INNOVATING THE TRADITIONAL PATTERN BOOK Jemima Wilson N0365411 FASH20003
1
‘What we are doing behaviour of the fu developing tools tha consu
(Allen,
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g is anticipating the uture consumer and at appeal to today’s umer.’
, 2014)
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CONT
Project A
Research O
Industry Re
Consumer Decis
Pike Textile
Heal’s
1. Versa
2. Stor
3. Innova
Conclus
4
TENTS
Aims p6
Overview p8
esearch p14
sion Journey p16
es Visit p18
’s p20
atile p32
ry p52
ative p70
sion p90
5
PROJECT AIMS The primary aim of this project is to assist consumer decision making during the fabric selection process, by innovating the traditional pattern book, to offer a more collaborative and flexible journey using a three-tiered, multi-platform strategy. It has been identified that consumers connect with different touch-points at different stages of their decision journey, and a cyclical approach is necessary in order to connect with, support and inspire consumers at every stage of the process. Using the Heal’s 1810 fabric collection as a vehicle to implement our ideas, the aim is to create a better dialogue between modern retailer and consumer by linking three different touch points along the consumer decision journey; enabling consumers to make more educated decisions about their interior design choices, whilst instilling confidence in creative experimentation. We have taken a laborious and dated product and created a comprehensive, integrated service for Heal’s, which better reflects the luxurious nature of the bespoke interiors industry, matched to the lifestyles and preferences of the contemporary, multi-channel consumer.
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A THREE-TIERED APPROACH
VERSATILE
INNOVATIVE
STORY
TO CREATE A CIRCULAR EXPERIENCE 7
Fig 1, Three-Tiered Approach, 2014
RESEARCH OVERVIEW From discussions with both industry experts and consumers, research has culminated in a three-dimensional approach. Establishing versatility, narrative and innovation as three key elements on which to focus our strategy, we have looked firstly at challenging the design and composition of the conventional pattern book itself; secondly at creating a story to provide the consumer with greater inspiration, and finally, innovating the process by integrating a digital tool to further enhance the decision making experience.
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Fig 2, Presentation Boards, 2014
‘If you push people percent, to encour little bit different the lot better. And nex be more confident. issu
(Benham, 2
10
just that extra five rage them to be a ey will feel a whole xt time they might Confidence is the ue.’
2014)
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BESP
POSITIVE F ON CH
SERVICE P EDUCAT CONFI
INVITING INTERACT
The very nature of a consumer selecting bespoke fabrics demonstrates that this is an industry concerned with self-image, luxury and quality. Considering the hierarchical levels of Maslow’s Pyramid in relation to consumers’ needs (see Figure 3), it is clear that in choosing bespoke fabrics, the consumer is motivated beyond the basic needs of fabrics for warmth, comfort and protection, instead seeking to achieve a growth of self-actualisation, creativity, confidence and self-esteem in their interior choices. As basic needs must first be met before progressing on to meet higher level growth needs, the service offered to consumers must offer a balance of guidance and freedom to encourage experimentation, in order to increase confidence in decision making.
CONFORTABLE SURR ACCOMODATING SO
CURTAINS FOR PRIVAC
FABRIC TO PROTE
FABRIC FOR WARMT
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POKE
SELF-ACTUALIZATION - CREATIVITY, SPONTANEITY, AUTHENTICITY
FEEDBACK HOICES
PROVIDED TION AND IDENCE
ESTEEM - SELF-ESTEEM, CONFIDENCE, ACHIEVEMENT
TION WITH HEAL’S
ROUNDINGS FOR OCIAL OCCASIONS
CY AND SECURITY
ECT FURNITURE
TH AND COMFORT
SOCIAL NEEDS - FRIENDSHIP AND FAMILY
SAFETY AND SECURITY
PHYSIOLOGICAL NEEDS - AIR, WATER, FOOD, SLEEP, SEX
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Fig 3, Maslow’s Hierarchy of Needs, 2014
DANIEL HOPWOOD INTERIOR DESIGNER -Discussed Hopwood’s own use of pattern books when making interior design choices - Identified that there is a need for the pattern book to be supplemented by digital technology in the future - Suggested it would be brilliant to experiment with visualising fabrics and textiles on digital platforms to help clients to visualise and encourage them to be more daring.
T
ad w pl
COLIN EDWARDS - OPORATIONS MANAGER - COLE AND SON
IAN TURNER - MANAGER HOPEWELLS
- Identified that the connection between retailer and consumer is paramount for generating sales - Consumer must understand the luxurious nature of what they are buying into - The pattern book will not be as essential in the future as it is not the most effective way of convincing someone to spend a lot of money on a product.
- Discussed consumer interaction with pattern book from retailers perspective - Researched different types of book bindings - Found out that detachable fabrics can be an inconvenience – can get lost/stolen
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PIA BENHAM - HEAD OF FABRICS - HEAL’S
TONY COULSTON - OWNER - JRC TEXTILES
- Discussed Heal’s current use of pattern books and effectiveness of current system - Gained insight into Heal’s consumers interaction with the brand - Education, simplicity and confidence is key to connecting with consumers – at the core of it is the customer journey and making it simple.
