hello again - we have some more exciting brutalism-related news to share! zitozza are proud to be involved with a new exhibition, part of a wider series of events called concrete designs to thrive, exploring how good design can keep a city can fit and well, curated by journeys in design - with city walks, talks, workshops and exhibitions.
you can join the glasgow green and grey walks - sunday strolls around one of glasgow’s favourite parklands, to spaces and places with fascinating heritage, talking en route about thriving in the city (this walk was developed and delivered in 2023 with the help of a small group of guides with experience of homelessness); 2-4pm sundays 16th and 23rd.
we’re thrilled to be a part of the materials and modernism exhibition featuring the work of five scottish creatives, all inspired by modernist architecture, offering key works in mosaic, wood, ceramic, cast concrete and printed textile (that’s zitozza!); open 10am to 4pm monday to friday at the briggait in glasgow, from 12th - 27th june - please do come and visit!
part of this is also design for a city, fit and well- the latest in a series of twilight talks, when an expert panel presents the case for retrofit rather than wrecking ball, remodelling, repurposing, and reclaiming for the better. Extra time and refreshments will enhance the chance for good connection on the evening of thursday 20th june at the briggait.
finally, a call out to help craft healthy city, healthy citizen ‘zines in a set of wednesday workshops at the briggait, exploring well-being and urban design in ‘zine format, to include use of printed smart phone pics captured by our walk participants, posted using the hashtag #concretescotland, 2-4pm wednesdays 12th 19th and 26th june.
journeys in design founder dr john ennis said, “it’s a privilege to bring our concrete designs to thrive to the heart of glasgow in 2024 and to collaborate with such a diverse array of designers, artists and producers around glasgow green and the briggait: it’s very clear why this park and this venue are such treasured parts of the city’s culture.”
hello again, believe it or not, it’s been another month and a very, very long time since we posted anything architectural or photographic - things have been busy but actually, we needn’t always go on a long, exotic journey to find some good, inspiring facades. for this short little trip, we’re staying in edinburgh today to look at another student accommodation.
the building is at 8 roxburgh place (on the corner of west adam place), you can get to it by walking up the stairs behind the dovecot (this is very specific but if you’re a brutalist textile lover, it’s a highly recommended double trip to the textile studios as well as this concrete monster!)
the building belongs to the university of edinburgh and i can’t for the love of my life find the architect! if anyone knows, do reach out. i’m guessing it was built in the 1960s and recently renovated. by all accounts it is rated highly among students, mainly for the excellent location and the stunning views of the city, and i have zero doubt it’s an absolutely brilliant experience to stay there for your studies.
this is a textile design blog though, so as usual, we’re here for the patterns and the facade does not disappoint. it’s only five floors tall so it’s not an imposing monstrosity at all, and the human scale is made evident by the large window panels and the even facade - all floors are the same height, there is not a grand entrance or an all important ground floor, the seamless repeat of windows start immediately off the ground.
the near-square shaped windows sit in rounded rectangles with some relief details above them and it makes me imagine it inside in the style of futuristic space capsules. this panelling continues on all elevations, even without windows, the details are there, which is quite obviously a pleasing sight to the pattern lovers.
there is a bit of an extrusion on the front side, and due to that, it looks like there is a bit of an offset to the grid of windows, which breaks the monotony a bit and brings some excitement to the facade. i enjoyed walking around here - there is another lovely brutalist gem right across it, a university teaching centre recently renovated by reiach and hall. surrounded by the medieval churches of old edinburgh, they don’t look out of place at all in this living, breathing city.
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if you came here looking for ideas for your student accommodation, come and browse our shop!
hello again, long time no see, another month went past so quickly. of course, we were quite busy getting our new lookbook published, but even amidst the busiest periods it’s important to make time to get inspired. i thought that i’d recommend something a bit different this time - we aren’t going to recommend a building (well, yes, sort of) or a book (well, yes, sort of…!), we’re going to an exhibition - to my favourite venue in edinburgh -the dovecot studios!
if you’re in scotland, and are into textiles, it’s an absolute must to visit this tapestry studio (chances are, we might have met there as it’s also my favourite place to exhibit at fairs here!) and this spring they have prepared something quite special for visitors - andy warhol’s textiles!
it’s not the first time i saw some them in scotland - a few years ago a wonderfully curated exhibition of artist’s textilestook place in new lanark, which included his work as well as fabrics from picasso, dali and miro amongst others. i remember it being quite large and certainly beautiful - a rich journey into textile designs by artists we mostly know for their paintings and sculptures. this one is based on a similar concept - we all know andy warhol the pop-artist but how much do we know of the textile designer?
the dovecot curated it into a smaller and more focused exhibition that goes through his commercial textile designs. if you’re familiar with his logos and other commercial work, you’ll instantly recognise the easily reproduceable, wet inky screen printing style that marks all the exhibited textiles. the exhibition details this process a little bit if you’re not familiar with it, as well as shares some of the commercial background of the textile businesses these were produced for.
it really is a joyful ride with conversational patterns - mostly on 1950s and ‘60s fashion pieces. you might have seen the button prints before, but there are brooms, pretzels and gardening tools too… and it’s also quite interesting to look close-up and see the graphical quality of the designs. it is also a journey into how the textile industry used to work just a few decades ago.
i have not taken many photos at the gallery itself as it’s much better to look at it in person. however i did buy the big book (i do not often do it after exhibitions) to remind myself of these patterns from time to time.
go go go and see this - highly recommended! until 18th may.
it’s february again… and it seems to be a particularly grey one, but that just makes it perfect time to read about decorating trends, colours, patterns and all the fun stuff. and, as we do it now every year, we’ve collected the main trends to focus on so do join us on a trip into the hottest new interior trends.
1. bOLD colours and brave combos
at zitozza, we have been waiting for this moment for a looong time, but even for the minimalists, it’s probably a good time to say goodbye to the all-beige aesthetic and the grey everything. in the mid-2020s, we are in desperate need for mood-boosting colours and the stranger, and more eye-catching, the better. close the itten book, there are no rules, more is more - we’re getting ready to make some bold, wild prints on new interior fabrics and we cannot wait.
2. hand crafted statement pieces
we have discussed this before - sustainability is not a trend, but an imperative for all industries now, as it should be. for sure, sustainable design processes and practices can be interpreted in many interesting ways and many are slowly seeping into interior trends. one that’s here to stay is how the luxury statement pieces now mean the high-quality, handmade objects made by artisans. exquisite hand crafted details, small imperfections, material honesty - what’s not to love and do we have the rugs for you!
3. luxury gezelligheid
this one is an entirely biased inclusion in the list since zitozza are dutch lovers, but that thing that house beautiful calls “cosy, quiet luxury” and those “real and memorable spaces” dezeen refers to - the dutch have a word for it and if you ever went through a bit of a hygge phase, you need to learn to say gezellig.
it means so much more than cosy - it is a social and friendly kind of contentness. in the home, it may express itself in the shape of ambient lighting (think about our jute lampshades!), warm, tactile textures (think of layers of rugs on the floor!), and open, inviting, sociable spaces ready to be filled with warm conversations. naturally, this means high quality, long-lasting materials and finishes as time well spent is the real luxury now!
4. BROWN (FOR real!)
no, it is not the 1970s anymore, don’t worry. that kind of brown is not making a new comeback. this is a grown-up version, evolved from the earth tone trends we’ve seen in the last few years. at zitozza, we’re particular fans of the almost-black kind of espresso browns, and elle decor mentions chocolate hues, but if that’s not your thing, woods and finishes such as shou sugi ban may bring that tone in your home by more natural means.
5. stripes and checks
nothing we love more than patterns, of course and we’re so glad seeing them mentioned by vogue.horizontal or vertical, or have them clash and make a chequerboard - that’s right up our alley as our modular system of printing blocks can make up similar effects with that unique hand crafted appeal and we cannot wait to bring more of these prints to life - stay tuned!
6. mix and match
as we are all about tactile prints, we do always embrace a version of this kind of trend, but this year it really means a mix and match of all sorts of surfaces and patterns. textured walls are definitely a thing this year but it means a play with hard finishes - metals such silver and gold accents (and yes, stainless steel!) but also, of course, mixing coarse textiles (such as jute) with some soft linens too. exciting times!
if you’re ready to find something for your home, have a browse through our shop or request a sample to see what we’re able to do for your home!
below the articles we sourced these from are linked for further reading, and if you want to be the first to read about sustainable home decor and textiles, subscribe below (it comes with a freebie every month!)
