“While the 2013 color of the year, PANTONE 17-5641 Emerald, served as a symbol of growth, renewal and prosperity, Radiant Orchid reaches across the color wheel to intrigue the eye and spark the imagination,” said Leatrice Eiseman, executive director of the Pantone Color Institute®. “An invitation to innovation, Radiant Orchid encourages expanded creativity and originality, which is increasingly valued in today’s society.” “An enchanting harmony of fuchsia, purple and pink undertones, Radiant Orchid inspires confidence and emanates great joy, love and health. It is a captivating purple, one that draws you in with its beguiling charm.”
Pantone announced their Color of the Year for 2014 today: Radiant Orchid. Their press release sums it up best:
If you don't already subscribe to Elle Decoration UK, you might want to pick up the October issue. It contains a 16-page "Pattern Book" insert with Elle UK's picks of the best fabrics and wallpapers for Autumn/Winter 2013. The issue also includes a peek at the British Design Awards nominees for best British pattern design.
See which designs and designers made these two esteemed lists and get some inspiration!
What is your background as an artist? What led you to surface pattern design?
I have been interested in art for as long as I can remember. I loved doing anything creative when I was a kid and was always making something.
I was at FIT (Fashion Institute of Technology in NYC) for my fine arts degree and a few weeks before graduation I was walking aimlessly around campus wondering what the hell I was going to do when I was done with school. I felt freaked out because we were only really trained to sell work in galleries and I didn't have the confidence at that point to be going around to try to get a show. I also felt like I wasn't 100% cut out for that type of art world—especially in NYC!
Please describe your first job in the industry. What kinds of things did you learn that you didn't in school?
I had a lot of jobs in the industry after school, all of them very different and I learned a new set of skills from each one. I graduated at a tough time in NYC, a few months after 9/11. Jobs were scarce so I took the first thing that came my way. I had interned with a very cool company that designs high end contract textiles. It was a great experience and I really admired my boss a lot (she is now the creative director at Knoll). She taught me so much. It was a lot of "listen, look, and learn." I just tried to soak up as much as I could.
After my internship, I worked for a furniture company which was owned by the same fabric company I interned for. It involved working with interior designers, helping them pick out fabrics and pulling colors. It wasn't exactly what I wanted to be doing, so I moved on to designing wallpaper, which I also wasn't so into. At that time, wallpaper was pretty boring. I designed mostly for hotels and businesses, and I still cringe every time I am in a hotel room. The wallpaper is usually all the same, unless you are in a really hip modern hotel, and it's usually not pretty!
What is the mission behind your studio Hunt+Gather and how did you get it started?
The mission first came from necessity. I had moved from the east coast of the US to Taos, New Mexico where there is no fashion or home furnishings industry! My husband is from Taos, so when we decided to make the move out here I knew I would have to somehow continue to do what I loved or it just wouldn't work. I started freelancing the second I got here and a month or two later started up hunt+gather and it's just been growing ever since. I started the studio by creating about 60-100 of my own designs and then began working with other artists to beef up the collection and get a few different styles into the mix.
What markets do you design for? Do you have a preference?
Mostly women's and juniors' apparel. We have been getting a lot of attention from swim and active wear companies lately which is kind of cool. And, the skate/surf brands seem to like us a lot--I love that! Occasionally we will sell to home furnishings and other areas. I just sold some prints to a company that makes stuff for dogs!
It sounds like you work with a number of artists through Hunt+Gather. Do you have employees or work with freelancers?
I currently don't have any employees or freelancers, but I do have a really awesome assistant in Taos who helps when I need it the most, like when I'm getting ready for a show or sending a big batch of fabric out to my rep.
In terms of artists, I work with a lot and they are based all over the world. They work on a commission basis, so when a print sells they get a percentage of the sale. I work with them mainly through email and give them trend direction and help tweak the designs or colors. Everything else I do myself, so it can get to be a lot sometimes! Eventually I would love to grow to have a few people in-house doing various jobs.
There isn't really much fashion in Taos, so it's not like you can people watch out the window of a café like in NYC and just see all the crazy new trends that are surfacing. People here definitely have their own fashion going on and I love that for sure, but it's very different, so it can be harder to keep up with what is at the forefront elsewhere. We do have a lot of great little boutiques and a few people doing fashion, like Patricia Michaels who was the runner up on season 11 of Project Runway. It is always inspiring to go to her studio and see what she's up to because she is also a textile designer and does really beautiful work.