Discussed flaws of pattern book and dvantage of digital tools. Agreed that the future is digital, it’s just working out the most effective method. Would be prepared to invest in a digital latform to make the process more efficient
JOHN ALLEN AND CAROLINE ADAMS - PIKE TEXTILES - Witnessed production of books on a tour of Pike textiles factory - Gained insight into current production methods and costs of pattern books - Introduction to Heal’s, initial contact established through Caroline
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Fig 4, Industry Research Overview, 2014
CONSUMER DECISION JOURNEYS
BROWSING FABRICS IN-STORE
LYNNE MAY
PATTERN-BOOK/ INSPIRATION
CLAIRE ASHCROFT
BROWSING FABRICS IN MAGAZINES AND AT FRIENDS HOUSES INSPIRATION
ANGELA BEATTIE
BROWSING FABRICS ON-LINE INSPIRATION/ INFORMATION 16
Previous consumer research with affluent, mature and highly discer research stage, a focus group discu a multi-platform service, which se
CONSULT CURTAIN
INFORMATI
BROWSING FABRICS
PATTERN-BO INSPIRATIO
EXPERIMENTING W TO SEE PERSPEC
ORDER SAMPLES/IN
clients of bespoke curtain makers revealed that the consumer is rning. Revisiting three of the consumers interviewed during the ussing each consumers decision journey highlighted the need for erves each individual consumers’ personal needs and preferences.
N-MAKER
ION
S IN-STORE
OOK/ ON
WITH APPS CTIVE
NNOVATION
BROWSING FABRICS ON-LINE/ VISUALIZING
Figure 5 illustrates that each consumers decision journey is different; Lynne May prefers to start the process by browsing fabrics in-store, Claire Ashcroft begins her journey by browsing for inspiration in magazines and Angela Beattie looks online first.
ORDER SAMPLES
ORDER FABRIC
ORDER SAMPLES
ORDER FABRIC
BROWSING FABRICS IN-STORE
REFLECT ON CURRENT INTERIOR CONSULT CURTAIN-MAKER
ORDER FABRIC
PATTERN-BOOK/ INSPIRATION
INFORMATION
INNOVATION
CONSULT CURTAIN-MAKER INFORMATION
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Fig 5, Consumer Decision Journeys, 2014
PIKE TEXTILES VISIT As the physical product will always remain at the core of the decisionmaking process, a visit to the Pike textiles factory to meet John Allen and Caroline Adams offered first-hand insight into how the business operates and how the books are currently manufactured. Observing the manual process of the production line and discussing our ideas with Allen and Adams, Heal’s was suggested as a suitable retailer with which to implement our creative outcomes, as it is the retailer that guides consumer behaviour , and Heal’s does just that (Allen, 2014). 18
Fig 6, Pike Textiles Visit, 2014
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HEAL’S
1810
Known as the ‘home of modern and contemporary designer a forward-thinking approach to art and design, which m retailer with which to implement our three-tiered strategy may be 200 years old, Heal’s are constantly pushing boun sector, with a keen focus on enhancing consumer experien
Fig 7, Heal’s Building, 2014
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189 3 arts – Amb and rose Hea l de craft m Heal – fine s th ovemen inspire e ‘H d eal’s t Ambr by ose Styl e’
ion Vis w e e A N hous al’s b e 3 o 201 ill H ted H look - W ppoin , new ng n is a irma duri n a ch nched Desig lau don n Lo tival. Fes
brics eal’s Fa s H – s 1950 ics wa s Fabr - Heal’ established. lly officia
2014
r furniture’, Heal’s have makes it an appropriate y. Whilst the business ndaries in the interiors nce.
ence Sir Ter is bought – 3 8 9 1 al’s n - He Conra ce Conran’s en by Ter se group ou h Store
19 2 Ga 0s – l l in- ery The spa store - pio Mans the ce th exhi neeri ard con hear at be bition ng in tem t of L come the por on s 192 ary don a ’s 0s an rt sc d 1 en 930 e s.
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201 cel 4 - H its ebrat eal's col first o es the 1810 lec tio wn b laun n s ran ch inc d o e th fab f e 1 ric 970 s.
Fig 8, Heal’s History, 2014
AN ONLINE PRESENCE
Embracing digital communication and social media as a key route to consumers for Heal’s. Fig 9, Online Presence, 2014
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1810 COLLECTION Heal’s 1810 is a celebration of classic and modern fabric designs featuring both established and emerging designers; from Zandra Rhodes and Cressida Bell, to Malika Favre and Hvass and Hannibal. As an exclusive new product and fabric line from Heal’s, 1810 is the starting point of the collection, with a purpose to generate press and media (Benham, 2014) before further expansion.
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ORGANISATIO
EXPERIENCE Comfortable
FORWA
Passionate Family Business Heritage
PERSONAL Inviting
PERSON Friendly Warm Discerning Fun
PRODUCT Bespoke fabrics Affordable Luxury materials
QUALITY Craftsmanship Made in Britain
HUMOUR 24
Approachable
ON
ARD-THINKING
s
SYMBOL Logo Heal’s Building
OUTSTANDING DESIGN 25
Heal’s has always recognised the importance of innovative marketing. Fig 10, Heal’s Marketing, 2014
EXCLU
BACKWARD
ACCESS 26
USIVE
INNOVATIVE
SIBLE 27
Fig 11, Heal’s Competitors, 2014
Fig 12, Illustration, 2014
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Following a meeting with Pia Benham, Head of Fabrics and Design at Heal’s, it was clear that Heal’s are keen to focus on customer experience rather than trade action. Pia stressed that simplicity is key, and a balance of appreciating Heal’s heritage and bringing the brand forward in a contemporary way is vital.
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Fig 13, Heal’s store, 2014
‘Simplicity a to be key. An consumer a
(Benham
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absolutely has nd keeping the at the centre.’
m, 2014)
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1
MAK VERSA
Improving t a pro
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1.
