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)
happy new year! i hope you’re all well and had a nice little break in the weeks before. we’re back, refreshed, rested and ready to rock and roll! the year could not start better as in the second week of 2024, we went to milano home - well, our fabric and rug samples did, with huge thanks to british jewellery and giftware international. amongst these rug samples is a brand new material so it’s a bit of a mini-debut of our super heavyweight jute as well, which will bring you some even more exciting rugs this year, so there’s already plenty to look forward to (not to mention all those other exciting things in the pipeline that we don’t want to reveal just yet…)
so do stay in touch - and if you can, please visit fiera milano - the expo closes on sunday 14th. zitozza’s plinth is found at the british pavilion amongst other brilliant designers and they’re manned by the BJGI team. they have order forms and everything so do visit and get in touch with a sample!
today’s blog post is going into some fabric nitty gritty, but bear with me because it is an important topic. i wrote about it before - my early blog post on the uk fire safety regulations do get some reads from search results still. i wrote it in frustration with the regulations, and how they stifle product development of more sustainable fabrics for upholstery. even though i tested my jute for treatment to meet the stringent testing criteria, i did really become rather uneasy about the amount of chemicals needed, so i introduced 100% recycled linen in my range, as well as recycled cotton blends with over 75% cotton content in order to be able to at least supply upholstery fabrics as these can be used with a schedule 3 barrier cloth.
these stringent regulations have been in place since 1988 and just like to you, blog readers, elsewhere in the industry it became clear that these are dated and the benefits of flame resistant treatments are eclipsed by the harm they cause in creating toxic fumes and causing health problems. as this has been getting more widely accepted, pressure grew on the uk government to update the regulations which has now reached the stage of a new draft (embedded below) and unfortunately it does not seem to be fit for purpose - while the intention to reduce chemical use is clearly there, it would result in more usage, mainly due to the open flame test requirements.
the simplest solution to the chemical problem would be to drop the requirements for open flame testing, as it has been done in the EU and even the US. instead, the requirements focus on the transparency of materials, treatments of them and robust labelling requirements to list all chemicals used. that in itself is laudable, however the testing and record keeping of all the details throughout the entire supply chain would be put entirely onto the manufacturer of the upholstered product.
the proposed draft regulations published by the uk government in october 2023.
this would most certainly put a huge pressure on a lot of small businesses, disproportionately disadvantaging the re-upholstery industry, upcyclers and small upholsterers of individual products - while producers of large batches would of course find it easier to comply. somehow even more worryingly, anything re-upholstered should either have the 1988 or 1980 safety labels on them making any vintage or mid-century re-upholstered piece basically forced to be removed from the market. this goes against all sustainable principles and against the preservation of design values and ideas of durability.
more concerningly to us (and worse than in the current regulations), any scatter cushion over 45 x 45cm would now also count as an upholstered product, requiring the permanent label and applying the same rules onto them.
it is my view that these draft regulations are not fit to achieve their stated purpose. it would lead to increased use of chemicals, not less and would disproportionally hurt ecologically minded small businesses as well as the entire market of bespoke, individual furniture. it is, in my opinion, also harming consumer health and safety - robust labelling of course would be helpful to make a conscious choice, but while the requirements to pass an open flame test remain, it would be difficult to avoid these chemicals completely.
the government ran a consultation on the proposed legislation, i found out about it on the last day but i did have at least enough time to sign the eco-chair campaign - it’s a very useful site run by delyth upholstery, please sign up and read more in detail of the current problems as well as the potential pitfalls of the proposed regulations. although the consultation is closed now, you can still get in touch about this with your MP if you’re worried about the future of furniture and interior accessories in the UK.
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.
hello again, hello june. we’re really due a nice blog post again, but we just have a small, but rather exciting news to share. we’re absolutely delighted to announce that zitozza has been selected by british jewellery and giftware internationalto exhibit atinterior lifestyle tokyo 2023! while we won’t be personally present at the expo, we’re super excited to present a few of our block printed, sustainable homewares to a brand new audience!
the expo is on for three days between 14-16 june at tokyo big sight west exhibition park and the british lounge will be located at stand d015 filled with more than 20 amazing brands offering unique, designer homeware. if you’re in japan, please go and visit and we hope to report back with an amazing response!
hello spring, hello market season! the days are getting longer and it’s time to go outside, and get your hands on lovely, locally made stuff. visit the spring fairs and support your local, independent businesses. here’s where you’ll find some zitozza stuff this spring:
15th - 16th april - the briggait, glasgow with wasps studios
6th may - the steeple church, dundee with the yard
14th may - assembly rooms, edinburgh with craft & flea
looking forward to seeing you there - bring your friends for a day out and enjoy the fresh air and the local makes. take care!