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links:
12 interior design trends we’ll see in 2024 (by amanda lauren, 4th january 2024, forbes)
as we are cracking on with 2024, i’ve decided that of the many architectural inspiration series we planned, it’s probably best to tackle the beast first and share some images and thoughts of the barbican estate in london. i’m calling it a beast because it’s an enormous, expensive and very well-known icon of british brutalism. for this seasoned concrete-hugger, it then makes no sense to keep postponing this blog post any further (especially as our rug already exits and more stuff might come soon…), so do come with us to explore the place from a textile designer’s perspective.
i guess everyone somewhat interested in brutalism knows some of the basic facts - designed on a 35-acre ww2 bombsite by chamberlin, powell & bon for the corporation of the city of london, it opened its first flats in 1969 but the completion of the construction only really finished in the late 1970s, after a long and expensive process and it is now home to approx 4000 people in 2000 flats. of course the uniqueness of the estate comes from the fact that unlike many other brutalist projects in the uk, it was not built for social housing and the architects were not held by the typical council budget restraints -which resulted in one of the most free and complete architectural visions, achieved by some extremely time consuming and labour intensive processes.
if you want to know about these in more detail, my first recommendation is raw concrete by barnabas calder. quite early on in the book, he has a brilliant chapter about the barbican, with some focus on the social context around it, from conception throughout the whole of the construction process which makes for a very informative and interesting read as it touches on some of the tensions throughout the whole process of building it. he provides an important angle that does not often get mentioned on design blogs like these, as we tend to get lost in the form and the aesthetics - with good reason of course, but without context it would become rather meaningless.
i first visited a couple of years ago and the first thing that really affected my perception was its sheer scale. of course it is at this enormous scale that these visions for the order of forms work the best, and i think this is why it’s such a brutalist mecca here, the complete, intact and vast system of space. i don’t exactly know where my search for a geometric order comes from, all i know is that the deceptively monotonous facade of the terraced blocks (arranged in neat squares of course) gives me a sense of enclosed cosiness and open clarity at the same time. in every one of these blog posts i’m attempting to describe this feeling but it’s so hard to explain - there is just this sense of calm that i only find in places such as this.
the three 42-floor tall tower blocks bring some exciting angles with a lean, triangular layout and column of balconies tightly stacked into the sky. of course, the repeating geometric forms serve a textile pattern designer well. it really helps that i visited on a sunny day and the shadows projected on the surfaces aid the imagination in reducing these sharp angles to two-dimensional shapes. but the surface itself, the slate and hammered concrete texture that really is on every surface, is equally important - i always say that i want the weave of my cloth to resemble the raw concrete itself, and the pattern to play with the form.
to explore a bit more about the material and the techy bits of the architecture, my second recommendation is my favourite podcast series, about buildings and cities - they have a brilliant episode about the estate, touching on some of these details of the surfaces too as they take you on a journey around the estate. they’re much better suited to explore a more architectural angle than i’d ever be able to so do have a listen to it.
what i found the most surprising about it that it was a lot less grey than i imagined - of course, the concrete surfaces are raw and beautifully grey, and the shapes and forms are varied and playful, but the pavements are tiled with maroon bricks all over, and the ponds with the surrounding greenery reflect with a very strong teal and green everywhere. it is surprisingly colourful and stimulating in its order, the “oasis” comparisons do seem to be very fitting - not in small part due to the tropical garden accessible to residents only.
but we can’t quite go away of course without stepping foot in the arts centre, home to a concert hall, cinema and exhibition halls amongst others. seeing how the columns and the concrete coffered ceilings repeat and continue inside is an exciting exploration that i really enjoyed even if some of might not work that well today or may be in need of renovation.
for the last recommendation, i want to bring you an article from the rics blog, as it’s quite fresh and talks a bit about some of the repairs as well as bringing you some amazing pictures that hopefully will inspire you to appreciate it if you haven’t visited already - and if you have, i hope you’ll now see it from a surface pattern design angle too.
if you liked this trip, you can subscribe to our newsletter below - we’re only sending these monthly with a free downloadable graphic print, and you’ll always be amongst the first to notify of a new architectural journey, or new prints inspired by them.
hello again, it’s been another month long pause at the blog (sorry!) as we’re trying to prepare for the festive period while juggling a lot of things at the same time, including a new collection that might come before the end of the year and will be our most brutalist one yet! one of our cushions have also been included in a fabulous brutalist selection by gadget magazine t3.com, so the trend forecast was correct and it’s officially in again. i thought that to celebrate this and to get in the mood for the up and coming new collection, it’s time to share some interior tips on how to bring the brutalist forms indoors, with its bold forms and raw, industrial aesthetics. it is more than just an architectural trend; it's a statement. if you're looking to infuse your living space with character and go bold and brave, embracing the brutalism trend might be the answer. in this blog post, we'll take you through some interior design tips to help you achieve that unique, edgy look while maintaining comfort and warmth in your home.
simplify and minimise
this isn’t a call to go full-blown minimalist, but decluttering your space will give the accent pieces the “main character” status they deserve. brutalism thrives on simplicity and clean lines. remove the noise and leave room for your bold furniture pieces and some accent accessories to shine. if you have exposed concrete walls, you’re already there. bring in some stark geometric shapes, and a muted color palette.
hug the concrete (duh, obviously!)
this isn’t exactly breaking news, but concrete is the hallmark of brutalism. if you can't expose your walls or floors, consider concrete-inspired wallpapers or textured paint finishes. you can also introduce concrete furniture or accessories to capture the essence of this trend.
lighting drama
i think this is my favourite. i’m a huge fan of interesting shadows and you can add great depths and warmth to your space by illuminating it with statement lighting fixtures. oversized pendant lights, angular sconces, or floor lamps with sharp lines, and similar. these not only provide ample illumination but also serve as eye-catching focal points and ambience.
honesty to structures and materials
brutalism is part of the form follows function school, so this should be extend to furniture too. choose furniture with structural honesty and that will mean strong, angular designs. consider pieces with metal frames or exposed structural elements. a bit of tactile upholstery will balance the harshness of the concrete and metal elements.
abstract expressions
bare walls need not be alone. if you have room, a few, colourful pieces would both compliment the room and have the art stand out too. brutalism often celebrates artistic expression. large-scale paintings with bold, graphic compositions can add a touch of creativity to your space and celebrate the multidisciplinary nature of the modernist movements.
human touch
a lot of the bad rap brutalism gets comes from a perceived lack of human scale and harshness - but that’s not really what the movement stood for at all. do soften the hard edges, introduce textures and tactile qualities. cozy rugs, cushions, and soft throws in earthy tones can make your space more homely without compromising the trend's integrity. it can also mean hand crafted, imperfect elements against the more pure forms. (yes, i do mean hand block printed textiles, how did you know!)
green up
another misunderstanding about brutalism is the rejection of nature. it is absolutely not. the forms may not be organic, but city planners and architects used to have grand visions for huge parks, greenery under buildings and the like. so having lots of plants in your house is just an homage to that, really.
focus, focus!
in all this starkness, it’s quite a natural wish to have a designated a focal point in the room, like an impressive brutalist-style fireplace or a bold wall covered in textured panels. this draws attention and creates a sense of purpose within the space.
colour it in
brutalist buildings are raw and stark outside, but don’t forget about colours, they do have their role (unité d’habitation, anyone?!) so don't be afraid to experiment with occasional bursts of color. a vibrant artwork or a bold, colourful rug or lamp piece can be a striking contrast against the more stark backdrops.
so there you go, brutalism is certainly not for the faint of heart, but when done right, it can transform your living space into a dynamic, artful haven. it's a trend that encourages self-expression, challenges the norm, and celebrates the beauty of raw, unapologetic design. so, if you're ready to take a daring step in interior design, embrace the brutalist trend, and watch your home undergo a bold and beautiful transformation. we have a lot of things to offer you to achieve that, so do shop around!
hello again, long time no see - i’ve accidentally become a bit of a recluse recently, apologies. in the midst of all the usual busy things though (with new lookbooks and festive market preparations…), i do want to bring you some great posts to read about so i thought it’s time to have a brand new design conversation with someone truly brilliant – i’ve brought you here gina nadal of woven memories, who i first met last year at the CLOTH market in dalkeith. the geometric patterns on display with a computer screen really caught my attention and i had so many questions, so i thought why not have this fascinating conversation right now. so come sit down with us as we delve into process, materials and inspiration with gina!
photography by roxana alison
ZITA: hello gina! i’m very excited to speak to you today, so first things first - could you say a few words about yourself, what you do and how you got there?
GINA: hi zita, it's nice to speak with you. i’m a handweaver based in manchester, originally from barcelona. i moved to manchester in 2015 to pursue an MA in fashion graphics. during my master's programme, i developed the concept of "woven memories," which combines weaving and digital coding for three primary reasons. firstly, to celebrate the shared history of both techniques. secondly, to produce on-demand and reduce waste, challenging mass-production practices. thirdly, to create products that establish an emotional bond before they are made.
while there are numerous studies on the emotional connection people have with objects during or after ownership, there is limited research on how to design this emotional bond during the pre-ownership phase. this was my primary goal during my MA. by bridging these three areas, i encouraged people to use an online interface to write messages. the text was then transformed into abstract patterns by using binary code, which i wove into scarves.
following my MA, i secured a PhD scholarship to further research this area and contribute to knowledge. in 2022, upon graduating from my PhD, i decided to transition into a full-time venture and adapt my research into a business model. customers can now design their patterns by writing messages, and woven memories' online tool translates them into abstract patterns, which I then weave in my studio.
ZITA: what an amazing journey. i first encountered your designs at the CLOTH market in Dalkeith - as a pattern designer myself, your moving, animated display on your computer screen immediately caught my eyes. could you please explain a little bit about your fascinating process?
GINA:woven memories studio specialises in personalised handwoven homeware and fashion accessories. to personalise these items, the customer plays an active role in the process, becoming a co-designer of the final product. as mentioned earlier, customers can use woven memories' online tool and are encouraged to type a message. this message can be personal, contain the lyrics of their favourite song, or even a poem. while typing, the pattern is generated in real-time by translating the letters into patterns using binary code. once the customer is satisfied with the text, they can further personalise the design by selecting colours, adjusting the pattern repetition, or applying mirroring.
i believe these products are perfect as gifts for celebrating special occasions like birthdays and christmas, as well as for commemorating loved ones who are no longer with us.
photography by lauralaura studio
ZITA: oh yes, it is very giftable and i love the idea of translating words into the language of weaving. that makes me wonder, do sentences always come out as a workable weave or are there ones that work less than others?
