098 DESIGN SEMINAR
built in code which can help to create a lightweight website which makes it more accessible. T en you can add detail such as animating it or making it react to the user’s cursor and enhance the user experience. So, there is this digital way of tailoring a pattern to work really eff ectively as part of a brand identity.’
Does the provenance of a pattern aff ect how it is used and categorised? For example, said Franklin: ‘If an artist makes a pattern, is it de facto “art”? Would it be considered in a diff erent light if that pattern had been made by a non-artist? It seems there are diff erent categories to how patterns are viewed.’ Interbrand’s Vorster added: ‘It’s an interesting point. And the same could be said of the diff erence between a designer making a pattern or it being produced using AI and churning out patterns automatically. I think you need the human eye to know not to sprawl a pattern over everything, and to use some careful judgment. Our role is still key in that respect.’
T e prospects for radical intervention So what of modern day pattern pioneers? Is there anyone leading the way in showing what can be achieved with patterned impact? Amtico’s Escott said: ‘T ere’s so much visual “noise” out there. I’m waiting for the visionary to emerge, the “disruptor” who is going to come out and make a big impact. But it’s so hard for anyone to pick their way through when there is so much being published online and elsewhere on a constant basis. ‘I was at the Milan Furniture Fair in June and one of my thoughts was how “comfortable” everything felt. No-one was
‘What’s lovely about pattern is that you can design something in which you can see the inspiration and the subtle references to time or place, but at the
same time, you are creating something unique and new that is
memorable and ownable. You can build a story in to the design but in essence you’re also creating something new.’
Alice Munday
really doing anything radical. It was beautiful, with new patterns and textures and there were some defi nite trends, but nothing that really challenged me or my view on things. We’re still emerging from the pandemic crisis so it may still be a little early for this radical movement to come through.’
Below Sarah Escott, design manager, Amtico and Alice Munday, associate design director, Curious
Sustainablity – in various forms – could be at least partially steering the creative direction away from brash and bold, and instead towards warmth and comfort. Gledstone said: ‘One of the greatest crimes of fashion is its throwaway nature, and right now everyone is conscious of that. But I think there are layers that can be incredibly expressive. Possibly those top layers – which are not necessarily throwaway but do allow you to be bold – still enable a design to stand the test of time.’ Munday added: ‘Perhaps people are looking more for the comfort of hand-crafted things, for the simple pleasures in life. It could be the reaction to having been denied some of these close connections during the pandemic, with an interest in hand-me-downs or more personal items.’ ‘T ere’s also interest in hand-me-ups, in repurposing,’ suggested Franklin. ‘We’re interested in taking things and upcycling them. Some building and construction can be so wasteful, and we want to take the fashion side out of that and look to make more and more use of what is already there. Of course, some things are easier to upcycle than others, but many enduring items can be polished or “mined” from the site. T ese factors are already really telling in how we approach specifi cation today, not least because people are prepared to pay more for processes which previously may have been dismissed on the basis of cost.’
Supported by:
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149