KE IT ATILE
the book as oduct
33
Versatility
as Luxury
OBJECTIVES OF NEW BOOK:
easily manoeuvre - To allow the consumer to
manipulate the fabrics
and
light and adaptable - To make the product
bespoke requirements
for
- To present the collection in a
single frame
rather
than a fragmented, static book
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Fig 14, Versatility, 2014
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DEVELOPMENT In order to make the pattern book less restrictive and more flexible, experimentation began with different book bindings, to increase the versatility of the product. Detachable fabrics seemed to offer the greatest level of flexibility, however, speaking to Hopewells manager Ian Turner exposed flaws in the pattern book, as consumer often take the fabrics and it becomes difficult for the store to manage (Turner, 2014).
Fig 15, Development, 2014
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37
Does it have
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to be a book?
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In response to research insight, we began to question why the pattern book had to be restricted to a book format, and, inspired by a suggestion from Caroline Adams and a luxury quilt range by A.P.C, we began to experiment with samples from Heal’s, creating a quilt instead of a book for the 1810 collection.
Fig 16, Patchwork Quilts, 2014
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1.
2. 42
3.
4.
5. 43
Fig 17, Quilt Making Process, 2014
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OUTCOME 1.
The Quilt
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Fig 18, Final Quilt, 2014
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Fig 19, Final Quilt In Situ, 2014
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Fig 20, Final Quilt Hung in Light, 2014
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FUTURE DEVELOPMENT The idea of a quilt is an appropriate alternative to the pattern book as a decision-making and inspiration tool for the 1810 fabric range, as this particular collection pieces together ten individual designers, creating a ‘patchwork’ metaphor for eclectic interior design choices. For subsequent collections, other similarly innovative tools could be created, which are resonant to each specific collection; not necessarily a quilt.
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Fig 21, Heal’s Moodboard, 2014
2 MAKE IT
Creating a for insp
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2. A STORY
a narrative piration
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Story
as Luxury
OBJECTIVES OF A STORY:
An Artistic accompaniment to inspire -
to supplement the collecton in order the consumer
A narrative
to communicate the luxurious nature of bespoke interiors
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Fig 22, Story Moodboard, 2014
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Realising the importance of portraying a luxurious, aspirational lifestyle and providing narrative and context to assist decision making, initial experimentation began with a photoshoot to create a set of luxurious images, to bring a collection of fabrics to life. 57
Fig 23, Silk Fabric, 2014
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Fig 24, Pink Silk Fabric, 2014
INSPIRATION CASE STUDY:
JESSICA ZOOB COLLABORATION FOR ROMO BLACK Romo have recently collaborated with artist Jessica Zoob, creating a collection of printed wall coverings, fabrics and cushions, which portray an emotionally charged story of ‘desire’, using lines, texture and colour.
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Fig 28, Jessica Zoob Story, 2014
Spring seeps into summer, The gentle mist of an early morning; winding off the trees, rising,
Rooks rising; open the French windows, let the clouds, the breeze and the birds song in.
A fictional story was also created, to offer a narrative to promote bespoke interior choices. The introduction to Mrs Dalloway by Virginia Woolf inspired the story; Mrs Dalloway is preparing for a party in her Bond Street (London) home, though she stares out of her window describing the morning outside...
All that was left were the flowers, wild flowers: Poppies, cow parsley, bellflowers, white bluebells, The doors need taking off their hinges, the tables need laying – The jelly, let’s hope it sets this time. Fresh, This morning The squeak of the hinges from the other room, the clatter of silverware, Mrs Dalloway comes to mind, when Peter Walsh said, ‘Musing among the vegetables?’ - was that it? – ‘I prefer men to cauliflowers’ she replies.
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s
Something reflected on the ceiling as the morning light reached the open window; The breeze kissed the window, it rattled, and a picture on the wall groaned, The light pirouettes, Dancing, She should get up, rise with the rooks, move from the window, She doesn’t, She sinks into the folds of the velvet sofa, and lets the breeze roll over her like a wave, Clouds gather, clouds dissolve.
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(since)
1810 COLLECTION
(trees) Rooks rising; open the French windows, let the clouds, the b r e e z e and the birds song in.
(teatime) The doors need taking off their hinges, the tables need laying – The jelly, let’s hope it sets this time.
Something reflected on the ceiling as the morning light reached the open window; The b r e e z e kissed the window, it rattled, and a picture on the wall groaned,
The light p i r o u e t t e s, Dancing,
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(cloud study) Spring s e e p s into summer,
g n
The gentle mist of an early morning; i i s w i n d i n g off the trees, r
OUTCOME 2.
The Story
(lady jane) All that was left were the flowers, wild flowers:
Poppies, cow parsley, bellflowers, white bluebells,
(herbarium) Fresh, This morning The s q u e a k of the hinges from the other room, the t c l a t t e r of silverware, t
Mrs Dalloway comes to mind, when Peter Walsh said, ‘Musing among the vegetables?’ - was that it? – ‘I prefer men to cauliflowers’ she replies.
She should get up, rise with the rooks, move from the window,
She doesn’t,
She sinks into the folds of the velvet sofa, and lets the b r e e z e roll over her like a wave, Clouds gather, clouds d i s s o l v e.
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Fig 25, Story Poster, 2014
(since)
1810 COLLECTION
(cloud study) Spring s e e p s into summer,
g n
The gentle mist of an early morning; i i s w i n d i n g off the trees, r
(trees) Rooks rising; open the French windows, let the clouds, the b r e e z e and the birds song in.
(lady jane) All that was left were the flowers, wild flowers:
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Poppies, cow parsley, bellflowers, white bluebells,
(herbarium) Fresh, This morning The s q u e a k of the hinges from the other room, the t c l a t t e r of silverware, t
Mrs Dalloway comes to mind, when Peter Walsh sa ‘Musing among the vegetables?’ - was that it? – ‘I prefer men to cauliflowers’ she replies.