GINA: certainly, some sentences result in more visually appealing patterns due to the way they stand out. for instance, the other day, i was experimenting with the online tool and wrote 'i love you' in different languages; armenian and punjabi produced patterns i particularly liked. however, i do have two favourite quotes. one is a quote from ada lovelace that encapsulates my research and the concepts behind woven memories: 'the analytical engine weaves algebraical patterns just as the jacquard loom weaves flowers and leaves.' another quote from victoria mitchells states, 'textile becomes a kind of speaking and for language a kind of making,' which i believe reflects what my products achieve—they convey messages on their own, and language brings them to life.
ZITA: that’s really beautiful, and i absolutely love the play with all the different languages! but did you ever encounter “bugs” in the process or find that certain sentences don’t make a good cloth? or do you ever find that you have to tweak the results in order to make it more aesthetically pleasing?
GINA: i haven't come across a sentence that doesn't work on the fabric, as each carries a meaningful message. sometimes, customers may only want one or two words, and in such cases, i suggest repeating the pattern to create more movement and variation. while i wouldn't say i need to alter designs, there are times when customers choose two colours, and i might suggest variations in colour or hue if i believe their initial choice may not work well.
photography by lauralaura studio
ZITA: as someone whose work integrates programming and computer systems at such a level, i feel i have to ask you, what’s your take on the latest developments in machine learning? it seems all the rage now, do you see it as a threat or do you see yourself in the future using it as a tool to create ever more complex patterns? i mean, are there even any limitations to a two-dimensional woven pattern?
GINA: i don't believe AI is inherently a threat. it's simply another new tool, but we must exercise caution in how we use it. we still have much to learn about AI and its short- and long-term consequences. only time will tell. however, i do believe that, in order for the field of weaving to progress, weavers and designers should explore the potential of AI and see what it can bring to us. i'm eager to see what other creators will develop with AI. certainly, i'll be experimenting with it, and whether or not i ultimately incorporate it into my work remains to be seen. However, i think it has the potential to expand my horizons and foster greater creativity.
to be honest, weavers have historically been early adopters of the latest technology, even dating back to the 19th century with the industrial revolution, which began by mechanising textile production.
ZITA: that makes perfect sense in the historical context of weaving indeed. now, having discussed the hyper-customisable patterns you can make from your client’s memories and words, i’d like to ask you about your own collections, which are very beautiful. were they made using the same way or did you use a more conventional design process to create these? where do you go for inspiration for your own collections?
GINA: when we met at CLOTH, i was showcasing two distinct collections: the "LOLI" collection, inspired by a particular individual, and the "RETRO" collection, which drew inspiration from nature (though interestingly, many remarked that the colours and patterns resembled vintage london public transportation fabric). the creative process for these collections differs from my usual approach, as i employed my small loom and 8-shaft tabletop loom, in contrast to my 32-shaft dobby loom. this shift in equipment imposes certain restrictions, but it's precisely these limitations that i find so appealing when weaving with my 8-shaft loom.
i continue to work in blocks, as I believe this defines my distinctive style. weaving offers an array of infinite possibilities and techniques, but there's never enough time to master them all. consequently, i made the deliberate choice to focus on one style and excel in it while remaining open to ongoing learning and exploration.
photography by lauralaura studio
ZITA: serious food for thought here, perhaps i need to learn making such choices too… anyway, i also want to talk a bit about sustainability as the textile industry in general doesn’t have a great reputation when it comes to that but in your work, you seem to be very conscious – design for durability and zero-waste principles seem to be all over your work. do you find them important for your work? do you see a demand for these from customers too?
GINA: absolutely, sustainability holds a crucial place in woven memories' core values. from the inception of the woven memories concept during my MA, sustainability has been an integral part of the vision. weaving on-demand is a central practice, avoiding mass production and significantly reducing the waste often associated with fast fashion. i believed that if I were to establish a business from the ground up, it should adhere to sustainable principles right from day one, and this commitment drives me to keep learning and improving.
continual research and exploration open doors to new opportunities for minimising our impact on this beautiful planet we call home. reducing waste is a priority, but i also embrace recycling, such as repurposing yarn from other mills after their production, effectively preventing it from ending up in landfills. this practice aligns with the ethos of 'rescuing yarn,' as advocated by shiv textiles. additionally, i recycle materials from previous projects to craft new items for our zero-waste collection. even with threads that can't be repurposed, i store them until they find a new home. just last week, i shipped my first box to sandra junele, a textile artist known for recycling threads to create stunning wall hangings—her work is definitely worth exploring.
i'm doing my utmost to minimise the negative environmental impact of my studio. while i make an effort to use locally made packaging materials with a focus on recycled materials, the next challenge i aim to address is packaging and shipping to further reduce our ecological footprint.
ZITA: it’s very inspiring to see so many textile practitioners making all these efforts, love it! now, there are some questions i ask from everyone – i want you to recommend me a book or an artist whose work is worth checking out!
GINA: that’s a great question! i can offer both a book recommendation and introduce you to an artist.
for a captivating read, i suggest ‘the fabric of civilization: how textiles made the world’ by virginia postrel. this book brilliantly combines the realms of textiles and history, making it a fascinating choice, especially if you share an interest in both subjects.
when it comes to an artist who seamlessly merges music, digital coding, and weaving, you might find the work of beatwoven intriguing. her innovative approach and unique fusion of these elements have made her a significant influence in my own work. exploring her creations could provide valuable inspiration and insights for your own projects.
photography by lauralaura studio
ZITA: fantastic, i will definitely check them out. and lastly, but most importantly, what are you working on at the moment? where can we see your work now and where will see you next?
GINA: i’ll have a busy schedule for the next few months, i’ll be in the london design fair during london design week in september, followed by the great northern contemporary craft fair in manchester in october, and concluding with handmade in chelsea in london in early november. hopefully, i’ll meet new makers, lovely people and see you there!
ZITA: oh i’d love to come to some of those! thank you so much for your time.
oops, another month went past way too quickly… sorry we haven’t noticed, we were too busy with our brand new lookbook, to get it all ready for the height of summer, when our corner of east fife comes to life… we have new nautical looking, industrially inspired home accessories for your summer house! how do you like it?
the thing is, during my research for the yearly article on interior trends, i encountered a few times the idea that he “industrial” (or “farmhouse” or “warehouse” or however-you-wanna-call-it) styles are losing their appeal. but fear not! in this article, as part of our newly launched interior design series, we’re going to bring you some tips on how to revive this look to keep it contemporary and up to date. so what can we do?
freshen up your colours
give the industrial style a burst of energy by infusing colours - be daring, go with primary! it’s an homage to the constructivist movement and the abstract expressionists, a perfect fit for this look. introduce elements of lemon yellow to the nautical theme, vibrant reds, or striking blues to add a contemporary twist. the interplay of bold hues against industrial backdrops creates a visually stunning and refreshed ambiance.
artisanal touches
embrace the artistry and authenticity of artisanal touches. incorporate handcrafted textiles, like cushions with geometric patterns or artisan-made wall hangings, to infuse a sense of human connection. these unique touches elevate your decor, adding a personal and timeless allure to your space and soften the harshness of the industrial look (e.g. if you have any exposed brickwork - hand printed fabrics or wall hangings would be a great way to soften that texture without hiding them!)
green up
breathe life into your industrial-style haven by introducing fresh greens and plants. potted plants, hanging gardens, or vibrant indoor greenery add a touch of nature to your urban oasis. the juxtaposition of greenery against industrial elements enhances the appeal of your decor. bringing the outdoors inside is very much “the thing” to do - so you can do it too. and you can also add green as a colour to your space by simply picking fabrics in these hues.
texture play
ok this is a bit like point 2 but a bit different. you can create a harmonious balance by blending raw and polished finishes. combine exposed brick walls and distressed wood surfaces with sleek metal or glossy accents. the marriage of rugged textures with refined elements adds depth and sophistication to your space.
statement pieces
go bold, go big, go personal. one way to avoid going your interior style out of date is simply make it yours, and yours only. express your individuality captivating statement pieces. add striking art, bold prints, statement rugs or unique sculptures that reflect your personality and style. a well-chosen statement piece becomes a focal point, drawing attention and injecting character into your industrial-inspired space.
cosy up
these trying times have grown the appetite for softness even in those with a hardcore taste in exposed structural beams and raw concrete. but you don’t have to bury it all for a touch of comfort - layer your rugs for warmth and invest in a soft, woolly throw to hug you on a hard day.
so i guess, while there are whispers about the industrial style going out of fashion, the truth is that you don’t have to embark on an expensive adventure of redecorating just yet. you can revitalise the look you fell in love with in the first place with a few well-chosen updates. embrace vibrant colours, add a hand crafted touch, fresh greens, and layer up for cosiness to keep your decor move with the times. let your creativity flow and enjoy the process of reinventing your space with a fresh and invigorated perspective. and i hope you enjoyed these tips - if you’d like to read more of these, subscribe to our newsletter below to be the first to read about our next one.
it’s been a while since we’ve last embarked on an architectural inspiration journey, but holiday season is coming up, so i thought i’d give you a little tip, to visit a wonderful brutalist building in one of my favourite cities. the city is lisbon, portugal, where i showed you a beautiful church before, and this time we’re going to court! okay, nobody’s going to get sued, we are just going to admire the building. the palace of justice stands as a testament to the captivating beauty and enduring allure of portuguese brutalism. join me on a short walk around this gem!
the building was designed by januário godinho and joão henrique de breloes andresen and built between 1962 and 1970. it is in the SOS brutalism. but it is not currently in danger as it is used as the main court. it stands at the head of parque eduardo VII, a peaceful, green patch in the centre of the city.
it has everything a brutalist marvel should have - the skillful blending of monumental proportions and robust materials - it is a long building with concrete columns supporting its cantilevered facade on all sides. because of that, it looks lightweight that is slightly lifted off the ground, and it does have this uniquely portuguese take on brutalism: the concrete facade here is not raw or imposing - it is incredibly decorated, light and airy, punctuated by geometric patterns and rhythmic textures, correspinding to the delightful tiled surfaces this country is so famous for.