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!
with the festive season in full swing, we’re announcing our upcoming festive market dates - we’re not leaving scotland for this season but we do come to glasgow twice! so make sure you come to one of these to touch our tactile textiles and leave with some brand new handmade homewares - for yourself, or a loved one!
first date: 19-20 november 2022, kibble palace, botanics, glasgow - from 10am to 4pm - a beautiful, unique setting with a bunch of talented scottish designers, as usual with tea green events, the line-up is going to be exciting, colourful and sustainable.
second date: 26th november, CRAFTED market at the dca, dundee - from 11am to 17:30pm - another fab line-up, curated by the team at the dundee contemporary arts themselves, it’s guaranteed to bring you the best of the most cutting edge and contemporary designers. please note this is only a one-day event, not the full weekend, so make sure you come and visit on the saturday!
third date: 3rd - 4th december, wasps studios winter market, the briggait, glasgow - from 10am to 5pm - this is a brand new one for me, but with the hosts being wasps studios, the talent and the quality is guaranteed, at the fabulous setting of the briggait in glasgow. this will be the last one of the year for zitozza, so please do come.
it sure will be a busy few weeks ahead, but it is always worth to meet in person, and new pieces, not yet listed on the website are definitely coming, curated to fit in with the line-up with each of these events so please visit. and although the live events finish on the 4th december, we remain open online 24/7.
for deliveries before christmas though, please place your order before thursday 15th december. thank you and have a fab winter.
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!
hello! this is just a short announcement but a very, very exciting one: zitozza is now coming to handmade oxford, a 4-day festival of arts and crafts, taking place between 23rd june till 26th june at waterperry gardens in oxfordshire, organised by handmade in britain.
it’s a very special opportunity for us to meet a new crowd of interested buyers and clients, so we are preparing to launch some new collections for this. it feels really amazing to be included in the line-up with so many talented makers from all over the UK, so we’re working on making a good impression there! we are incredibly busy growing our product range and develop new surface pattern designs, it will all be worth the wait and we really look forward to debuting there! you can buy your tickets here and we hope to see you there soon!
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!
hello! we’re so sorry to have had to share the bad news with you on saturday, about the cancellation of our social media about our last jutefest event. i hope you haven’t travelled to dundee this weekend! if you haven’t heard, the very last jutefest was unfortunately cancelled due to staff having to isolate at the venue (scrapantics, our landlords have been utterly fantastic about this whole venture though so huge thanks to them!). and to be honest, for it only to happen to the last in a series of 4 is not a bad record, so we are celebrating our success and we are also thinking about how to come back with something bigger and better next year perhaps.
so if you only just heard of us, the best is yet to come. jutefest consists of three of us - jist jute,knotty but nice, and zitozza. because we all work with jute in different, but consistently modern and contemporary ways, we set out to bring the cloth back to its city and celebrate its sustainable qualities - and maybe showing the locals along the way why it’s cool again! while dundee has an enormous heritage to build on, jute is not a thing of the past but very much the future too.
photo by deborah chapman at artantics
photo by deborah chapman at artantics
we’ve done a lot of cool things together and it’s been an achievement in itself, i think, to pull this off on a shoestring with a few weeks notice. indeed there’s a lot of potential in our abilities to do something bigger and better soon! throughout the event series, alison has successfully managed to crowdfund a whole weaving loom and lessons to learn to weave - you can see the progress of all this on her instagram along with the first pieces. don’t they look fabulous? and maite was busy crocheting, unstoppably producing her work live at the fair whilst chatting to visitors about those durable bags! it was fascinating to witness that speed.
as for zitozza - of course, the embroidered wall-art collection also debuted at the jutefest and it did look good on the turqouise wall of the venue! and as a demonstration of our craft, two smaller lengths of fabric were printed live in front of enthusiastic visitors... i think one will become a lampshade, and the other a rug (see the pictures below!) and it’s coming very soon so watch this space and subscribe to the newsletter, to make sure you don’t miss out on any of our new plans (and the nice things made of these!)