(teatime) The doors need taking off their hinges, the tables need laying – The jelly, let’s hope it sets this time.
She should get up, rise with the rooks, move from the window,
Something reflected on the ceiling as the morning light reached the open window;
She doesn’t,
The b r e e z e kissed the window, it rattled, and a picture on the wall groaned, She sinks into the folds of the velvet sofa, The light p i r o u e t t e s, and lets the b r e e z e roll over her like a wave,
Dancing,
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Clouds gather, clouds d i s s o l v e.
Fig 26, Story Poster Spread, 2014
In order to create an interactive story element, a fold out story is to be placed in the store to accompany the quilt, offering imagery and a narrative to inspire the consumer in their choices.
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Fig 27, Story Poster Shoot, 2014
3
MAK INNOV
Developing experime
70
3.
KE IT VATIVE
an app for entation
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Innovation
as Luxury
OBJECTIVES OF APP: -To offer the consumer a contemporary
platform
digital
to aid the decision making process
instore and at-home
-To allow the consumer to access the collection both
-To enable the consumer to favourite and order samples
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Fig 29, Innovation, 2014
INITIAL IDEA
As part of the three-tiered approach across different touchpoints, we identified a need for a digital platform to allow consumers to view and access fabrics on their digital devices
Initially we aimed to enable consumers to visualise fabrics in their own homes. However, following a discussion with Heal’s and with student designer Lawrence Pollard of United Design Partnership, it was decided that basic features should be developed first, with more complex features added later, once consumers have become accustomed to using the service and high-tech 3D rendering technology is less complex to use. 74
Fig 30, Interior Visualisation, 2014
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HEAL’S APP PLAN
Information
Aim of app: To create a more collaborative interaction between retailer and consumer using different touch-points to inspire and guide the consumer throughout the decision making process.
Set of initial questions about what consumer is looking for including for which room, colour etc. Consumer can choose to skip questions and just browse.
Homepage
Page of questions/browsing option.
First page consumer accesses once app is downloaded.
Scan A site plan of the app was mapped out in a wireframe diagram before a prototype was designed reflecting Heal’s branding.
Use Smartphone to scan fabrics.
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Details including price
Based on answers to questions and filtering process, consumer is directed to fabrics that they may like. Can click on fabrics to view and find out info.
Inspiration
Able to see fabri in photo shoot/ editorial room se
Once fabric selected, co can see det of the fabric inspirationa and suggest what other products co with fabric.
Option to ad to favourites Page of fabric suggestions
Single fabric wi options to view
n
ic o
l/ etting
Suggestions What other fabrics might go well/ other Heal’s products.
Future Development
c is onsumer tails c, al imagery tions of fabrics/ ould go .
dd fabrics s.
ith different w.
Favourites Can be accessed directly from homepage.
Page of favourites (could be ways of categorizing these?)
Samples
Try
Customer can select from favourites to order samples to their home.
Customer can try fabrics in own home.
Page where consumers enter their details.
New part of app where consumer can take photo of their room and try fabrics/ products in it.
Favourites could be linked to and shared via Pinterest or Instagram?
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Fig 31, App Site Map, 2014
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Fig 32, Colour Palette, 2014
Fig 33, Final App Plan, 2014
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KEY FEATURES OF THE APP: - Questions to help consumer narrow down their choices - Consumer can scan fabrics in store to find out more details about them - Consumer can receive recommendations of products they may like depending on their preferences - Consumers can log their favourite fabrics and order samples via the app
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OUTCOME 3.
The App
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Fig 34, Matched For You App, 2014
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FUTURE DEVELOPMENT To enable the consumer to visualize fabrics in their own home using the app.
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Fig 35, Final App Design, 2014
(the app)
MATCHED FOR YOU DOWLOAD
(about) Eight artists, Eight fabrics,
one app. .
(key features) Questions to HELP NARROW DOWN FABRIC CHOICES, optional questions to answer, based on requirements.
(scan fabrics) Scan the fabric label in store, to VIEW: FABRIC DETAILS, COSTINGS, ORDER SAMPLES, OR SAVE IT FOR LATER,
(samples) Fast, And easy Select the fabrics you want and order, THROUGH THE PALM OF YOUR HAND
Heals wants to make your life easier, with a simplified way to give you confidents with your decisions, with ‘MATCHED FOR YOU’
‘A DIGITAL PLATFORM TO MANAGE YOUR FABRICSS IN
She downloads the app, browses the fabrics with her tea in bed, before entering the store,
THE She the fabric that she liked,
PALM OF YOUR HAND’
she scans the label, feeling the texture, add to favourites,
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weight,
(Heals).
Drape,
and orders a sample,
MAKE THE BEST CHOICE FOR YOUR HOME.
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Fig 36, App Guide, 2014
‘It’s about education. and teaching the consumer how they ca use pattern and how you can put colours together’ (Benham, 2014)
SAMPLE PACKAGE Sample packages will be created to suggest which plains go with which designs, and with what paint colours, so for the undecided consumer, informed decisions have been made for them, to assist their confidence. 88
...
an w s
89 Fig 37, Colour Samples, 2014
CONCLUSION Physical fabric samples will always be at the core of the decision making process. However, in creating a luxurious multi-platform service for Heal’s, we have enhanced an outdated product that currently exists in isolation, by forming a better dialogue with the touch points that the modern consumer has. However consumers prefer to make their decisions, choosing fabrics is a very personal journey. By offering pertinent and timely touch points to guide and inspire every consumer, the ‘Matched For You’ service matches consumer aspirations with products, assisting them to make the best decisions for their interiors, with no regrets.