the structure and the shape of the supporting columns create an interesting rhythm, and it is this frequency and rhythm that i find so relaxing. the concrete here is not raw, it is processed and organised into intricate, detailed patterns that pierce through the facade.
obviously it is the patterns i’m attracted to as a textile designer. the tile references in particular have a connection to my favourite way of creating geometric patterns and i love this building for showing that brutalism can be playful and decorative too. my main aim has always been to infuse this modernist spirit into textile designs and create a connection between the realms of architecture and interior decor. i want to bring it inside and bridge the gap between the monumental and the intimate, to translate the feeling of calm i get from these buildings to the feeling of calm at home.
i hope that you get to visit this beautiful building, in the lisbon sun it shines white, with the shadows adding an additional depth to this textured facade. and i hope you’re not tired of my ramblings yet, i always think that every building explains a little bit more about my mission!
if you liked this journey, there will be certainly more to come - please do subscribe to our newsletter below and be the first to read them as they come. until next time!
new month, new blog post! wow, didn’t april just sweep past way too fast. it has been a busy month, and to our pleasant surprise, we have discovered our cushion in simply scandi magazine (which i was not aware before) but it’s a wonderful publication and it inspired a new blog post series - architectural tours are all well but i feel that for a homeware brand we neglect writing about interiors so we'll be doing that a bit more often.
in the first of this series then, we’ll have a look at how you can tweak the “scandinavian style” a bit to add some colours into it and make it uniquely yours. i don’t want to dwell too much on what even defines the “scandi” style, but it is often associated with clean lines and lots of natural light. but looking at the iconic mid-century designs coming from scandinavia, i also believe that it’s a mistake to see this style as anything too white or beige, and it’s really not that far from the modernist zitozza looks (and hey, brutalism!) so yes, yes, you can absolutely incorporate colours and patterns into a scandinavian style. while the traditional scandi aesthetic tends to emphasise light, airy spaces with a focus on white, grey and natural wood tones, there are lots of room to introduce some more colourful homewares in various ways.
pops of colour
the scandi style is not about using colour throughout the entire space, but that doesn’t mean it can’t be colourful! think about it more like using accessories of vibrant or bold colours as accents. this can be achieved through colourful accessories like cushions, throws, rugs, or artwork. select a few key pieces in complementary colours to add visual interest and create focal points in the room.
pastel tones
obviously, this is one of the more associated qualities of the scandi style - just pleasant and cosy! soft, muted pastel colours can work well within a scandinavian-style interior. pale shades of blue, pink, mint, or lavender can bring a subtle hint of colour without overpowering the space. use these colours on walls, textiles, or smaller decor items to maintain a light and airy atmosphere.
natural textures and elements
scandinavians are surrounded by some fantastic nature and they do like their outdoors, i think. so another way to introduce colour is through natural elements. incorporate plants and flowers to bring vibrant greenery and pops of natural colour into the space. additionally, consider wooden furniture or accessories with warm, natural wood tones that add warmth and texture while infusing the room with earthy hues.
patterns
scandinavian design can also feature patterns with colour (do you remember early 00s ikea huh?) so yes, my favourite advice - consider using patterned textiles, such as curtains, upholstery, or rugs, that incorporate colourful geometric or nature-inspired motifs. this can inject visual interest and personality into the space while still maintaining the overall scandinavian aesthetic.
statement pieces and fabrics
yes, this can mean the jacobsen chair, or anything else you may have in that category but there are lower-budget versions for this too. introduce a bold, colourful furniture piece or artwork as a focal point in the room. this can be a vibrant rug, a sofa, an accent chair, or a large colourful painting or wall hanging. by keeping the surrounding elements more neutral, you allow the statement piece to shine and bring a lively touch to the space.
overall, i guess the key is to maintain the finely tuned balance between colour, pattern, texture but in a calm, nordic manner, with the minimalistic, clean lines typically associated with scandinavian design. select colours that harmonise with the overall palette and aim for a cohesive look throughout the space, and don’t worry about a bit of clash - remember the colourful, contemporary looks of nordic brands like marimekko or hay - all is well with a splash of colour! by strategically incorporating bolder patterns, you can infuse your scandinavian-style interior with a touch of vibrancy and personal style - and we’re here to help you with that!
it has been a month since we last have updated our blog and even longer since we last had a little tour of brutalism… so it is time to get out of hibernation now and get the boots on for some well-due concrete hugging. don’t worry, we’re not going very far - in fact, staying right here in east fife, as we visit one of the student halls of the university of st andrews.
surrounded by lots of greenery in the north haugh, it is a short walk away from the town centre and the golf course. it was designed by james stirling and it opened in 1967 - it is a beautiful brutalist gem in a town and university that’s rather renowned and cherished for its mostly much older architecture going back to medieval times. it was judged to be 12th in urban realm’s top 100 scottish modernist buildings, and it has been category A listed since 2011 - it is a popular building that’s here to stay.
the building has an V shaped plan of two large wings, embracing a relaxing, wide green space in between. (this one thing is often misunderstood about brutalism - the stereotype is always grey concrete, but the balance of the green is always equally important in real buildings and that’s probably why they feel so relaxing.) the elevations of both wings incorporate the increasing ground height as the hill beneath slopes upwards. it has a striking, hypnotic rhythm to the modular facade - the zigzagging row of windows only reveal themselves from the east.
upon close inspection of the facade, the 45 degreed texture on the concrete reveals itself, rotating between the tessellated facade modules, forming a two dimensional zig-zag print on top of the spatial form. with the weather-worn effects in between the lines, it does look like a directional texture applied to the building - apologies for the pre-occupation of the concrete surfaces - this is a textile design blog afterall and i certainly don’t read buildings like an architect. i always look for the repeating geometries and the reduction of form somehow and it is always the pattern that i first notice on them and that subtle details in texture difference is what makes each of these buildings so unique to me.
it is a busy-looking unit with lots of life - housing approx 250 students divided across five residential blocks. the original plan was for 1000 students but the other buildings planned never came to be.
i did not study at st andrews so i have to rely on the university’s own website for a peek inside. it is much loved by students - partly for its rich social life, but also the quirky, octagonal room layouts. the building’s wikipedia page mentions that the stairwells of three blocks have glass enclosures for natural light, student crowd rates it 7th out of 17 halls at the university and i’d like to think that the architecture plays some role in it too.
if you liked this short tour, stay with us for more inspiration as we plan to visit more sites in the near future and bring you more posts and photos about them - and of course subscribe to our newsletter to be always the first to read! until next time!
february is here and if you’re thinking of any decorating work to be done around your home, you’re probably ready to make your plans soon… so to help you a little bit with that, here’s our yearly research into the interior design trends that will dominate the home styling scene this year!
1. BRUTALISM! embrace raw concrete and tactile, industrial materials
hell yeah! finally, raw concrete is in. in a chaotic world, we need clear and calming interior spaces and this is the perfect opportunity of the bare functionality of brutalist forms to make a come back. so, expose the surface, reveal the structure and get a raw, utilitarian jute rug to to match it (we have just the thingsfor you…!) tactile surfaces have been around us for a while but finally it’s time for the raw materials to shine as they are.
“compared to the past, the new brutalist style results in a softer approach that incorporates natural elements like wood, stones, plants and sustainable materials resulting in a warmer and more welcoming aesthetic.” said giampiero tagliaferri for vogue.
2. BE BOLD AND BRAVE! embrace colours and patterns clashing
this is another one we absolutely love at zitozza - we’re all about patterns and colours here too. this is what house beautiful call ‘dopamine dressing’ and basically means just doing what you like, because it’s your home and your castle and who cares about rules anymore, right?!
so it’s time to dive into all the patterns, all the colours, and all the textures! more is more, less is a bore. it’s time to stop fretting about matching and embrace the clashing.
3. TEXTURES! embrace the tactile surfaces
yes, the bold and brave approach now extends to all the interesting textures too. "the recent pandemic deprived us of one of our most 'human' senses: touch. in response to that, i feel it will become increasingly important for designers to make use of materials that bring tactility to the interior scheme and to devise spaces that provoke an emotion in its users." interior designer tola oluojape told dezeen.
at zitozza, last year we have seriously extended our fabric range and we have a range of different textures from the soft and cosy recycled cotton blends to the coarsest jute and some interesting qualities in-between too, with bold, tactile prints too, to suit perfectly with the “hand-formed” textures trend predicted by elle decor.
4. sustainability! embrace the planet
i have always argued that this is not so much of a trend anymore but an imperative and it’s great to see now almost everyone jumping onboard. designers do have a huge responsibility in making products that don’t cost the earth and do last longer which is what we try to do at zitozza by using a lot of jute (one of the most sustainable fibres in the world) and recycled linens and recycled cotton blends (with recycled polyester and recycled polyester cushion inserts too!)
but it’s not just about fabrics, but a whole range of new materials from mushroom leather (by mylo unleather, as seen on dezeen’s selection), but also my personal favourite: bricks made of construction waste by kenoteq(discovered on material district). it’s genuinely exciting to see what the future brings in new materials to use for building and making homes.
5. HANDMADE! embrace the imperfections
and finally, here’s another fashionable decorating trend we can help you with - to embrace the handmade, crafted accessories with all their imperfections and naive charms. that handmade aesthetic is all over zitozza too, since, well, all our interior accesories are made by hand, slowly crafted with love and lots of passion for colour and texture.
