Textile Fashion Style File: The Milan Report 2017

From hand-made to mass production, textiles have the power to tell stories and increasingly furniture designers are finding opportunities to cross over into the fashion world. Penny Craswell explores new concepts and material qualities in textiles and fashion at Milan this year.

Shield by Wiki Somers for Kinnasand.
Shield by Weiki Somers for Kinnasand

In the flagship showroom of Swedish textile company Kinnasand at Corso Monforte, a series of kite-like shields fly overhead, an installation created by Studio Weiki Somers from Rotterdam. The installation is the material manifestation of a new research initiative called Kinnasand LAB in which design director Isa Glink collaborates with external designers to interpret existing textiles and innovate new products for the brand. The resulting product – Shield – consists of semi-transparent layers of embroidered fabric with wooden panels, like large ice-cream sticks, that can bring rigidity and weight to the fabric or be removed to increase flexibility and transparency. For Weiki Somers the experience of working with Kinnasand made her reflect on the qualities of textiles: “The qualities of a material can strengthen the connection between a person and an object. Especially textiles can stimulate our senses and more than other materials they can evoke memories and emotions, and make you feel at home,” she says. Read more

Five designer-maker stories from Simple Shape

By Penny Craswell

A wide-ranging discussion with Helen Osgerby, design lover and the brains behind online store Simple Shape, takes in the changing precinct of Deptford in London, serendipitous encounters with like-minded individuals, the role of narrative and storytelling in design, and the (almost literally) polar-opposite weather: balaclava-cold in London, oven-hot in Sydney.

Our rapport is instant, despite the distance, perhaps thanks to Osgerby’s approach to design, which is very much focused on storytelling. “When something has a story attached it, it has a resonance,” explains Osgerby. “That was one of the things that was important in thinking about the business. It’s about quality too – feeling a glass jug is handblown for example, it’s very skilled and unique and incredible.”

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The pastel ceramics collection by Elliott Ceramics, Simple Shape. Photo: supplied.

The pastel collection by Elliot Ceramics, Simple Shape. Photo: supplied.
The pastel collection by Elliot Ceramics, Simple Shape. Photo: supplied.
I first heard about Simple Shape from Helen’s husband Jay Osgerby, half of London design studio Barber Osgerby, so it’s no surprise to learn that Helen is fully immersed in the design community, with plenty of knowledge and contacts (she tells me a story about working with “jelly architects” Bompas and Parr for an event where they decided it would be great fun to explode some jelly). 
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