save the date! it seems that as life is opening up more and more, we’re coming to pop-up at more events and markets - and this time, at a really prestigious boutique location at the newly opened st james quarter in edinburgh!
the pop-up event series lasts altogether for two weeks, from monday 23rd august until sunday 5th september, and is organised by the wonderful people at women’s business station to showcase some amazing makers from all across scotland and it takes place at sook, a pop-up boutique space at the shopping centre. zitozza will take up two days here, on wednesday and thursday 1st & 2nd september, sharing the space with a few other brilliant makers.
no doubt more posts are coming - and do keep an eye on our social media, but i just wanted to let you all know that this date is also coming! keep safe!
i hope you’re having a happy summer people, i know it’s not easy to navigate between wanting a sense of normality and being cautious about the spread of the virus, but as we are getting through it all, we are very happy to announce that you’ll be able to meet us again, in real life, at CLOTH#21 in edinburgh, scotland, at the beautiful venue of the dovecot studios.
this will take place on two weekends, and zitozza will be there at the second one, on the 21st and 22nd august, from 10am till 5pm. it’s an honour to be standing amongst many other talented makers and textile designers - so please do come as it will be definitely worth it. not only it’s going to be full of stalls with beautiful stuff but the venue itself is one of the best in scotland, and perhaps one of the only ones catering for tapestries and textile arts at such a level.
and also please don’t forget that on the 7th august, the penultimate jutefest will also be on in dundee (at unit 2, anchor mills, west hendersons wynd from 10am till 4pm) man it feels good to be blogging about physical events and i hope it can continue! see you soon!
oh hello (limited, face-masked) general public! zitozza are excited and proud to announce to be a founding participant of JUTEFEST dundee! this is a brand new initiative with three makers working with jute differently (that’s - jist jute, knotty but nice, and zitozza) and our aim is to bring this wonderfully versatile and sustainable fabric back to its city where it once came out of in the tons.
the three of us work with jute in different ways - you can read our design conversations with jist jute already - there is a great deal of research and local history in alison’s work and she will also be signing her book “if these wa’s cuid talk” at the event. maite of knotty but nice is a crocheter who uses twine from nutscene to make strong and colourful bags and accessories. so there will be jewellery, fashion accessories - and cushions, rugs and lampshade by zitozza also for sale. but apart from setting up market stalls with our things, we will be making live at the event and demonstrate our crafts as well as preparing some exhibition materials on the history of jute in the city as well as some modern takes on the golden fibre.
there’s certainly a lot of heritage to celebrate in dundee but we also believe in embracing the present and we have our modern-day reasons why we work with it - one of these is of course sustainability, because we recognise our responsibility and we want to promote materials with less of a carbon, chemical, and water footprint. however, there is also a more artistic take on it - jute is a very utilitarian material, and when it was mass produced in dundee, it was fully to serve other industries and agriculture with its sacks and ropes. the three of us don’t use it this way though. we inject it with colour, design and individuality while keeping what’s good about it - the warmth, tactility and environmental qualities. there’s a lot to discover and play with and we want the locals to join us to celebrate that!
zitozza are preparing with a special launch of mini-tapestries as well, an initial 8-piece exhibtion will be set up for visitors - all wall-art will be available to be purchased online soon as well!
so when is this is happening? this is going to be a series of pop-up fairs stretched out between june and september on the first saturdays of each of these months. so that’s 5th june, 3rd july, 7th august, and 4th september.
and where about? at the artantics building (many thanks to scrapantics!), that’s right across from verdant works. the address is unit 2, anchor mill, west henderson’s wynd, dundee, DD1 5BY.
this is going to be a real-life event which is why it’s a big deal to those of us having been confined to our studios and council areas and whatnot. even though we are super happy to be finally free to meet you and celebrate, we still have to be careful and be aware of the spread of coronavirus. we want to be as safe as possible, so please note we will require face masks to be worn and we may still limit the number of people indoors in order to be able to keep a safe distance. thanks for your understanding and see you soon!
happy after-easter celebrations everyone, we’ve made it. this is april, and we have just survived 25%, the first quarter of 2021. i have a real gem to celebrate that with. i’m bringing you another inspiring design conversation, this time with alison carrie, the pair of hands behind jist jute and the brains behind “if these wa’s cuid talk” - a brand new book about the last of dundee’s jute mills still standing, their history and their current relationship with the city. i find it such a great experience to meet other people who are also obsessed with jute and feel a special connection to this material and in (and around) dundee this has an extra significance. we had a virtual cuppa to discuss why we love the cloth - and why it matters working with it in the city of dundee. let’s dive into this discovery! (no pun intended)
ZITA: hi alison! so first of all, tell me a little bit about yourself, what you do and how you got there?
