the “net and ball” design which is synonymous with the 1950s and that location. You can’t take it out of that context without knowing that it relates to that era, but it’s interesting
that we can only look back at the past and identify it in that way. We just won’t know how the patterns that are created today will be viewed in 20 or 30 years’ time.’ Gledstone added: ‘It can be an equal
benefi t if something is timeless and also “of that place”. If you get tired of a pattern from the 70s or 80s and cover it up, perhaps one day it gets uncovered and people are really happy that it is still there and preserved.’ ‘It is a particularly British issue,’ suggested Franklin. ‘We work in historical context and that can be a freedom or a vacuum depending on your perspective. Working against this contextual background is almost something you have to do.’ T e 1951 Festival of Britain remains an important reference point for pattern inspiration. Julie Gaulter, associate at Feilden
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