Other than that, to stay in touch with the industry and fashion, I look at a lot of blogs and subscribe to way too many magazines. In a way it's good, because I think being away from the industry in NYC just gives you a totally different perspective so you aren't designing what everyone else is. It helps you to put your own spin on things and your work looks less cookie cutter. I think if I were in NYC work would be easier in a lot of ways, but I have a rep who constantly shows the collection all over, so it gets around. That way I can just stay here and focus on making more prints.
Are you involved in Taos's renowned art scene?
I try to be involved in as much as I can! There is really always so much going on here. It's fun to spend a Saturday just walking around all the galleries, museums, and shops. My husband and I know so many artists and people with their own businesses—literally almost everyone we know, so it's really inspiring to see people living and doing what they love, really focusing on what is important to them and not always worried about the whole rat race. It is so much slower paced out here. I definitely dream of having enough time someday to start painting on canvas again or do some weaving on a loom, maybe learn to make jewelry. I have dabbled a little but haven't figured out how to have time for it all. The University of New Mexico Taos branch is nearby and it has so many great art classes. Occasionally I try to sign up for them and do what I can.
Who are some of your favorite artists and designers (past and present)?
Definitely too many and for many reasons! I have always loved Frida Kahlo and Georgia O'Keefe (mostly her landscape paintings, not so much her flowers). I still need to get down to Georgia O'Keefe's Ghost Ranch. It's so obvious why artists were so attracted to this area. Just seeing one sunset will blow you away—the colors are ridiculous.
I love artists who were obsessed with details or create sort of an allover flow of abstract texture. Yoyoi Kusama has been one of my favorite artists since college. I love her net paintings. The illustrator Ernst Haeckel has also always been a huge inspiration. To this day, I can still sit down with one of his books and be totally mesmerized.
Of course I am always attracted to art that looks like it could be a textile design, or artists who use a lot of pattern in their work. I like Ross Bleckner and Amy Wilson Faville. I also love artists who use a lot of nature or even actual organic objects in their art like Jennifer Angus. She uses these beautiful bugs in her work which I totally admire because I used to do a lot of art with bugs. You can find so much pattern and color inspiration for textile design in a moth wing or the pattern on the back of a fancy beetle!
This list could go on forever...
Now that you've been in the industry for some time, how have you seen it change over the years?
To me it felt like it changed overnight with everything going to CAD. With all the new technology there is just so much more that is possible. I don't think I could run a studio from Taos, New Mexico without having the ability to have a website and for my artists all over the world to be able to send me their work in a matter of minutes. It makes me feel really old to think about because when I was in college none of us even had cell phones, and that wasn't that long ago!
I think one of the main things I am noticing is that the designs that are being purchased are in layers or color separated. Some are even being done in repeat. This wasn't the case until recently, believe me! I was a CAD artist for years and a huge part of my job was to take the designs we purchased from other studios and put them into repeat, color separate them for the mill, and make any design or color changes necessary. I don't think I ever once got a file that was in repeat or already color separated. Sometimes there would be layers and I would be SO excited about that, but for the most part I was either given a flat digital file to work with or just a piece of artwork to scan in and work from that. I think many more studios are now putting all their files into layers and making it a lot easier for the in house CAD artists to work with them. I am glad I had all that experience though, it just means I can pretty much take anything you give me and put it into a repeat and color separate it if necessary. You get really good at it when you do it every day for years like that!
What advice would you give to someone who wants to start their own surface pattern design studio? Any pitfalls to avoid?
I would say the most important thing is to have some industry experience in the area that you would like to focus in. If you are really into home furnishings or paper products, get a job in that industry for a while. There is just so much to learn and soak up that you won't necessarily be able to learn on your own. Almost any business class or book will tell you this.
Attend lots of textile/surface design trade shows if you can! It's hard to really get in there and ask questions if you are not a buyer, but it's a great opportunity to see whats going on and how this crazy industry works. If you are in a position or living in an area where you can go to school for textile/surface design, even better! There are so many online resources for learning new skills these days too. Pattern Observer is a great one. I really respect Michelle because she has worked in the industry and is constantly getting out there learning new things so that she can help her students.