ALISON: hello! well… my name is alison carrie, and i am a self-taught textile worker, a local history buff, an accidental author and dundee’s first self-proclaimed “jute baroness” who runs “jist jute” - but mostly i just claim to be “a wee wifey that does stuff”. i make all sorts of things from this wonderful natural plant fibre, including bags, jewellery, eco-scrubbies. my mum is retired now, and she enjoys botanically dying jute twine with foraged scottish ingredients including raspberries, onions, blueberries and oak galls. she also creates our crocheted exfoliating mitts and our surprisingly realistic faux cacti!
i also enjoy exploring and celebrating the local history and connections with jute. a few years back i started a small project, for my own curiosity really, which snowballed and eventually resulted in a full-blown book! not what i had in mind when i set-out… “jist jute” spawned from this project, as a fund-raiser to help get the money together to print a number of copies to share with anyone who might be interested.
ZITA: yeah i want to ask about that first. obviously the big project is your book right now – can you tell me a little a bit about its journey? what made you write it?
ALISON: as i touched on earlier, it really just came about by accident! i’d been through a pretty traumatic few years, and as a result was what some folk might describe as “chronically unemployed”. that is to say, i am that person who never gets the job, never gets the interview, is constantly at the job-centre trying their best but never getting anywhere. i was so angry at the system and depressed at being made to feel less than useless. i started walking to try and calm, and to get exercise. i always took my best buddy (ziggy the border collie) with me, and some days we’d cover 12-15 miles, just trekking round the city. i’d always noticed these big buildings in dundee, and had no idea what they were. at first i recognised a pattern in their style; large windows, certain roof-styles, geographic locations… and i wanted to know more. despite being brought-up 15 miles away from dundee, i had never heard about the jute industry, or even what jute was. how crazy is that? why are we not being taught about our local history? why are we taught about kings and queens and ancient battles which, to be honest, means nothing to many of us.
so i wanted to know more, and of course i visited verdant works jute museum, but still i was unable to find out quite what i wanted to know about, which was the buildings themselves. everything else seemed to have been documented; the people, the process, the machinery, the plant and harvesting, the uses… but not the huge industrial buildings - monuments, almost? - that still remain. why are they still here, when we don’t even work jute any more? if only they could tell me their history themselves. and, once you learn how to “read” a building, they do begin to give-up their own stories… hence “if these wa’s cuid talk” was to become the title of my ‘accidental’ book.
ZITA: did you find it difficult to access the city’s history or the bits that interested you? i can imagine it must have been a huge but interesting research work.
ALISON: yes and no. at first, i just used the usual sources, the libraries, internet, city archives etc. later i started to access social media, and joined several dundee history groups to gain information and memories from local people who used to eat, sleep and breathe jute. this gave me direct access to people who worked in all sectors of the jute industry; from the various apprentices, to spinners, weavers, carders… even dockers and the folk who would work in the offices. everyone’s memories are/were important, and helped me to piece together a picture of how things operated within living memory. once i built up this core of info, i resorted back to just being a bit nosey! if i was out walking, and i happened upon a mill where there were building works happening, i would just ask a worker if it was possible to get some photos inside. they’d then get the foreman, i’d sort of talk my way into it, and next thing you know i’d have an appointment to come back on a saturday afternoon and take (supervised) photos...as long as i brought my own safety boots and hard hat.
when i got braver, i contacted hillcrest housing association about access to one of their larger buildings. their wonderful “upper dens” has been converted into 70+ flats, but i actually wanted into their basement… they were wonderfully helpful, and allowed me supervised access to the basement area, to see the pillars and the oil-stained wheel-pit for the huge steam engines which would have powered the mill. whilst there, i was allowed to tour the rest of the building. then they asked if i’d like to see others! we took a whole day to tour their 8 former-mill buildings scattered through dundee, which was absolutely fantastic!