“with thoughtful, sustainable design a key focus for 2023, as well as a nod to more nostalgic designs, these 'trends' will not only lead to us shopping more responsibly, but it will also see a rise in 'shopping small', and celebrating handmade, artisan designs and craftsmanship from all over the world.” writes jennifer ebert for homes and gardensand we take this fully onboard. shop small, buy handmade and cherish the object in your home with the same love as they were created with.
and if you want to stay in touch with the next lot of brutalist, colourful, pattern-clashing, tactile textured, sustainable handmade goodies, then do so by subscribing to our newsletter below and follow us on instagram.have a wonderful year and happy decorating!
as you may have read before on our socials, zitozza will be on TV soon (i really do hope i can share more information about it even sooner…) and having met so many talented makers from far-away disciplines was really an eye-opening experience - it was only natural to decide to give my design conversation series another boost with all these inspiring people. today we’re going somewhere i’ve always admired but knew very little about - glass! i’m bringing you today emmy palmer, whose colourful and tactile blown glass really caught my eye, and i became really curious about techniques and inspirations.
ZITA: hello emmy, first things first - could you say a few words about yourself, what you do and how you got there?
EMMY: hello zita! throughout my life making anything is where my joy has been, although i never saw my creativity as a career choice until i was in my twenties. this is when i started my journey into applied arts by doing a national diploma in design crafts. i enjoyed trying out a broad range of material practices and learned so many techniques. also during this time i took part in a taster course with a local glass blower...creating my first wobbly glass blobs ignited something in me that has never quenched. in 2004 i moved on to do a foundation degree in applied arts at arts university plymouth (formally plymouth college of art and design). i entered that course very determined to combine large scale metals and blown glass but my learning journey and exploration into what makes me, me, took a slightly different direction, but i'll tell you more about that later. i specialised in bown glass in my second year and followed my foundation with a BA (HONS) applied arts. i was lucky enough during my last year to be awarded a scholarship with teign valley glass studios and have continued a professional relationship with them ever since.
ZITA: large scale metals and blown glass? that sounds awesome, but i do notice you’re doing something different! the very first thing that caught my eye about your work is your use of texture and shadows. i love your use of knitted textiles, i think that’s really unique. can you explain a little bit about your process, what gave you idea for these pieces, and how you work your cloth into the glass?
EMMY: knitting is a huge part of my life not only in my creative practice. i see knitting as a real form of self care, it has gotten me through some really tough times in my life. i love to find new techniques and stitch combinations. you're right playing with light and the shadows is something i love to do. glass bends light in similar ways to water and i love to exploit its refractive qualities. when i moved to plymouth for university, i was so inspired by living by the sea for the first time in my life.
ZITA: i know exactly how that feels, having moved to scotland from a landlocked country… i love glass but i know so little about it - apologies for some of the more stupid questions about materials, but how did you even find out what was possible with this technique? is there anything you have to be really careful with? For instance, can you use anything for knitting, wouldn’t it melt or burn away from the hot temperatures?
EMMY: my knitted work started from very humble beginnings and was a real experimental journey. initially i was combining the glass and knitting by creating cosies for the outside of the glass using different materials. this led me to purposely finding ways of burning those textiles away in the hot glass process to leave residual patterns. somewhere amongst this i started experimenting with oxides and different metals. you're right though, combining glass that in its molten state is 1500 degrees centigrade and metals with a lower melting temperature can be tricky. i had varying results with different types and gauges of wire. my mum has a little collection of wobbly pieces that beautifully illustrate my journey to refining my technique of encasing knitted wire into blown glass. i also use my open lace knits as templates to create some of my work so it appears as if knitting is suspended in the blown glass when in fact the original piece of textile is no longer present. i secretly love how these pieces often baffle people.
ZITA: that’s so clever! i also love the metal bits and i do have a thing for industrial influences – i think my favourite bits from your collection is the ‘del mar’ series, it’s the metallic wires that i’m really drawn to. can you share a little bit about how they were made and what inspired them?
EMMY: knitting and crochet are skills that have been passed on through the women in my family from generation to generation. when i think of my little nanna (who was my mum's grandmother) i see her in her arm chair with a hook in hand and the crochet blanket she is masterfully creating at the speed of light draped over her lap. my foundation degree really made me explore what made me, me, and what i wanted to share with the world. i realised back then how knitting and crochet was actually really fundamental to my creative practice. i also found myself living by the sea for the first time and i was obsessed with the water.
the barbican in plymouth, where all the fishing vessels are docked, with the reels of fishing nets and piles of lobster pots led me to some extensive research into fishermen sweaters. my del mar series was born out of this time in my life. the knitted wire is completely encased between the layers of blown glass and i cut and polish them once cold so that you see a cross section through the piece. it took me a long time to find the right metal and a knitting technique that didn't restrict the glass bubble but stretched with it to a certain extent. they were a real labour of love and were born out of a new and exciting time in my life, so for this reason they are still my favourite pieces to make!
ZITA: theirs is a real success story i think! so is that where you usually go for inspiration? do you have a specific place that can get you in the “zone”, or do you just let ideas find you spontaneously?
EMMY: i'm really in love with plymouth and its surrounding areas, it really is the most beautiful place to live. as a family we spend a lot of time in nature. we have so much around us to choose from and i consider ourselves very lucky and privileged. we live right next to a woodland nature reserve that leads us to the banks of the river tamar. it's a five minute drive to be on dartmoor and only a few minutes more in the other direction to be at the sea. like many of us these days i document a lot of this with snap shots of views and interesting things i see. we live a holiday style life and spend most of the spring and summer months out and about with sand between our toes so i am never short of inspiration. sometimes i find my ideas by accident, i make something and i think of how it could be improved or tweaked and this leads to other ideas.
ZITA: if you were a textile designer, this would be the bit where i’d ask about sourcing sustainable materials but i know so little about glass. what would you say are the biggest challenges of turning your ideas into these fabulous pieces? how has glass blowing been changing?
EMMY: glass blowing has essentially been done in the same way since the romans. the basic equipment and techniques are all the same but the fuel has changed. most studios run on gas and this is becoming economically difficult and unsustainable for the future. very recently glass studios all over the country have been closing down or temporarily shutting down their furnaces due to the rising cost in fuel and with this the idea of glass blowing being a dying craft is seeming all too real. fortunately, with technological advancements there are some great electrical alternatives being produced and in fact the furnace at teign valley glass studios where i work is electric and most recently they have been trialling a prototype glory hole which is the heat chamber that we use to keep a piece warm and workable.
ZITA: i met you at the filming of our new TV show, and for all of us it’s been quite an intensive journey with the help of a mentor. how did you find this process? can you share a little bit about how you have developed your work and maybe about some of the new pieces? (no spoilers, please!)
EMMY: it really has been such exciting times and it was a joy to meet such amazing creative individuals like yourself. the show gave me the kick up the bum that i needed at just the right time. i think we all must have done a year's worth of work within a few months. i definitely felt a tad frazzled at times but hugely empowered by the end of filming. my mentor was a real task master but he is a real inspiration and made the whole process really positive. the show hasn't even aired yet but has already given my business a massive boost. i've already worked on and sent bespoke samples to a retailer and received my first big order!
ZITA: that’s really exciting, congrats. i hope to see your work shared widely! have you got any new ideas you’re working on, or experimenting with, that might turn into your next collection?
EMMY: yes definitely! i have so many exciting ideas that i've been sitting on, i am determined to put a little more time aside to play with colour combinations to expand my KOPO (knit one purl one) range. i'm quite a colourful person and i use a huge amount of colour in the clothing that i knit and wear. i would love to bring some more of that into my creative practice.
ZITA: and now the question i ask from everyone - can you recommend a book? or an artist or a maker whose work is worth looking into? something that keeps you thinking or help us see the world the way you do?
EMMY:richard glass is an aptly named glass blower/designer that i have the pleasure of working with over many years. he is an under celebrated glass maker who designs and makes a huge variety of glass that is sold internationally. his work is often sculptural, colourful and very much inspired by our local surroundings. i love to see him making his ‘waves’, the process is so dynamic and the results are beautiful. richard runs teign valley glass studios where i produce my work and he has been so supportive throughout my glass career and especially since i started back in september last year. not only is he a great glass maker but he is also actively working on sustainability in glass blowing by exploring electrical options. he is also launching his own range of glass blowing irons. he'd be the last person to shout about his own achievements but is definitely an artist to look into.
ZITA: i will do that, thanks for the recommendation! and lastly but most importantly, where can we see your work now, and where will catch you next?
