The Maker's Atelier - a journey in colour selection

For the last twelve months I've been working on a very personal project that has become The Maker's Atelier. I have always made my own clothes and when someone suggested I publish my own dressmaking patterns, I thought it was an interesting idea. I've never bought dressmaking patterns, they're not very fashionable and they don't relate to my style. So I felt here was a gap in the dressmaking market where I could introduce a level of style and sophistication. But the interesting thing is the colour journey that has taken place during the development of The Maker's Atelier brand and its products.

I started the business concept the same way I start all my projects with a moodboard.  I take what I think are the key ingredients, which I then embellish, and then edit, until I've captured the essence of what I'm trying to create. Above is part of the moodboard; on the left is the section that relates to my own wardrobe, including my clothes-rail with the colours I wear - blues to greys to white with tans and sands for summer. On the righthand side are my first thoughts on branding - I knew I wanted a classic understated logo that would last and that ideally it would be in grey as this is the perfect "backdrop" colour.

 I worked with Eighth Day Design who have created all my previous websites and branding to develop The Maker's Atelier. They did a brilliant job including creating The Maker's Atelier type face inspired by the stencilled type found on dressmaking mannequins. The full branding story can be found here and as you can see we kept to the greys for the branding. It was a different story with the clothing....

The plan was to illustrate the patterns, with real size 12 women, photographed using natural light wearing a series of blue samples. But following the first test shoot with photographer Amelia Shepherd, I realised that we couldn't see the garment details with the depth of blues I had chosen. This detail is integral to dressmakers - they need to see the seams etc of what they are going to make. So I had a week in which to recreate all the samples in paler neutrals. The colour selection had become driven by the technicalities of the photographic look we wanted and the suitable fabrics I could quickly lay my hands on.

For the shoot location we used the building where The Maker's Atelier is based in Kemptown Brighton - there are a series of large rooms but the best background we have found is a pale grey; Dulux 00NN 53/000. This is completely neutral with a high Light Reflective Value (53) so the natural light can bounce around and soften the look.

After the final shoot we chose the images above for the first six pattern fronts which were published last August. Since then I've been experimenting with pattern and other colours in preparation for the next set of styles. But its a fine line with what works and what doesn't. But as a designer its been a fascinating journey perfecting everything into a saleable product - the results can be viewed here www.themakersatelier.com

White on White

I adore white on white and collect all sorts of embossed stationary. So I could't resist this French linens catalogue printed in 1952, from Wayward's stall at Brighton's Saturday market.
When I'm working on interior projects, I rarely use standard bright white paint colour I always specify a shade of white that complements the total environment.

I have just spent weeks selecting the white for my new workspace. Only to realise it was almost irrelevant once I'd moved in all my files and boxes. They are all different shades depending on age;but these different levels add such a texture.

I had to get a photograph of these white towels on the white wall, at the new Jane Scrivner spa treatment rooms, they seem to have a real rhythm about them.

Powdered Pastels

Pastel ceramics - inspiration from Nelly Rodi

Spring's been here for a while and we've had some beautiful bright days, so I'm a bit late with this observation on the season's pastel trend.

Usually I steer clear of colours that are too sweet but there is a powdery feel to this year's colours that gives them a sophistication. They look great when worn with attitude as above from & Other Stories or below from Net a Porter

These spongy, neoprene style fabrics, give a very modern edge to these powered shades - so desirable!

My current mood board

Normally by February I start dreaming of pastels and this coming spring's colours are beautiful. However the mood board in my studio is still reflecting the weather outside due to the relentless rain and howling wind. Since December I've removed the black and introduced greys to work back with my navy and indigo palette - so the mood is lifting a bit. But there are some lovely things on my board......