ZITA: how cool! it's great how helpful everyone was to share these spaces. and was there anything that you particularly loved discovering, or something that really shocked or surprised you about any particular place in dundee that you discovered while researching?
ALISON: what surprised me? hmmm….having volunteered as a machine operator at verdant works, tales of accidents, explosions and deaths didn’t surprise me at all. it was the really random little discoveries that i am surprised by. for example, a couple of the mills had ponds in the basement area… one still reportedly has a small rowing boat in it!
ZITA: fascinating! i haven’t read your book yet - i’m sorry, i missed the pre-orders but i totally want a signed copy when i can buy again please! - but have you set yourself a writing style, have you discovered your own oice while doing this? do you plan to write more?
ALISON: you haven’t got one yet?! shame on you…. haha! since the book happened kind of organically, i just wrote it in the style which comes most naturally to me. i write in the same way i speak; it’s really just a text version of how i would speak to visitors to the museum. i try to be clear and friendly, just like having a chat, rather than a lecture. i am always mindful that despite what i’ve learned, i will never class myself as some kind of expert. i try not to use unnecessary technical language, as i found that quite off-putting when i was researching. sometimes it felt like you needed to be an architect to understand descriptions in the sources i’ve used! i try to keep it interesting, accurate, but understandable. i am aware that not everyone reading it will be local to the area so where i have used local words or terms, i have added a wee glossary at the back to try and help clarify things.
ZITA: i can't wait to read it. you must find it quite inspiring using jute in dundee as a maker - is your material choice of jute related to your dundee research? can you tell a little bit about your accessories as well?
ALISON: yes it feels pretty good to be bringing scottish jute working back to dundee in some sort of form. “jist jute” was initially set-up as a temporary idea, to raise the funds to get my book printed. i was just making some simple jewellery from jute (earrings and bracelets) and my very first stall was within the overgate shopping centre! a friend who does weaving was talked into weaving jute “live” during the day so that shoppers could come over and watch it happening, and talk about the process. i was asked on the application for what my business name was, and i was like "i have no idea what to call it?! it’s jist jute…” it means “just jute” in english, but the locals pronounce just as jist. and so “jist jute” was born.
we have since grown our range of items, to include: loop/drop/stud earrings, mens cufflinks, necklaces, knitted necklaces, bracelets, botanically dyed twine, soap-savers, lavender bags, eco-scrubbies, shopping bags, faux cacti, exfoliating mitts, amongst other things. the list changes and alters as time goes on, and depending what is in demand at any given time. throughout 2020 coronavirus crisis, we completely changed tact (literally overnight), and worked hard for almost 8 months supplying cotton facemasks to both individuals and local businesses, in quantities of 1-300 pieces. we also supplied local foodbanks with a number of simple “soap savers” to help struggling families to make their precious soap go a little further during the early pandemic panic-buying.
ZITA: this is amazing. i love this. and not only jute is environmentally friendlier but some of your stuff is also made of recycled materials aren’t they – do you find it hard to market sustainable goods or do you think the attitudes have changed a bit more in favour now?
ALISON: yes you are correct! not only is jute environmentally friendly and incredibly sustainable, but i also try to recycle it when i can. i have to be honest with you, i didn’t initially start using recycled because of environmental benefits, but because i’m a bit “mean” - scots for tight-fisted or someone who doesn’t like spending money. i felt it was silly to purchase brand new hessian from fabric stores, when i could source jute fabric for free from local coffee roasters. it was only later when i was trying to work out how i could be a bit greener that i discovered the amazing journey that jute sacks undertake before they reach me, that i realised these sacks need rescuing! for example, the jute is harvested, processed and woven in india. it may then go to kenya to be printed and filled with coffee beans, before being shipped to london coffee roasters. then i would buy 20+ empty sacks online, and they’d be shipped to dundee. once i’d made my recycled bags etc, they may be bought by anyone around the world...some have gone out to the US and australia. the amount of travelling these sacks do in their lifetime is astounding!