EMMY: There are a few places i can't share because i'd hate to spoil the TV show for you. i have had some busy and exciting times recently. my work is already stocked by a number of wonderful galleries and retailers i will soon have a list of these on my website but you’ll also get to see me with my work at a few places this year and I’ve already planned ahead into 2023! i’ve been working with a wonderful mother and daughter team georgie and tara rowse at curator & maker. i've had the pleasure of making bespoke sets of nutcracker inspired baubles for their christmas pop up 2022. this opens on november23rd until december. i’ve been making some lovely gift size items for the ‘present makers’ exhibition at thethelma hulbert gallery, honiton. this runs from 12th nov to 24th december.
i’m looking forward to 2023 in march where amongst other things you will find my work at the affordable art fair in battersea with BANG blackstone art next generation. and also me and my work at crafts festival cheltenham town hall10th-12th march.
it’s becoming a busy autumn / winter season here for us at zitozza, but we do manage to escape on the occasional break to take an inspirational trip to admire some great architecture and forms. there has been a recent trip to lisbon, portugal, and we have some fabulous brutalist buildings to cover as well as the country’s signature tile designs - surely that requires an article at some point in the future.
but we can start with an easy one, a true little 1960s gem in the heart of the city, a five minute walk from the square of marques de pombal, there is a little brutalist church in amongst the residential buildings - the sagrado coração church, on rua camilo castelo branco. it is hard to see it is a church from the outside, as it stands on an elevated level from the street, with stairs inviting up to a square embraced by offices and some residential units. on the sunny day of the visit, it felt like a relaxing island just off the busier streets, but it was by stepping inside it revealed its wonderfully peaceful and serene atmosphere.
inside, it is clear what the architects - nuno portas and nuno teotónio pereira - were trying to achieve. the use of concrete is consistent, but not in an overwhelming, intimidating way as the material is broken up and softened with textures. the wall has a bricklay texture to it, while the ceiling reveals an even rhythm of the angles of the structure. the ceiling does not seem to be at an uneasy height, yet the smoothness of the columns do make it appear quite heavenly.
it is however the light, that seems to play the main role of bringing the spiritual and the godly inside. the light comes in at angles that must have been very carefully designed and is parallel to the staircases, casting shadows on the textures inside, while at the chapel it comes through unfiltered and in full, as if it was almost ready to listen to the prayer.
this article on hidden architecture has the floor plan (along some sketches by the architects too), and it does reveal the scale of the open space, and the even proportions unlike the traditional aisles. the sketches also reveal the careful planning of lights and shadows - its role in reaching some kind of spiritual peace is universal and not dependent on religion, just think of junichiro tanizaki.
this church isn’t dimly lit, or dark, nor is it overwhelmingly clear and bright. concrete has its reflective quality on light but also has its own texture to break it, which the architects also played with here by adding more, and the artificial lights are also carefully placed to interact with it. atlas obscurarecommends a visit during night time too, to experience the different light circumstances.
lisbon is an amazing city and churches are found from every style and era. its famed cathedral is almost a millennium-old and some of its most famous sights are the gothic monasteries and the golden baroque altars - all worth a visit and appreciation. i hope you don’t mind me picking this brutalist gem though, as one of my favourites. the building won the Valmor prize in 1975 and in 2010 it was recognised as a national monument, so it earnt its place on the visitor attractions and please do visit when you get a chance in lisbon.
if you liked this, you can subscribe to our newsletter below and you’ll be amongst the first to be notified of any new inspirational tours (always with plenty of photos!) see you next time
my oh my, it’s been a while since we had a good, deep design conversation hasn’t it! the talent of course has always been there and shining, but we now finally had the time as well, to meet some and explore their fabulous work. i’m very excited to introduce jessica clements of JESS ANNE today. she is a woven textile designer whose gorgeous works, with incredibly bold and bright colourways caught my eye immediately, and we’ve gone into process, materials and inspiration to bring her vibrant textiles closer to you.
ZITA: hi jess! first things first - could you say a few words about yourself, what you do and how you got there?
JESS: of course! so hello everyone my name is jessica, i’m 26 years old and live in broadstairs in kent and i’m the founder of JESS ANNE! i started my brand in 2019, just before the pandemic and i really wanted to create a brand that explores woven cloth featuring bright colours that spark joy!
ZITA: and it’s working i think! the first thing that really catches the eye about your work i think are your vibrant colourways! i just love the high contrasts and the neons so much. could you share a little bit about the thoughts that go into putting your wonderful schemes together?
JESS: it’s hard to explain but typically i don’t have a source of inspiration as such, it’s more of a feeling that i have. when i look at colours i don’t tend to think of trends or “what’s in”. i tend to think do they spark anything within me, do these colours remind me of a pleasant memory or place, or do they make me feel like if i wore those colours, i would feel confident? pretty? bold? i just sense my way through the colour choices rather then trying to have an elaborate explanation behind them. if the colours feel right, it feels right! obviously, every individual will have different tastes or opinions on style, however, the colours i choose express who i am as a designer and just as a human being!
ZITA: as a fellow pattern lover, i find weaving – and your particularly geometric patterns fascinating, i guess weaving is very “mathematical”. can you explain a little bit about the process of designing your patterns? what does it look like when one of your colourful patterns come together – is it a long chain of trials and errors, or do you nail it most of the time?
JESS: so, weaving is definitely not for those who don’t enjoy maths. weaving is one of those processes where accuracy and maths is everything and could make or break a pattern or even the physical cloth. when i begin my design process i always start with the colours (obvs!). from there, i tend to experiment with whatever i feel like i need to personally conquer as a weaver who is always trying to progress. as i’ve said before i’m not too driven by trend or styles, but much rather just expressing who i am as a designer and where i am in my personal development as a young creative. the geometric patterns was a real test for me! however it was one I wanted to conquer and prove that i can push my limits (and my own confidence!). when developing a design, the maths has to be spot on, and the maths can shift/change depending on the types of yarns and patterns chosen. i experiment with smaller samples first, writing every calculation to make sure I have the right amount of yarn ends and that i’m using the correct size of equipment such as the reed for the cloth i desire.
it’s definitely a trial and error thing! i wish i could say i nailed it on the head every time but that wouldn’t be true. sometimes yarns do not want to cooperate, even if you double checked every calculation and detail. sometimes, even the smallest of details overlooked can dramatically change the look and feel of the cloth. however, once the sample is nailed and its something that i feel proud to put my name too, i would then expand on this sample to create a range of products!
ZITA: what a fascinating process. i find the abstract nature of your work very interesting – i particularly love your woven artworks, it’s like you deconstructed your own craft into something else, something a bit more abstract, they feel quite architectural to me but also remind me of op-art a little bit. can you share a few thoughts about these pieces?
JESS: oh the card windings! i love these little pieces. when studying, we were taught that these card windings were used initially as just a development stage, to try out colourways and warp patterns. however, I started to expand on these using different shapes of card and found they deserved to be mini pieces of art in their own right! carefully hand wrapping card with desired colours in any order?! who wouldn’t?! i think the woven structure will always have an element of being architecturally inspired because the typical woven form relies so heavily on being constructed in a way that it will structurally hold together! not only do they help inform the woven cloth designs but they create such dynamic little studies that are interesting enough to want to hang on the wall!
ZITA: i think they work brilliantly, i really love them. now, let’s talk materials! what kind of materials do you work with – do you mix them often, or do you stick to one or two that works? what works?
JESS: oh good one. i’m a typical creature of habit, however as i’ve been designing, i’ve been trying my hardest to break free from my comfort zones. i tend to weave mainly with lambswool, however, in my most recent collection i have really been trying to expand on my products and offer lighter alternatives to the heavier & warmer wools and been experimenting with cotton/linen blends. i tend to use cottons for my card windings and happen to find myself using these now in my newer designs as a supplementary yarn. i’m hoping the more i evolve as a designer, the more i will be adventurous and try more yarns! eek!
ZITA: have you found that sustainability and ethical sourcing has become more of a point with your customers as well as in your supply chain? how do you find this – have you always worked with such materials?
JESS: i think by now most consumers are concerned with the environment, as they should be! it’s so important for people to realise the impact the textile industry has on the environment, and this should definitely be more integrated into our buying habits. as an independent designer and so early on in my journey, i handweave all of my designs, eliminating the risk of buying into any sort of sub par factory conditions or any sort of exploitation (although, it’s of my understanding now these regulations are in place and finally the textile world is shifting into a much more ethical way of producing). the yarns i order are from smaller independent shops in the UK, who also do their own background investigations into where they source their yarns. the company that i purchase my lambswool from and the cottons are very transparent in their processes which makes the selection process much easier. it’s so difficult to navigate through the world of industry, however, i remain conscious of my purchases and in the future when i have built up my brand, i strive to be a designer who is part of the ever so important sustainability movement.
ZITA: i think it’s growing really quite fast, nearly all designers i know are now considering this. i got to know you as a fellow participant of a new TV Show and you’ve also been through some thorough mentoring and an intensive development process i guess! how has it been for you in the last few months? without any spoilers, can you share a little bit about how you have developed your work and maybe about some of the new pieces?
JESS: so the show really helped me become who I am today in just a short amount of time! the mentoring was pretty intense to say the least and it was difficult at times to break old habits and ways of thinking, but it was exactly what I needed to tap in to the potential for my woven designs! before filming i lacked confidence and found my development of designing was very slow, as i was always very nervous of trying new patterns/yarn in case they didn’t work out (yes, i am one of those people that if i don’t nail it first time, i get very frustrated!) however the mentoring on the show really helped me overcome that fear and removed the barrier between me as a designer and creating much more statement designs. the designs that will feature in the show really came from a place of needing to push my own boundaries rather then a specific source of inspiration. i view this collection as a natural progression from my previous broadstairs project and i think there something really lovely about my projects linking this way.
ZITA: this is very exciting and i can’t wait to see al this progress on TV soon. development is an interesting process, have you found any new sources of inspiration? where do you normally go to or look to? have you found it’s changed lately?
JESS: i think my design process and sources of inspiration changes almost constantly. as my practice and skills develop and as i continue to design, i find my inspiration shifts so frequently that’s its hard to even keep up with myself! i was inspired mostly by nature and my surroundings in my home town, however i found that more recently my work is more inspired by my own feelings and the feeling i wanted to provoke in people if they were to wear my design. i’m starting to really explore how fabric design and colour combinations can provoke different emotions.
ZITA: fascinating! and where do you want to see your work most? what’s your dearest ambition, where do you want to take your work next?
JESS: i would absolutely adore to see my brand grow and eventually develop into a fashion brand. the dream has always been to see my fabrics on garments such as beautiful, tailored suits and dresses and feature in glossy magazines (i think most designers have this day dream!), TV, instagram… and just generally see my work being used by all over the world! the sky is the limit!