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QUILT
STORY
APP
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Fig 38, Conclusion, 2014
BIBLIOG
&
APPEN
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GRAPHY
&
NDIX
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LIST OF ILLUSTRATIONS
Figure 22: Story Moodboard, 2014 [Own Image].
Figure 1: Three-Tiered Approach, 2014 [Own Image].
Figure 23: Silk Fabric, 2014 [Group images].
Figure 2: Presentation Boards, 2014 [Group Images].
Figure 24: Pink Silk Fabric, 2014 [Group images].
Figure 3: Maslow’s Hierarchy of Needs, 2014 [Own Diagram].
Figure 25: Story Poster, 2014 [Group image].
Figure 4: Industry Research Overview, 2014 [Own Diagram].
Figure 26: Story Poster Spread, 2014 [Group images].
Figure 5: Consumer Decision Journeys, 2014 [Own Diagram].
Figure 27: Story Poster Shoot, 2014 [Group images].
Figure 6: Pike Textiles Visit, 2014 [Own Moodboard].
Figure 28: Wilson, J. 2014 Jessica Zoob, 2014 [own moodboard].
Figure 7: Anon, 2014. Heal’s Building [digital image]. Heals.com. Available at: http://www. heals.co.uk/heals-heritage/heals-building/page/healsbuilding [Accessed 05 May 2014]
Figure 29: Wilson, J. 2014. Innovation [Own Moodboard]. Figure 30: Wilson, J. 2014. Interior Visualisation [Own images].
Figure 8: Heal’s History, 2014 [Own moodboard].
Figure 31: Wilson, J. 2014. App Site Map [Own Diagram].
Figure 9: Online Presence, 2014 [Own moodbaord].
Figure 32: Wilson, J. 2014. Colour Palette [Own Moodboard].
Figure 10: Heal’s Marketing, 2014 [Own moodboard].
Figure 33: Final App Plan, 2014 [Rebecca Seaman’s Image].
Figure 11: Heal’s Competitors, 2014 [Own diagram].
Figure 34: Matched For You App, 2014 [Rebecca Seaman’s Image].
Figure 12: Masters, A. 2014. Illustration.
Figure 35: Final App Design, 2014 [Group Images].
Figure 13: Heal’s store, 2014 [Own Moodboard].
Figure 36: App Guide, 2014 [Group Images].
Figure 14: Versatility, 2014 [Own Moodboard].
Figure 37: Colour Samples, 2014 [Rebecca Seaman’s Images].
Figure 15: Development, 2014 [Rebecca Seaman’s Sketches].
Figure 38: Conclusion, 2014 [Own Image].
Figure 16: Patchwork Quilts, 2014 [Own Moodboard]. Figure 17: Quilt Making Process, 2014 [Alex Masters’ digital images].
LIST OF REFERENCES
Figure 18: Final Quilt, 2014 [Group Image].
Adams, C., and Allen. J. Pike Textiles. Interview with Alexandra Masters, Jemima Wilson and Rebecca Baverstock-Seaman, Cambridgeshire, 18th March 2014
Figure 19: Final Quilt in Situ, 2014 [Group Image].
Benham, P., 2014. Head of Fabrics and Design at Heal’s. Interview with Alexandra Masters, Jemima Wilson and Rebecca Seaman, London, 8th of April 2014
Figure 20: Final Quilt Hung in Light, 2014 [Group Image]. Figure 21: Heal’s Moodboard, 2014 [Group Image].
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BIBLIOGRAPHY
BURNS, O. 2014. Jessica Zoob for Romo Black [online]. OB Blog. Available at: http://www. oliverburns.com/2014/02/14/jessica-zoob-for-romo-black/ [Accessed 03 March 2014]
Adams, C., and Allen. J. Pike Textiles. Interview with Alexandra Masters, Jemima Wilson and Rebecca Baverstock-Seaman, Cambridgeshire, 18th March 2014 Anon. (2013). How to provide digital print for fashion and interior design [Online]. Available at: http://www.fespa.com/news/industry-news/touring-through-interior-print-design-and-print. html [Accessed on 20/12/13] Anon. (2012).The History of interior design. [Online]. Available at: http://visual.ly/historyinterior-design [Accessed on 05/11/13]. Anon. (n.d). Sample fabric binding. [Online]. Available at: http://www.samplingint.co.uk/ fabrics.php[Accessed on 10/03/14]. Anon, (2014). Heal’s Fabric Launch. [Online]. Available at: http://www.heals.co.uk/page/fabrics [Accessed on 5/05/14]. Anon. (n.d). Magnetic spiral bound book. [Online]. Available at: http://www.google.com/ patents/US5709409 [Accessed 07/03/14]. Anon. 2013. Representative of Osborne and Little. Interview with Alexandra Masters, London, 29th October 2013 Anon, 2014. Homestyler Interior Design [online]. AppAnnie.com. Available at: http://www. appannie.com/apps/ios/app/homestyler-interior-design/ [Accessed 20 March 2014] Anon, 2012. Olioboard has Sprung [online]. Thelovelyside.com. Available at: http://www. thelovelyside.com/2012/02/olioboard-spring-has-sprung.html [Accessed 14 April] Anon, 2013. 3D Remodel of study [online]. Available at: http://www.moko3d.com/digitalmakeover-from-study-to-bedroom.html [Accessed 15 April] Ashcroft, C., 2013. Independent Clothing Retailer and Stylist. Focus Group with Alexandra Masters, Surrey, 20th April 2014 Beattie, A., 2013. Florist. Focus Group with Alexandra Masters, Surrey, 20th April 2014