My friend Kate just gave me this gorgeous hot water bottle, as I have no heating yet in my new flat. It's so lovely though, that I'm keeping it at my studio until my building work stops. By Jules Hogan, she got it from Not On The High Street and it'll look fabulous with my crumpled grey, linen sheets from H&M 

The other fabrics on my board that I'm hoping to introduce into my interior scheme are from Eleanor Pritchard - I love this whole mix of pattern and texture......

So until spring arrives and my building works complete, this is my inspiration.

Black and Blue

I love this season's fashion trend for all things black and blue. So much so, that this is the invite I designed for our studio christmas party. The black silhouette is from a photograph I took of the Brighton Pavilion.

By coincidence COS launched these carrier bags at the weekend.
I remember a rhyme from when I was  young…"black and blue will never do" - just goes to show, rules are made to be broken.

Paul Smith at the Design Museum

Yesterday I went to the Paul Smith exhibition at the Design Museum. It was a bit surreal, as when I turned into the room that represents his office, there he was and he said hello! His assistant and press officer were there too, and they said they found it all a bit strange as the layout was exactly like their real place of work.
It's an interesting exhibition with lots to look at and you get a real feel for him and his business. The best part of the exhibition for me, is a film that captures the day of his Menswear S/S 2014 fashion show in Paris.
In the film he is talking about his brand and the fact that it is all about colour. He says "there is COLOUR and there is colour", and it's as much about a light navy and a dark navy, as lots of colour; that has real resonance for me.

The exhibition runs until 9th March 2014.  

Farrow & Ball new colours

I recently attended the launch of Farrow & Ball's new colours, pictured here are my two favourites"Mole's Breadth" above, and "Stiffkey Blue" below.

World Interior News asked me to write up my take on all the new colours - you can read it here:-
http://www.wantoday.com/interiorsblog/farrow-balls-new-colours-for-2013/

A recent photo shoot

 

I've just done a photo shoot of some of my recent interiors, with photographer Leigh Simpson. I love working with Leigh because I have an excuse to play around with the styling, as he likes to shoot the detail as much as the overall interior.

These pictures are from two kitchens I've worked on for male clients. I find that men like very functional kitchens with lots of clean lines; my female clients prefer a softer look; so plenty of scope for styling these photos. With this grey kitchen I thought the deep mauves of figs, aubergines and beetroot would work well.

The client for this white kitchen, wanted an uncluttered look with no visible electrical sockets or appliances, with the exception of the minimal hob and oven - so here I've added textural leaves.

But this is my favourite; I like the earthiness of these potatoes and mushrooms against the sleekness of the straight clinical lines.

A life less ordinary

One of my favourite shops in Brighton is the i gigi General Store. So when the owner's Zoe Ellison and Alex Legendre bought out their book, a life less ordinary, I just had to get a copy.

It is full of beautiful images from their store, homes and personal inspiration. The store opened 10 years ago, and it's interior and products have always concentrated on an intense neutral colour palette. There is always a wonderful mix of old and new, lots of layering of texture and colour levels.

As Zoe and Alex say in the book "We love to reclaim old things and put them in a modern space. Such places offer a story and a history, and bring a sense of individuality." It is interesting to see how this has translated through into their own homes. Very inspirational!

Wabi Sabi

I really love this summer's trend for all things Wabi Sabi, from the beautiful Miu Miu coat above, styled and photographed by Damian Foxe, to my favourite scarf of the moment below -

the fabric for this came from The Cloth House in Soho. The term Wabi Sabi refers to the Japanese aesthetic of finding beauty in imperfection, but to me the rawness and simplicity of these print effects are perfect. The trend is as strong in interior design as fashion, with these great wallpapers from Harlequin

Brighton Festival

All this week I've been watching as Brighton's Clocktower gets shrouded in mens shirts. To begin with I wasn't convinced! However as it neared completion, I started to see the graduation of colours from dark to light, with some sections depicting seascapes.