ZITA: yeah, you go girl! and now the question i ask from everyone - can you recommend a book? or an artist or a maker whose work is worth looking into? something or someone that keeps you thinking forward?
JESS: oh my goodness there’s so many artists and designers that inspire me from across the board i couldn’t possibly narrow It down! there’s so many amazing weavers out there such as margo selby, ptolemy mann, rita parniczky, theo rooden… the list is endless! i think any of these artist would be good start if you wanted to understand more about woven design and what is possible!
ZITA: and lastly but most importantly, where can we see your work next?
JESS: so as i’m typing this i have no current exhibitions or markets coming up, however my products are available through my website and i welcome emails orinstagramDMs enquiring to commission or purchase. i’m currently still in the process of re-branding and re developing my website and i’m communicating with smaller retailers about becoming stockists. exciting! ahh!
ZITA: sounds like you have a lot on your plate, but i’m sure it will work out. thanks so much for talking with me!
well, it’s been another long pause between blog posts, but it’s not been forgotten, only postponed, due to, uhm, general life happening at a pace, i guess. but when things get busy and exhausting, there comes the need to take a break and go somewhere else to recharge. so let’s take a road trip. let’s go, from scotland, to somewhere nice in the sunny south of great britain. anywhere. if you like going fast, you’ll take the motorway, the m6. it’s not the most scenic of routes, so it gets monotonous, and since tiredness can kill, there will be a time to take a break. and there, you’ll eventually come across a fabulous concrete tower emerging in the landscape with a futuristic footbridge arching over the motorway, and suddenly you feel compelled to indicate your exit to spend some time in this fascinating piece of architecture - we’ve arrived to forton services!
i have always been obsessed with logistics. the excitement of things and people moving never gets boring, and the systems that make it all work are fascinating pieces of engineering - seemingly everything and everyone in it has its place and function, a well oiled machine itself that can take care of millions of people and things getting where they are meant to be when they are meant to be. but while the architecture that serves this system has to be purely functional, for curious travellers who are excited to be somewhere new soon, the associations fill all of this functional stuff with positive meanings, the typefaces on vans and reg plates, the smell of the handwash soap, the hot touch of the disposable coffee cup are all symbols of the anticipation of getting there. so from this point of view, a well designed, interesting motorway station is a piece of happiness on earth, and for someone who makes textile prints of road signs, is somehow a piece of inspiration too - doubly so if it’s brutalist of course!
forton services today belongs to the moto bk chain, and you’ll find it on the m6 between junction 32 and 33. it opened in 1965, and according to SOSbrutalism, the designers were bill galloway and ray anderson of the architecture firm tp bennett and son. (yes, that’s of the same thomas bennett of the saville theatre, amongst other things - today they do a lot of interesting commercial projects - totally worth a look!)
there are some two-storey buildings on both sides of the motorway with restaurants and cafes, connected by a high-tech looking footbridge forming a light arch over the motorway. to walk across it is a great exercise to stretch the legs a little and the eyes to the distance too. the timber ceiling panels of the inside of the bridge somehow creates a very nostalgic mood in the warmth of this texture reflecting the light directly below it. that just further excites about the travel - i’m not sure how materials do it but’s definitely the timber. the tunnel view of the inside of the bridge has an octagonal frame with the joins at each window panel cutting your corners diagonally. the outside view of course is the endless motorway and the crowds of cars going somewhere.
of course, it’s most distinctive point is the pennine tower, emerging from the landscape on the northbound side with its cantilevered hexagon at the top. it used to be some accommodation and a restaurant - this blog has some archive images of the fabulous decor in its full glory (as well as the whole structure when it was pristine white!) it reminds me of the early decor of the UFO bridge in bratislava a little bit (more of that in another blog post i think…) and i would have loved to enjoy a meal there, the views across then countryside must have been breathtaking on a sunny day.
unfortunately due to the strict fire regulations, it is now closed to the general public and it is now grade II listed, even though it might be hard work to re-open it.
it was intentionally designed to resemble an airport’s traffic control tower and that all i can feel is the anticipation of getting somewhere, perhaps it’s succeeded in its job. it is a cliché to say that we must enjoy the journey as much as the destination, but in the case of how motorway stations ought to be, there is definitely truth in it!
and if you enjoyed this journey, come with us next time to another architectural visit (and until then, subscribe to our newsletter in order not to miss it!) see you next time - and don’t forget, tiredness can kill, take a break.
hello again - long time no see, in an architectural regard at least we haven’t really been able to publish a new post for a while. that’s all about to change as we have visited a few more sites and we’re keen to show you all the photos in several posts coming (as one-off episodes probably, so no more series for now.)
let’s start with the best - the building of leicestershire county council, also known as county hall. it is hiding behind leafy greens in glenfield, on the outskirts of leicester, next to the A50 leading into the city centre. it was built in 1967 and has been used as the county council headquarters since then. names are hard to find, but it was designed by the council’s own in-house architectural team - the RIBA picture database names the architect as thomas locke and the council’s architectural office.
seen from the road, the building emerges slowly from behind the lush trees, showing off its sleek facade. it is only by going closer where the site reveals its enormity - it expands across a huge field, many council departments are located here - but the layout is clear, spatious and airy. from the front, the slightly concave arches on the window frames remind me of a japanese pagoda towering above extending ground floors and an elevated wing standing on v-shaped legs that frame the green view below.
going under these we find a leafy court surrounded by shiny office windows, revealing a cast concrete mural of antony hollaway that depicts the river soar. his style reminds me of the town artists in the new towns of scotland, particularly the art of david harding in glenrothes.
in the centre of the court, there is also an armed forces memorial, added in 2012 titled ‘stand easy’ by kenny hunter - it’s a group of 1:1 life-size sculptures of young personnel. apart from being meaningful piece of art, somehow their placement in the centre also helps reveal the deeply human scale of the surrounding building and how the architects thought about the proportions - you get an inviting, peaceful sense of place here.
there are so many interesting and thoughtful details - the lightwell in the corridor roof above each window section (presumably to maximise the natural light inside) is not just functional but creates a slick, interesting spatial play - it’s a shame the day was not that sunny, i would have loved to see the shadows it creates. the extensive use of glazing overall did make me wonder about the light inside too.
on the left of the tower, there is a relief pattern in the arcade ceiling - here there are two small stairwells that lead to the outer end of this elevated corridor - from here you can take in a nice view of further out of the town, and what i presumed were fountains (i wish they were working that day.) it’s a really beautiful building and i’m happy to see it loved, maintained and functioning as it was intended to - i was not the only photographer on site on the day of my visit indeed!
it is in a remarkably good state compared to many other buildings of the same era i visited and it makes me slightly suspicious that a state of neglect in the case of brutalism could be in some cases a conscious or semi-conscious decision, to have these buildings replaced rather than renovated. but i’m glad that i managed to find one that’s working as it was intended to.
i hope you enjoyed this short visit, there are plans to travel to get out of scotland more often - subscribe to our newsletter to be the first to read about them here! take care.
first of all, please accept my sincere apologies for reporting on this event so late - as i promised about a month ago, i did indeed visit the scottish interiors showcase in late february and i was really looking forward to telling you all about it! but then, after managing to avoid it for nearly two years, i caught covid, and although luckily i escaped with mild symptoms, it was hard to concentrate in front of a screen for too long. isolating at home with little energy for anything whilst a horrific war breaks out in europe in a place close to my heart really annulled my motivation levels. i’m really sorry that blogging and posting has been a bit neglected.
however, life, and the love of beautiful things must, and will win under any circumstances, i really believe in that. so i’m trying to get back in shape and i’m finally ready to bring you what i promised, with highlights of what i found the most interesting developments from the world of interior design in scotland.
1 - SUSTAINABLE FAVOURITES
so, you know me by now, and as you’d have guessed, the one thing i kept asking every single sales rep that would talk to me was, “how much of this is sustainable?” the replies i got varied, but there was a growing interest and efforts by almost all brands and they mentioned that it’s a question that keeps getting asked. my first focus is on this angle, and here’s my top 3 that delivered:
1.1 william yeoward
the british household name had, as expected, some fabulous products on display. but the best news to report is the launch of a brand new rug collection, from 100% recycled PET. it didn’t look or feel synthetic at all, and the colourways are simply gorgeous. (link to visit)
1.2 designs of the time
i’d say the linen offerings of yvan puylaert’s company was an absolute highlight of the show to me and the tactile qualities of their linens were just a joy to look at. everything is 100% natural and mostly linen. the rep mentioned that they have a hemp line too, but it wasn’t on display as “it’s not popular in the uk - much more so on continental europe”. who’s with me to change that and try to get that here? who’d love more hemp (and of course, jute!) in british interiors?! (link to visit)
1.3 casadeco
the french group has always been one of my favourite supplier at these events, as i do love their geometric pattern designs. their happy surface patterns were no exception this year either. their newest launch is their cushion line, but their wallpapers were also very popular - for good reason too. however, i’m pleased to report on their wide range of plain, natural and recycled fabrics. (link to visit)
2 - SURFACE PATTERN DESIGN FAVOURITES
perhaps unlike other material expos, this particular event tends to be quite fabric-heavy and the vast majority of the exhibits were an eye-popping display of colour and patterns. i really recommend visiting as it really is a total surface pattern feast! for this reason, the next top 3 is selected from this angle, although it was quite a challenge!