CAIRNSMITH, 2014. Sheer Industries Group [online]. Available at: http://www.cairnsmith. com/ [Accessed 15 April 2014] Carlson, A. (2009). Why pictures speak louder than words. [Online}. Available at: http://ddunleavy.typepad.com/the_big_picture/2009/07/why-pictures-speak-louder-than-words.html [Accessed on 05/11/13] Coulston, T., 2013. Owner of JRC Imports, Fashion Textiles Design Company. Interview with Alexandra Masters, London, 30th January 2014 Dennison, S., 2014. Creative Director of Cole and Son. Interview with Betty Wood, Monocle Online. Available at: http://www.port-magazine.com/design/at-work-cole-son-wallpaper-designers [Accessed 24th January 2014] Design Centre, Chelsea Harbour., 2014. [Online] Available at: http://www.dcch.co.uk [Accessed 20th October 2013] Fawcett-Tang, R. (2004). New book design. London: Laurence King Publishing. Floriani, F. (2013). Turkish red. [Online]. [Available at: http://www.trendtablet.com/4155talking-textiles/ [Accessed 26/01/14]. Floriani, F. (2013). Teixidors. [Online]. Available at: http://www.trendtablet.com/4155-talkingtextiles/ [Accessed 26/01/14]. Friend, R., 2014. Patterning Manager for Sanderson. Telephone Interview with Rebecca Seaman, 6th January 2014 Hall, I. (2009). Embroidered books. London: Anova Books Company Ltd. Page 21. Image of a book binding. Heals., 2014. HEAL’s Heritage. [online] Available at: http://www.heals.co.uk/heals-heritage/ heals-heritage/page/healsheritage [Accessed 18th March 2014] Kelm, D. (2012). Removable Pages. [Online]. Available at: https://www.guildofbookworkers.org/sites/default/files/standards/2012_DanielKelm_RemovablePages.pdf [Accessed on 07/03/14].
Benham, P., 2014. Head of Fabrics and Design at Heal’s. Interview with Alexandra Masters, Jemima Wilson and Rebecca Seaman, London, 8th of April 2014
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MARKS, K. 2012. Pinch and paste app boosts your interior design skills [online]. Newscientist. com. Available at: http://www.newscientist.com/blogs/onepercent/2012/12/pinch-and-pastetextures.html [Accessed 02 April 2014] McLeod, 2007. Maslow’s Hierarchy of Needs [online]. SimplyPhsychology.com. Available at: http://www.simplypsychology.org/maslow.html [Accessed 07 May 2014]
Teixidors. (2010). Incio. [Online]. Available at: http://www.teixidors.com/ [Accessed 26/01/14]. Teixidors. (1983). Proyecto. [Online]. Available at: http://www.teixidors.com/ [Accessed 26/01/14]. The Society of British and International Design, 2013. The History of Interior Design [Online]. Available at: http://www.sbid.org/2013/08/the-history-of-interior-design/ [Accessed 30th December 2013]
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Scamell-Katx, S., 2012. The Art of Shopping. London: LID Publishing SHEER INDUSTRIES, 2014. Sheer Industries Group [online]. Available at: http://www.sheerindustries.com/ [Accessed 15 April] Smiley, J. (2005). Art of Fabric Books - The - Print on Demand Edition: Innovative Ways To Use Fabric In Scrapbooks, Altered Books & More. California: C&T Publishing Smith, Z., 2012. N-W. London: Penguin Books St.Claire, D., 2013. Housewife. Interview with Alexandra Masters, Surrey, 17th January 2014 TAN, V. 2012. Cairnsmith Communicates Your Interior Design Ideas [online]. Techinasia. com. Available at: http://www.techinasia.com/cairnsmith/ [Accessed 02 March 2014] Taylor, M and Preston, J., 2006. Intimus: Interior Design Theory Reader. West Sussex: John Wiley and Sons 96
APPENDIX
1.1
From: “Edwards, Louise” <LEdwards@heals.co.uk> To: Alexandra Masters <alexandra.masters@btinternet.com> Sent: Thursday, 27 March 2014, 10:03 Subject: RE: Project with Pike - Meeting?
APPENDIX ONE - INTERVIEW WITH PIA BENHAM - HEAL’S 1.0
Hello Alex,
From: Alexandra Masters <alexandra.masters@btinternet.com> To: “pbenham@heals.co.uk” <pbenham@heals.co.uk> Cc: “malger@heals.co.uk” <malger@heals.co.uk> Sent: Tuesday, 25 March 2014, 8:14 Subject: Project with Pike - Meeting?
Hope you are well. How does Tuesday 8th April at 11am sound? Look forward to hearing from you.
Good Morning Pia and Michelle,
Best wishes,
I am presuming that through Caroline Adams of Pike, you have seen an email regarding our work with them, and that we are eager to arrange a meeting with you at your earliest convenience. Just in case, below are the details in brief of what our project surrounds:
Louise Louise Edwards Fabrics & Design Co-ordinator HEAL’s 196 Tottenham Court Road London W1T 7LQ (T) 020 7896 7506 www.heals.co.uk
We are studying Fashion Communication and Promotion and in our third year working as team (Jemima, myself and Rebecca) to come up with ideas to innovate the pattern book to reflect the luxurious nature of the industry. We are at the stage where we need to start designing and mocking up our concept, which currently stands as a three tiered approach: Make it Versatile, Make it Innovative, Make it a Story. We feel that Heal’s, as an artistically persuaded retailer, is perfect to create a brand specific strategy. Essentially, we want to create a more versatile pattern book (even considering a patchwork quilt idea), we want to integrate a way to utilise the consumer with the handheld device by offering a digital service and we want to create an artistic story, perhaps in a booklet that offers the consumer a beautiful piece of added content that fuels their passion for beautiful interior fabrics. We would like to discuss with you our ideas, show you some mock-ups and look at the viability of the best way to create a bespoke project for Heal’s with Pike Textiles.