Then I poped into Fabrica to see The Blue Route, and saw this incredible instalation, now I understand what's going on. Kaarina Kaikkonen, the artist, has been commissioned as part of Brighton Festival 2013 to create these artworks. The installations are assembled from second-hand shirts, donated by Brighton & Hove residents, which will in turn be donated to Oxfam when the exhibition finishes.

  Kaarina uses simple everyday objects to create large scale installations that articulate the architectural or open spaces in which her work is sited - 'A shirt is the closest to the heart, so that is why I use shirts. The person is there'. Well I think this is magical!

Deceptively modern wallpapers

I've been sourcing wallpapers for a regency property in Brighton and came accross the Little Greene wallpapers reproduced from historical archives. A lot of their papers originate from actual London addresses as with the one above from St James Place. 

This 18th Century design looks surprisingly contempory when reworked into Little Greene's colours. However property I'm working on dates from 1825, so this design is a little early.
According to Little Greene the 1800's was a key period in the evolution of wallpaper production. During this century the introduction of continuous paper reels (from France), and subsequently roller-printing in 1840, replaced the widespread, artisan technique by which individual rolls (called 'pieces' measuring 12 yards x 23 inches) were printed by hand.

Little Greenes 19th Century designs include patterns from Japan, where printing methods had evolved in a similar way to those in the west. I love this design 'Pines' - the wonderful ombre effect of the folliage seems so right for now.

Little Green suggest coordinating this design with the following colours from their paint range -    Normandy Grey, Stone - mid cool, and Fray

                                              

Faded Glamour; this season's colours.

Harpers Bazaar's "A Moment In Time" photographed by Yelena Yemchuk, styled by Leith Clark

I subscribe to various fashion and interior magazines, and I find it very interesting how each one covers a trend, and how this crosses from clothing to lifestyle. This month there is a feeling of romantic nostalgia; of faded glamour. The fashion story above, in Harpers Bazaar is very English country home with a decadent nonchalance.

Vogue's "Heartbreak Hotel", styled by Lucinda Chambers, photographed by Jervier Vallhonrat 

 Whereas Vogue have focused on this season's sharper, mid-century influenced silhouette, but still softened in the same wonderful faded shades, with a beautiful backdrop of De Gournay wallpaper.

Elle Decoration's "Beyond the Pale" photo Sean Myers, Stylinh Hannah Bort

These gorgeous sepia tinted tones are crossing over into interior trends, as the move away from minimalism continues. The overall effect reminds me of hand tinted photos.

Louis Vuitton Autumn Winter 2013/14

This soft and sensuous colour story is very current, but also set to run through to next autumn, as shown at the Louis Vuitton catwalk show last week. A fabulous mix of colour, pattern and texture - dreamy!

Modern Mosaics

The other week I visited the Surface Design Show in London, and several companies were showing mosaic style tiles in neutral shades. Here are my favourites - above is Estrela Nero and Cubo Nero from Vicalvi. And below is Frame by Refin

To me they are reminiscent of Victorian tiles, refined for modern tastes. I like this re-introduction of patterning for floors especially after years of plain surfaces.

This is the Frame flooring in a retail environment but I think it would look equally fabulous in an open plan living area.

Light Show at The Hayward

I visited the Light Show at the Hayward Gallery yesterday. It's not the sort of show that I would have put at the top of my to do list, although I had seen the good reviews. But a friend of mine suggested it, so off we went. There are too many installations that I could rave about, so I'm just going to concentrate on Carlos Cruz Diez's Chromasaturation. 

Here's an explanation -“The Chromosaturation is an artificial environment composed of three color chambers, one red, one green and one blue that immerse the visitor in a completely monochrome situation. This experience creates disturbances in the retina, accustomed to receive wide range of colors simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs”

It's almost impossible to describe the effect the coloured light has on your visual perception, as you move from one chamber to the next. It so disturbs the retina that at one stage we thought we were devoid of colour, visible in sepia or almost black and white. Quite extraordinary, disturbing and breath-taking all at once. Brilliant!