2.1 ohpopsi
i have never heard of this company before, but their stand was beautifully arranged and proved to be very popular visitors. they also sent the friendliest reps to the fair, who were very keen on sharing some background info as well on their manchester-based company. they offer a wide range of wallcoverings, not only repeat patterns but also mural-style, non-repeating too, with really impactful effect on interiors. i did like some of the brutalist geometries but they do have some amazingly colourful patterns. (link to visit)
2.2 ian sanderson
now, if you are a regular reader, and you know the kind of homewares zitozza has, you know that it’s not a botanical type of brand at all. however, traditional, rich, heritage-based designs dominate this fair quite heavily, so it wouldn’t be fair not to mention at least one of these brands. i’m picking ian sanderson because they have everything you want, from the meticulous reworking of original block prints, through fabulous wovens and a collection of a versatile, cute range of coordinators that are made in the UK. (link to visit)
2.3 prestigious textiles
the pattern powerhouse delivers again, need i say more? i’ve been to a few fairs before and, as a lover of pattern, colour and texture, the pt display is always my favourite. in line with zitozza’s own aesthetics, i was looking for happy geometries and i wasn’t disappointed. the colourways are inspiring me to try some schemes that could work well with these! (link to visit)
3 - MATERIAL FAVOURITES
i keep mentioning that this is a very textile-heavy show usually, however, i want to mention a top three of flooring and hard finishes, because they are an important part of home interior styling. i enjoy looking at interesting surfaces and i can certainly get obsessive with where i want to lay my jute rugs.
3.1 crucial trading
this company had a lovely display of sisal floor coverings in all possible textures and colours. sisal is a natural, sustainable fibre that is even more durable than jute. the gold colour is similar and i got really attracted to this abundance of tactile samples. (link to visit)
3.2 miller’s 1893
i’m currently on a mission for hardwood floors in my own house (also home to the zitozza studio) so i was very happy to find this company. my favourite of their offerings were these antiqued hardwood floors that although they looked like they were reclaimed, they are entirely purpose-made for this somewhat industrial look. really, really fell for these. (link to visit)
3.3 la fabbrica
there weren’t many suppliers of stone or ceramics present, so i feel obliged to mention the la fabbrica range that put lovely, lovely slabs on display of some very interesting surfaces, which i’m sure that fellow fans of brutalism would also appreciate. (link to visit)
4 - OTHER INTERESTING FINDS
overall, it was a great experience to visit, and it’s great to see what some of the best of british and international interior design brands are up to, without having to travel too far, so i do recommend visiting again next year. we’re nearly at the end of this roundup, but i want to mention a few more observations.
4.1 nautical is in!
this one took me by surprise (a very pleasant one, may i add), as i do have my own range of nautical homewares. i do it because it matches the golden, raw jute materials i’m working with, but it was nice to see that quite a few brands, such as fryett’s (on left) and mulberry(middle and right)also offers interior fabrics and wallpapers to complete such looks. you love to see it!
4.2 ikat & travel inspired patterns
as i’ve written about before in my previous trend-forecasting post, travel inspired decor nand boho chic are going to dominate interior trends for a while. this can take a few interpretations, my personal favourites were from ilivfabrics (left), whose newly launched collection ‘kasbah’ has been evoking the ikat patterns (they also have a sustainable plains range!). for smaller accessories in travel-inspired style, glasgow-based premier housewares(right) had a room full!
4.3 happy geometries
i already touched on a little bit how i was hunting for geometric surfaces in this jungle of floral and heritage-inspired prints, and i think there is a genuine desire for clear-cut shapes and abstract angles. i’m showing you my two favourites here. this wool sample by moon(on left)really made me think of bernat klein, and the geometry reminded me of the architecture of peter womersley. love this pattern and they also released it on throws! the second image is of a print by studio g of the sanderson group(on right) who were present with many collections. it’s the slight handmade, block printed effect on this particular collection that i really picked up on and i hope this proves to be popular!
well that’s it for this year’s roundup! i hope you enjoyed this visit with me, it certainly was a great experience and it’s always a pleasure to take a dip in a pool of pattern, print and lovely interiors.
to keep this already long post slightly more concise, there is no separate section for the links, but you’ll find them all in the text. for further questions, please don’t be afraid to get in touch and for future posts, feel free to subscribe below!
first of all, i apologise for the late post on interior trends, since we’re well into february already. to keep this post concise and focused, i’m going to concentrate specifically on colour and material trends that you might find easy enough to implement in your home (maybe with some zitozza stuff!) and i will expand on the current round-up suppliers and designers offer with a further post after having visited the scottish interiors showcase in a few weeks time. i’m really excited to visit (it’s been two years without trade fairs!), and i thought i’d share a little bit of research of the colour and material trends i expect to see.
1. RECYCLED & RECLAIMED
okay, sustainable design choices are not so much a “must-have-trend” but a pressing, urgent and permanent imperative change, so i shouldn’t really include this in the list but i do because it is getting embraced by more and more, and it may give some ideas to look further and think about what useless old thing you can turn into something cool. for us, it means, patchwork rugs and zero-waste, for others, this could be reclaimed wood, a bit of DIY upcycling, granny’s old nightstand-turned-houseplant shelf? all good and here to stay!
2. EARTH TONES
you may have observed that terracotta was kind of a big deal in 2021 - i hope you liked it, because it looks like it’s going nowhere, just growing and growing with many shades of earthy browns. expect to see plenty of fabulous, warm schemes usually paired with tactile surfaces and interesting shapes and textures, for a cosiness and warmth. it’s all about keeping it natural and down-to-earth - and it can result in a very serene, calming, loving home.
3. GREENS WITH GREENS
it seems that greens with greens in all possible shades are absolutely go this year. it may come in the form of breakfast room green by farrow and ball as one of their 2022 colour of the year, or a paler, more sagey october mist by benjamin moore. or you may achieve it simply with even more houseplants. or why not do all of them! the more green, the better. pale with deep jungle, dark teal with mint, dark olives with sage. they’re all in, and there is very little to go wrong with green!
4. WORLD PATTERNS
this is a very nice one - lord, how i missed travelling! but we are able to do so again so the travel-inspired details are back, with all the patterns from all the cultures and crafts of the world. of course there are more exotic interpretations of this trend than others, but the idea is to show off the individualities of the handmade, crafted details of traditional techniques. embroidery, print, weave - if inspired by experience and seeing the world, all good!
5. MIX & MATCH
the personal favourite has to be always the one that allows the greatest freedom. if you want to match geometric patterns with organic, modern with heritage, everything with everything, then you’re free to do so! this could mean all-out maximalism, colour blocking with bold, bright colours or perhaps cold, metallic details contrasting warm, earthy tones. or, my personal favourite, layering rugs with more rugs! there aren’t many rules here, it’s all about striking the right balance. it might take some brave choices and a little bit of thinking to pull it off, but it can result in the best looks!
this compilation was put together using the sources below, and the images illustrate zitozza’s interpretations, i hope we can show you that whichever way you wish to implement these trends in your home decor, we’ll be able to offer something useful. happy decorating in 2022!
happy new year! and so sorry it has been such a slow start, this is a bit of an admin-heavy time of the year with an ever-increasing to-do list. it is also a time to make new plans and reflect a bit on the past. in that spirit, i wanted to continue my series on books, but looking through my bookshelf and my past influences, i decided to go a little bit more personal, and share some of my graphic design inspirations.
yes, i am also a graphic designer, and as far as skills and interests go, i certainly got into typography before i got into patterns. let me take you back 20 years, as continental european high-school student, it was also the time i was trying to master english and soak up as much of uk culture as i could. to combine these two main interests, a convenient place to go to in budapest was the book shop where they stocked some of the great coffee table books. today i’d like to talk about in particular titled “GB: graphic britain” (burgoyne, p. 2002 laurence king, london) with the aim to line-up some of the coolest up and coming graphic design works produced in the uk at the time.
the book was designed by a london-based agency called bark, founded by tim hutchinson and jason edwards and i used to really hunt for their bold and colourful work and i did find them - in another book, “graphic originals: designers who work beyond the brief”(austin, j 2002 rotovision, mies) they talk a little bit about their process through a prospectus they designed for portsmouth university where hutchinson was a lecturer. the project itself was a map, a clever visualisation of the course journeys, but what really caught my eye was that it wasn’t just an raw information graphic, but focused a lot on using a lot of photographs of the built environment, the documentation of very mundane things that reflected on everyday life at the university. it was the first time i’ve ever really seen anything like that but that really was speaking my language. it was just inspiring to see real, successful people in the industry do this - take the built environment, and create a feeling of home and belonging in it by graphic, “2D” means. that’s exactly how i wanted to do design and it was a great contemporary example, right in front of me.
but there is another project of theirs that i would like to show you - i’m still hunting it, i believe it must have been self-published at the time. it is one titled lost futurism (according to the caption in GB: graphic britain, it is a book that was printed in 2001 - please do get in touch if you know anything about it.)
the project examines brutalist architectural heritage in a graphic design language - having mentioned portsmouth, this obviously means the tricorn centre, mostly, which i have never seen in real-life but somehow in this graphic interpretation, felt nostalgic and futuristic, alien at the same time. i used to stare at these pages for ages. it was really fun discovering about the building itself but also the graphic representation of it - it was just really, really cool and simple, and it spoke my language of taking a three dimensional form and reducing, or rather, deconstructing it to its image and basic form.
to this day i’m still obsessed with that sort of thing. i used to do a lot of my own experiments with my own photos of my favourite buildings when practicing my computer skills (a useful habit to get into) but it also transpired to other work and i firmly believe they have a place on textiles too. obviously, graphic design is different, it is visual communication, but if the result is decorative, then why should it not be used on textiles too?
so i hope you didn’t mind learning a little bit about this background behind the architecturally inspired textile patterns of zitozza. and if you know anything more about this work, if it exists on its own as a separate book, please, please do get in touch, i think i want a copy! thank you!
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links:
GB: graphic britain - by patrick burgoyne, 2002 laurence king, london, uk (on worldcat.org)
