Left Jing Li, A&D commercial project specialist, Amtico, and Macaila Vorster
Below Darren Lewis head of 2D, MET Studio
DESIGN SEMINAR 097
Clegg, brought to the discussion a copy of the seminal book ‘From Atoms to Patterns: Crystal Structure Designs’ from the 1951 festival, detailing the work of the Festival Pattern Group, a unique undertaking involving x-ray crystallographers, designers and manufacturers. T eir complex, intriguing and challenging patterns were inspired by studying x-ray diff raction photographs of crystals which scientists used to calculate the arrangement of atoms within molecules. Some of these striking patterns were then used on curtains, wallpapers, carpets, lace and dress fabrics among other items. Creating such visuals is perhaps a product of a time in which science was a prominent driver of modern ideas. Alice Munday, associate design director at Curious, said: ‘Sometimes it’s possible to use a pattern to anchor a design within a certain time. For example, the Old War Offi ce in London is reopening this year as the UK’s fi rst Raffl es hotel and features morse code pattern as a nod to the building’s previous use, referencing its legacy and indicating its authentic history through graphical identity.’
T e time and the place
Macaila Vorster, design director at Interbrand, said: ‘T ere’s a really interesting diff erence between pattern that is used in architecture – which is rooted in a certain period and can be traced to a specifi c era – and modern-day interior patterns which, thanks to technology, can be churned out so quickly, through apps and shared on social media.
‘Today, everybody is able to create DIY patterns, so it may become less simple to pinpoint the moment in time they originate from because of the eclectic diversity of diff erent creations, including modern takes on historic patterns which somewhat blur the boundaries. For example, there are magnifi ed geometric designs which can create arches and circles on the walls, and wonderfully bright spaces such as the work of artist Morag Myerscough. T ey are popular because they bring joy and they are such an amalgamation of diff erent things.
‘Being able to look back and identify some of this to a particular moment will be diffi cult, not because the patterns are less precious to us as designers, but in the mainstream they may be seen more as “fun” and just as a way of exploring new visual ideas.’
‘Brands such as Gucci and Louis Vuitton have in some respects brought back the pattern in a branding sense, looking at how they can reinvent it and re-visualise it for each season. But it has become an identifi er again. In the metaverse or digital world, where you don’t have a physical product, pattern itself has become the identifi er.’ Chairing the discussion, T eresa Dowling, editorial director of FX magazine, said: ‘It’s interesting that you mention Morag
‘Brands such as Gucci and Louis Vuitton have in some respects brought back the pattern in a branding sense, looking at how they can reinvent it and re-visualise it for each season. But it has become an identifier again.’ Macaila Vorster
Myerscough, because she’s a million miles away from heritage design. She’s an agitator, an outrider, and the complete antidote to the predictable.’
MET Studio’s Lewis replied: ‘We are very much in the age of the screen in which things have to look great on Instagram. I love Morag’s work, but there are a lot of artists now who create these bold, colourful pieces. Are they designing for what they feel is right, or are they designing for what will be most impactful on screen to get those clicks, likes and shares? T at’s not to downplay their success and their huge creativity, but it would be interesting to know if they would have made such a breakthrough if we didn’t have camera phones and Instagram for example. Would it have resonated in quite the same way?’ ‘It’s interesting to consider how pattern lives online,’ suggested Munday, ‘because it can be a really useful tool for website design for instance. A repeating motif in vector can be
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