i have now moved over to using 100% recycled jute in my textile products, and only ever using locally produce nutscene twine for my bold & colourful bracelets and earrings. on a small scale, i haven’t found it too hard to market sustainable goods. at craft markets etc, you can get a good chat with customers and let them get touchy-feely with your product (or, at least, pre-covid). it's really just about being friendly, having a natter and gaining their trust.
what i do find difficult is persuading other businesses to stock our stuff. i have approached lots of local “refillery” type stores, and either they already stock a big chain brand which you see in all the shops on every high street, or they knock you back saying that they have “a similar product” (usually referring to hemp, which is certainly not the same thing as jute). this makes me especially sad when these tayside-based eco-stores go on about green businesses and supporting local, and save small businesses… yet won’t support other small businesses with a very unique local connection. what’s with that? i make a real effort to now source my sacks locally, for perth (where i live) or dundee (where “jist jute” is now based). i always mention my sources, because it’s important to both me and them. i believe it’s important to work together and to support small businesses. even more so now than ever. as small businesses, we are battling against big brands, against the high street chains, against cheap imports, against brexit… the last thing we need is to be fighting with each other!
on that note, i get sacks from unorthodox roasters in kinross and the bean store in perth. my recycled cotton is generally sourced from either charity shops, or my landlords, scrapantics. sometimes i use waxed cotton, which is always ‘end of line’ or small-batch experimental stuff from halley stevensonsin dundee, who make the waxed cotton for barbour jackets. our botanical dyes are homemade from free and foraged fruit & veg.
ZITA: thanks so much for sharing that. i do think that local businesses can achieve s lot more by working together! now, i know we have discussed your exciting book already, but i ask this question from everyone - can you recommend a book, or someone else whose work is worth looking into?
ALISON: a good book if you would like to read more about dundee's jute mills is mark watson's “jute & flax mills in dundee”, which turned out to be a bit of a bible for me! it is not generally easy to find, and went out of print circa. 1990 (when i was a mere 6 years old!). due to its age, it now holds a wealth of info about many mills which were around at the time but are now no longer with us. it is a bit more technical in its terminology, and a very different style from my own book, but still worth a look if “if these wa’s cuid talk” gets you hooked...
ZITA: and what are your new projects – apart from your book, what else can we expect to see from you this year and where?
ALISON: oooh... i wish i knew! all along i have let things just happen organically, as the best laid plans often go astray. i find if i make plans i get incredibly stressed when they go askew, and i make myself unwell over it.
a year ago i was asked where i wanted to be in 5 years time (at that point i was a struggling stall holder). i jokingly said “dundee’s first jute baroness, with a business in an old dundee jute mill, and maybe 5 staff… and now i’m based in anchor mill, my book is about to come out, i have “bricks & mortar” stockists for my products and i’m really wishing i had an extra set of hands! but i have 4 more years to achieve that, right?!
i keep thinking back to how it all started… being bored, angry and “on the dole”. i know i’m not the only one who feels like that. i know dundee has had a tough time of it, and there are many people in the same position as me. signing-on, queuing for jobs that we all know don’t exist, being made to feel worthless and useless… and through no fault of their own. i want to find out how we can help each other more. i want to expand my business further, and employ local people to help out. it gives me extra hands, them a source of money and most importantly, a sense of wellbeing and worth. i started this because i didn’t have a job, i know how they feel and what having a purpose would mean to these folk. i just need to work out how to do that. i don’t think my current studio is quite large enough to work safely (distanced) just now, but maybe now is the time to look into my options for the future.
i’ve had so many people ask me if i’ll do another book, too. in my head, i have the plans for another two...but whether i have the time to actually do it now that “jist jute” itself has grown arms and legs, i’m not really sure. maybe when i get a few staff under me, i can delegate and get back to pen & paper?!
ZITA: amazing! good luck with your plans and thanks a lot for your time!
first of all, happy new year everyone! i guess we have all agreed not to talk about 2020, so i don’t want to say too much apart from how much i hope you all have an amazing new year with many well deserved, happy moments. for now, it seems as though we are stuck indoors for a little extra time again, and it’s all a bit grim. but here at zitozza indoors is what we’re good at, and with that in mind, you are invited to look through the interior trends of 2021 with our research glasses!