1.2 From: Benham, Pia Sent: 08 April 2014 14:21 To: ‘Alexandra Masters’ Subject: RE: Thank you Hi Alex,
We are eager to source some vintage interior fabrics Heal’s are known for too - like the retro design by Cressida Bell, so although on a student budget it would be great to get some advice how to acquire a selection, particularly the ones you have just relaunched. If it would be possible to create a patchwork-patternbook that really shows of these gorgeous prints, we think it has the potential to be an exciting concept - even if not the final outcome.
Thanks to you and Jemima and Rebecca for coming in, interesting project! I will leave a bundle of fabric for you at the reception on the 6th floor addressed to you. It will be there from this evening so come over anytime that works from tomorrow onwards.
If we could arrange to meet you, when would best suit? We are looking at the beginning of April? Kind regards, Alex Masters, Jemima Wilson and Rebecca Seaman
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Please be aware that the fabrics are samples so these mustn’t make it onto anywhere for sale (e.g. ebay) this is purely for your project as this route is the only way I can offer free bits for you. Look forward to hearing how you get on, Pia
PB: Again, that’s showing scale, which is really important –
1.3
RB: I think at the moment you see a collection and you see one hundred pillows all in the different fabrics, and it’s a bit like ‘Woah! I’m not gonna want all of those’ in a room, so –
Interviewee: Pia Benham, Head of Fabrics and Design at Heal’s Interviewer: Alexandra Masters, Jemima Wilson and Rebecca Baverstock-Seaman Date: 8th April 2014 Face-to-Face Interview
PB: I completely agree. I think looking at the magazine lifestyle shop or looking at Joe Blogg’s looking for fabric –
JW: So, we’re currently working with a company called Pike Textiles who manufacture the pattern books for fabrics. No they’re vey aware that the role of the pattern book is perhaps going to be not as important in the future in terms of, digital being more commonplace and being used more widely adopted in various different industries. They think that the pattern book has got o be supplemented by something else, in order to give the consumer an engaging experience when choosing fabrics. And also, making the process a little less laborious, and time consuming and a little bit more interactive. We came up with a set of strategic recommendations from the research segment of our project. We know the pattern book as a product will always be extremely important. It’s a necessity for people to feel and experiment with the fabrics, but we are looking at other ways that we can innovate this as well as looking at the product and thinking about how that could be made more engaging, interactive, for the consumer to actually use. PB: Interestingly, when we were putting the fabric department downstairs, just thinking about it as a customer experience, rather than a trade action, one of the things that I felt quite strongly about, was not having pattern books, but having hangers, because I think for many people if you’ve only got that much fabric, and you’re not a creative mind, you’re not trained in that way, that Is a very limiting thing, that you can’t put it on a piece of furniture and you can’t get an idea of scale, or repeat. So, I would keep that somewhere within your mind. And think about John Lewis you see outrageous amounts of fabrics, they’ve just got hangers, and they only have books for the wallpapers, and I think that’s really telling with regards to a real middle-market customer. And thinking very clearly about the distinctions between consumer and trade are vey important. So yes, if you’re and interior designer, like I once was, book are a pain in the arse as they’re bunchy and difficult to handle. That’s why large pieces of fabric, and if you’re looking at the interactive side as well, it is how things go onto product. So, Heal’s for example, one of the things I wanted to do, was to get the same chair form covered in all of the fabrics so you can look at scale, and straight away say ‘that works on that’, and that may be where 3D comes in, to perhaps allow in a standardised way the ability to view surface pattern in the right scale. It’s a real killer. JW: One of the things that we looked at in terms of approach, was to take three different approaches, one was to look at the book as a physical product, and whether that is a book or not – it doesn’t have to be a book, because the book is quite restricting. We then looked at forming a narrative so the consumer could have some form of inspiration, in terms of an editorial or more imagery – 98
AM: I think looking at this bookshelf demonstrates how you look at the shelf and all you see are spines, and its difficult for Joe Blogg’s to navigate through this, so the consumer does need some prompts. So what you’ve down downstairs is very interesting. Cause, you’ve got a great space, but you’ve created products out of the surface patterns and you’ve got them hanging, as you just said and that’s invaluable for a consumer that doesn’t have vision. I think its easy to take it for granted if you’re an interior designer, or a creative. And – JW: In terms of visualisation, the other thing we have been looking at is perhaps a digital tool. So, in terms of allowing the consumer to visualise what that fabric might look like in their home. Now, Ikea have an augmented reality app that allows you to visualise items in a room. We’ve spoken to some design companies who create visualisations and things like that to say, via your i-pad or i-phone you could see how that fabric is going to look like in my room. In terms of proximation, we are looking at how accurate that could be. PB: It’s really interesting. Before I worked here I worked for a an online company looking at such technologies, and my major bit of advise when it comes to digital visualisation is to remember who your customer is. Because its very easy to get sucked into these amazing technologies that are about, but the average consumer is an older woman who is rushing about, and dropping the kids of at school and only have half an hour, and if its something where they’re thinking ‘Holy cow, how the hell do I use this?’ I think it can be brilliant using an app, and something which caught my eye, and augmented reality is going to keep growing and growing and growing, and in terms of a furniture point of view, you’ve got an added layer of complexity in that you’ve gotta get your fabric onto the different shapes. One of the apps I worked on before and I liked, involved taking a photograph of a space, and admittedly, it was an eight-hour turnaround – but this was a while ago. About three years ago it was. You take a photograph, and then it creates an outline, and if you have all the information about your fabric, you can then drag and drop different fabrics, wallpapers and paints. Wallpapers and paints work very well, because it is very easy – JW: We had said, working on a flat surface, such as wallpaper, is a lot easier than trying to fit it onto a sofa – PB: It could just be the start of a process, so maybe you have some basic furniture shapes, so classic, contemporary, vintage collection and you have all of those modelled in a way that you know works with those fabrics. You would have to work with a good 3D modeller to look at how you do it. Sofa.com are very good with their upholstery and an American company called Dwell studios, and she used to do all of her fabrics – she’s very good actually – she’s a furniture home