Really really do your research. There is so much to learn and even after doing this 2 years I still learn new things all the time. There is no manual for any of this really, I can't pinpoint any pitfalls to avoid. Just make sure you know your clients well and know what they want—even the fabric or paper you are printing your designs on could be a total turn off to them. Sometimes what's required can be so much more than just having a good design. This is a crazy industry and there are so many secrets!
Just in time for New York Fashion Week, Pantone released its Spring 2014 Fashion Color Report on Thursday. The report highlights the top 10 colors used by 25 fashion designers in their forthcoming women's and men's collections, along with insight into their choices and inspiration, as well as color commentary from a number of current "fashion influencers".
The theme for the Spring 2014 report is "Colorful Equilibrium," which it achieves with an unexpected blend of mild pastels and bold brights. Inspiration for the palette includes travel, spring flowers, and a desire from consumers to find something fresh and new, yet balanced.
For more in-depth information and inspiration, you can download the full report for free on the Pantone site.
If you've bought bedding or women's apparel from a Nordstrom department store within the last 7 years or so, there's a good chance that the pattern on your purchase was designed by Anne Marie Jackson. English born and trained, and currently residing in Seattle, Washington, this award-winning surface pattern designer has had quite an enviable career in a relatively short amount of time. Straight out of school, Anne Marie earned her chops in a trial-by-fire job at Brewster, one of London's top design studios. Over a mere 2 years, she created a jaw-dropping 1,000+ patterns and had the priceless opportunity to travel abroad to trade shows to sell her work.
And that was just the beginning of her career! Read on to find out what pulled her Stateside from the UK, how she liked working in-house for a major retailer, why she's made the transition to freelancing, and what her grand mission is for our industry. You can also get loads of insight from the information and experiences that she shares regularly on her blog Pattern Occurring.
Thanks Anne Marie!
University in the UK is quite different (from the US). You spend all of the 3 to 4 years studying your specialized area. This creates graduates that have a huge expertise in their given field, which worked great for me as I was so in love with what I was doing and I had specialized people who mentored me all along that path.
What was a typical day like working in-house for a large retail company like Nordstrom?
I had several roles at Nordstrom, my first being textile and colour designer for their Brass Plum brand. That was super fun with a 6 week cycle of research, development, and production. I was never bored, that’s for sure. Then I moved into a freelance position for 3 1/2 years. That was a wonderful opportunity as I got to just go in and make art every day. Making textile designs for a huge company was exciting especially when I worked on bedding for HOME. I loved it whenever I popped down to the Nordstrom café for lunch and there was a bed set up in my print. So fun.
What did you learn from working in a corporate environment after having worked at a studio?
I learnt how to write emails, how to make brand appropriate prints, and Ned Graphics. There are definite pros and cons to both. I loved being able to see where the prints go and watch people on the shop floor checking out my prints.
What differences and similarities did you experience between working in the UK and the US?
Oh, do you really want to go there? Ha! 34 to 37 days paid vacation a year in the UK as opposed to 10 in the US. But on a more serious note, both have taught me so much. In the UK it was how to be different and work efficiently. Here in the US I’ve learnt how to make designs that sell and to pay attention to the details.
How did you transition to freelance and how has that experience been for you compared to working in-house?
In-house I had built a relationship with my design directors, who backed my decisions. You get the time to show them your worth and then you eventually are able to choose how you work. Being a freelancer was really a blessing, because when I had my babies I was able to take 6 months to really be with them.
However, working as a freelancer you don't always get to be an influencer and trend leader, which is one of the areas I am good at. So if you want to just show up, make art, and leave, freelance is perfect for you.
What do you think has been a major factor in your success as a freelancer — marketing, networking, finding a niche style, or something else?
As with any creative industry, it’s normally about who you know and making lasting connections along the way, I’ve also prided myself on my versatility, so nearly any request isn’t out of scope for me.
What would you like to change about our industry?
Ok, this is why I started a guild here in Seattle in 2008 and (after ending it) then went on to create my blog Pattern Occurring. I desire for the profile of textile design to be elevated, while also giving textile designers a better understanding of historic textile movements. I hope that textile design will be a more valued component of the design process and not just viewed as a service or an afterthought. I truly believe colour and pattern are why a customer is initially drawn to a garment. Good textile design is essential to the commercial and emotional impact of the products we interact with everyday.