1. ECO CONSCIOUS DESIGN!
i was hesitating whether i should really call this a trend at all, when in fact it should be the standard really, but it’s just a fact that eco-consciousness has not been high on many agendas until recently. from the design industry’s perspective this has been imperatively rising though - and i’m 100% certain that it will be the most important one for decades to come. personally what i’m most excited about is the revolution collection by vondom - the first part of it (called “ibiza” by eugeni quitllet, made of plastic waste in the mediterranean) came out last year - read a little bit ondesign milk.
and this year we’re expected to see sustainability in many more ways - not just in durability and reusability but also in more innovative material choice such as foresso - the timber terrazzo, this beautiful surface. i love how it looks - texture within texture! made in the uk (birmingham) with bio-resin and timber waste, their sustainability credentials and transparency with their products and traceability are truly exemplary.
warm is the new cool, and interpreting a luxurious space as a kind, bracing cosiness has been growing and growing in recent years, resulting in a beautiful play with many textures and organic designs. clay, woodwork, boucle, velvets… this is very much about tactile qualities combined with warm colours and round, cocooning forms. coleur locale illustrates a rich, well-travelled take on this - below in the styling of the brilliant cleo scheulderman. it’s the comforting hug of mother earth that we crave!
photography by Jeroen van der Spek. styling by Cleo Scheulderman,
client: Coleur Locale.
3. FRESH, OPEN BLUES
remember what free, open spaces used to be like? remember the summer breeze under the bright wide sky? remember the beach, the colour of the ocean? it’s hard to imagine it right now, scooped up inside in the midst of an ugly, grim january but those amazing blue hues are being brought indoors withrather spectacular results. as a fan of this colour i’m really excited about benjamin moore choosing it to becolour of the year.if you’re familiar with nicola harding and co. then you’ll know that she is an expert of using these shades for cool, thoughtful spaces with lots of charm and character. the below snippet is from this project (published inhouse & garden last year) - can we please take a moment to note the rugs too!
design by Nicola Harding & Co, photography by Paul Massey
4. ONE ROOM, MANY FUNCTIONS
hands up, who’s surprised at this one? since we have spent pretty much all events of our life at home recently, this trend has risen perhaps out of necessity, but it’s here to stay because it’s immensely practical. while it has really been simple reality for many people, 2020 has certainly brought it to the surface and the market for functional solutions might expand as a result. expect to find space dividers and lots of clever home office furniture - the personal pick is this super smart, modular home office by arnie.m- the brainchild of angela and matt maurer. british made (in manchester), masterfully skilled, fully customisable and it’s sustainable too - made of 100% natural plywood (with beautiful wood pattern on the surface) and none of that awful mdf stuff.
design by Arnie.M, photography by Paul Moffat Photography.
5. FUNKY ACCENT RUGS
the one i’ve been waiting for! this one is for the pattern lovers out there and it’s just become barefoot-friendly. we have been layering upon layers upon layers for the past few years now, but increasingly we’re doing it to the floors as well and i’m 100% here for it. rugs outside, rugs in the kitchen, rugs on rugs, everything goes with everything. it’s the floor that makes the statement in 2021 so give it the love it deserves. london-based floor story always has some of the brightest and most exciting collaborations to look forward to - a great start to the year with the mediterranean collection by adam furman.
minimalism has also taken a more inviting, warmer form in recent years. it’s still quite rustic and sparse but with plenty of thought-provoking richness in texture and imperfect, natural form. it still seeks that delicate contentment, and it still finds it in the peaceful serenity of warm, monochrome hues and natural surfaces, worked with the most skilled craftsmanship. but recently, it has all taken a more hugging, cosy, organic form in a somewhat scandinavian manner - or dutch as seen on this take by cleo scheuldermanfor vtwonen.it’s an artful creation of an unfilled but stimulating space where we want to go to to feel better about everything again.
photography by Jeroen van der Spek, styling by Cleo Scheulderman,
assistance by Mette Sophie, client: vtwonen
7. VINTAGE LOVE
classic styles become such because they work, there is nothing new about that. however there are always new and ever more inventive ways to widen the boundaries and take braver, bolder twists on our cherished favourites. and if sustainability is chic, then surely, the glamorous way to do it is to give our vintage treasures the love and attention they deserve. it’s all about expression, maximalism, individuality and all the personal stories each object bears. i chose another take from nicola harding & co to illustrate this - a fabulous, opulent space that feels inviting and familiar at the same time.
