Print: Fashion, Interiors, Art
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Printed textiles are an exciting and dynamic design area, with new mechanical and digital technologies opening up a wealth of creative possibilities for designers. Witty, hyperreal, and luxurious print designs are being used by fashion designers and in interiors, while artists are harnessing the technology in their work to stunning effect. This showcase of the best printed textiles from around the world is divided into three key areas: fashion, interiors, and art.
In fashion and clothing, the book features innovative printed textile designs in haute couture, prêt-a-porter, and accessories from companies such as Prada, Issey Miyake, Hermès, and Vivienne Westwood. The interiors chapter shows surfaces and interior products such as wallpaper, upholstered furniture, fabric hangings, and floor coverings, and features a wide range of designers from Marimekko in Finland to Anna Glover in the UK. Fine-art prints and experimental work from international artists and designers such as Cristian Zuzunaga and Liberty Art Fabrics are represented in the final section.
the company can sell 2,500 designs in a year to leading fashion houses. It is not only fashion designers who are attracted to Jakob Schlaepfer’s inspirational luxury fabrics: architects and interior designers have also responded well. Clients are drawn to the high quality and experimental approach to design and are unsurprisingly of a similar mindset. Leading companies in the fashion industry apply the fabrics of Jakob Schlaepfer to their creations, including Chanel, Vivienne Westwood, Alexander
‘Grammar’ (2010), the scene is a vast snowy landscape with mountainous clouds on the horizon. Fluttering in the wind are flags, adapted from an advertisement campaign by the luxury-goods manufacturer Hermès in which scarves are arranged in a similar way to Tibetan prayer flags. The film blends ideas of spirituality, exoticism, consumerism and the ceaseless spread of technology. The 37 redesigned flags retain a sense of prayer flags but instead of displaying messages from Tibetan deities, each is
polish the mineral specimens left its traces. And sometimes, explains Weston, it is necessary to edit such minor flaws as cracks: ‘Most of the first few collections of scarves were “straight from nature”, but I am willing to manipulate – but only so far as the result seems “natural”. That, needless to say, is a tricky call. But it’s intriguing how inverting the colours of a file can yield a “new” mineral very similar in colour to a “real” one. There is always a loss of subtlety, of course, and
all over the world. My textile interests are many and varied and I do not find myself much interested in how things are made, more in how they are used and the life they have once they are finished.’ Trained in printed textiles, she largely produces her work by masking out areas and handpainting or printing through a screen over stencils on to cloth, creating striking pieces with bold motifs, strong colours and an acute sense of composition. This imposing style has been applied to site-specific
Peter Pilotto All images courtesy of Peter Pilotto. Prada All images courtesy of Prada. Richard Weston All images courtesy of Richard Weston/Weston Earth Images. p.252: Photograph by Peter Cook. ROLLOUT pp.157 & 158: Courtesy of ROLLOUT. p.159: Courtesy of ROLLOUT and Petra Reimann. p.160: Courtesy of ROLLOUT. p.161: Courtesy of Andrio Abero. p.162: Courtesy of ROLLOUT and David Palmer. p.163 (top): Courtesy of ROLLOUT. p.163 (bottom): Courtesy of Mike & Maaike. Rupert Newman All images