interior design by Nicola Harding & Co, photography by Paul Massey
8. NATURE AND GREEN (and all the other colours)
maybe houseplants are not a “trend” so much, we just collect them because they are great and we love nature. but those of you with gardens and balconies have really hit the jackpot and a new appreciation certainly grew out of last year’s events. outdoor spaces are being increasingly valued as an extension of the living space and they’re now getting their rightfully earned, fully saturated upgrade with appropriate cosy cushions and floor covers. this one by mimi forrest is obviously not an outdoor rug but first of all it’s too beautiful not to be shared here and secondly, the styling might just give you the right idea - it is exactly the type of indoor space we want to see more of in 2021.
i hope you will all have an amazing, productive and successful 2021 with lots of colour and pattern - and more importantly please stay safe and healthy! although the start to the year feels worrying and sad, i’m hoping that it won’t be much longer until we can work more closely again and i’m looking forward to seeing more of your creative projects. happy new year!
first of all, many thanks for following the sunday inspiration series on instagram, i’m really enjoying sharing those thoughts with you. however, you will have noticed, it has so far featured the MODERN collection only. so i want to do something different today, and i’m going to share with you some of my inspiration of my more traditional (HERITAGE) collection. some of this is obviously inspired by the rich textile heritage of scotland (and more of that later) but there is of course also the influence of hungary and this post will focus on the latter - specifically, the flatweave “torontáli” rugs, particularly those made by this one factory in the south east of the country, in a town called békésszentandrás (yeah good luck trying to pronounce that one).
the art of weaving rugs came to hungary probably with the ottoman empire in the 15th-16th centuries and slowly evolved from those oriental, turkish patterns into folk motifs suited to the hungarian taste (torontál, where this type of flatwoven rugs are thought to have come from, was a county in old “big-hungary”, today it is partly in hungary and partly in serbia.)
the rug which we understand under this name today is always a pure wool flatweave with bold colours (reds, yellows, greens, blacks), with sharp contrasts and interesting, geometric folklore patterns which have been popular from the 1880s until today. at the late 19th - early 20th century they were made by a few manufacturers for a newly emerging middle-class, however, by the middle of the 20th century it conquered the world all thanks to this one factory. this archive news report from 1955 talks about exporting it to many countries (and wrongly names békéscsaba as the town where it’s made but in reality it is békésszentandrás.)
this factory in békésszentandrás has celebrated its 100th birthday a few years ago, they started producing carpets after the first world war starting with traditional hungarian and transylvanian folk patterns. by the mid-1920s they expanded their range to oriental, persian-style rugs and became known for their quality, by then they were exporting to many countries and were a major employer, mainly of women in the region, and they kept working during the world war, after nationalisation and they even escaped the devastating de-industrialisation of the 1990s.
i genuinely believe this is at least in part thanks to these torontáli flatweave rugs that remained quite popular throughout the times. i do not remember a single house i have been to as a child, which did not have at least one of these beautiful, “pixelated” patterns, although my family does come from the region too and it was an easy access. below is a collection of some of these family treasures - the brown one was on the wall around my bed when i was a kid - it was custom-made to order with the creativity of the weavers and i think it has a variety of mottle yarns as well as natural and brown wools. the geometry of these rugs is present on the KAKTUSZ tileset in the the most obvious way, but it’s safe to say that these rugs have influenced all of it, perhaps sub-consciously.
at the end, there is also this mini-tapestry, as memory of a dance competition in the nearby town of szarvas (which has a stag in the town crest). this woven, “pixelated” graphic is quite reminiscent i think of my floral prints that also have this effect to them even though it’s printed. i think to have this woven effect emphasises the heritage influence that drives this whole collection.
apart from all these family treasures, there are plenty more. the factory store sells most of these in unchanged form, to this day, and they are all really beautiful (and exactly how i remembered) here, see all this colourful range for yourself.
i hope you enjoyed this little trip onto soft, woolly surfaces. i’m sharing with you one more archive news footage from 1972, which is about the christmas anticipations of the design trade, and it showcases not only a whole lot of beautiful (and praised) rugs by békésszentandrás-based rug artist margit szabó, but also features a lot of great design from czechoslovakia and east germany, this is truly a gem! i hope you’re enjoying getting christmas ready too despite everything.