and fabric is always her starting point, and the way she visualised it and puts the fabric on top of things, that I how it used to be done. I think 3D is key, and the future is 3D. But its knowing what its useful for, and taking the pain our of it. I you don’t work in the industry, its hard to know what the details of a fabric and its drapes means. Again, its things like the symbols, within reason its probably understandable, but is it as clear as it could be when you’re trying to guide people, and if it was standardised across all fabric books, I know Pike do most, again its just thinking, who is your most stupid customer, and making it as simple as possible for them, so that it doesn’t become a pain. When you get put in front of hundreds of fabric books, and downstairs there is an element of that – you have to have trained staff to guide the consumer, so I think you’re lifestyle element is key, but also your texture and your feel and your price-point. How do we feel by the way the pricing structure is done, because at the moment you have to flick about and try and find a price. When you’re hovering your phone over the fabric, could the details of the pricings come up and what purpose its good for – a blind or – JW: We did have an idea of how you could scan it – scan the label and all the information on it would come up. PB: That would be great because currently, you end up with lists and scraps of paper. AM: We also thought about – say this notepad was a pattern book – you could go – like, like, like somehow via your phone with a press of a button. Because then you could have a backlog, where upon post-purchase, or post-experience, you could reflect when you’re back at home, and order sample. It would be a great way to narrow-down your options. JW: We’ve conducted observations, where we have watched pattern books being held open by things, and they loose the fabrics that they liked, so you could have a list of fabrics that you liked –
RB: A log of everything you liked -PB: Another layer on top of this may be to look at other
colours that goes with certain fabrics. So what plains could go with what fabrics, or colours of paints – again, as long as it is done in a really simple way. Simplicity absolutely has to be key. And keeping the consumer on top of it all, cause its very easy when you get on the tech-side of things to go ‘Oh my goodness, you can do that!’ but if you end up saying ‘Hang-on, no one can use it’ and its complicated, then it loses its quickness. I think as well with the app element, there’s nothing more boring, irritating, than having to fill out these bloody forms, with code numbers, design etcetera and then you’re on a different supplier, and you have to set up a new page, put your address in – its really boring. So again, I think samples are really important, and you just need to pull it all together – 99
having to fill out these bloody forms, with code numbers, design etcetera and then you’re on a different supplier, and you have to set up a new page, put your address in – its really boring. So again, I think samples are really important, and you just need to pull it all together – JW: We’ve been looking at the decision-making process, and what are the touch-points in terms of looking at our three areas of focus. What order does the consumer try an access these different things? The pattern-books? The inspiration? Does it vary? PB: I think its probably quite varied, but I think inspiration is key. If you think about the people that can afford the time and money to think about sourcing fabrics for bespoke curtains, with lining, and you know, we’re taking thousands, so there’s an element of sourcing inspiration from an aspirational platform, like a magazine. So, they’re coming in with a bit of an idea. I was talking to a guy that came in for wallpaper, but he was saying ‘I’ve got a dark room, and I was thinking about something really unique, outrageous and amazing for this bit, but I don’t know what’ – you instantly know price-point isn’t really a problem, and you start to build a picture. Generally with curtains and blinds, people want the basics, they want linen and a mink colour. Its very much affected by what they see in magazines and at friends houses. RB: Would you say that predominantly there’s a growing demand to look towards digital to look for inspiration? Or online? PB: The magazine industry is shrinking. Its getting much smaller, and I think that the people who are buying magazine are people who want to sit in a bath and read them. Interestingly, another thing that came out recently was that people who have subscriptions to certain magazine are people who are less likely to buy them at magazine stands. There’s an element of excitement that you have chosen magazine, so I think that people who buy them do really look at them – JW: And then there’s Pinterest now, and people seem to use it so much – PB: That’s my go-to now – JW: Its great that Heal’s have their Instagram, twitter, Pinterest, and all those sorts of things that people can look at for inspiration. We really like the 1810 fabric range, and for our project we have to come up with creative outcomes and we were thinking about using that range in order to apply and focus it – PB: I think with that, its about education and teaching the consumer how they can use pattern and how you can put colours together. And if you have an app, and can use some sort of technology which almost draws what the consumer is looking for and target that through social media cannot be underestimated.
It’s just, it almost becomes a three sixty where a load of customers have done this and they’ve gone through the process and that now inspires them. And it’s just really any information you can get from their searching, so maybe saving on pinterest, but having done similar to this, what does generally happen is that you have a few hard-and-fast customers who do this, but your main customer will be going down the route of ‘I’m looking at a pattern book, I want to know what price it is, look at scale, so that’s what is going to be used by the majority, unless it is super simple. 95% will be doing the really useful bit, as much as it’s lovely to have the big offer, at the core of it is customer journey and making it simple. RS: It’s interesting that when I was speaking to someone at an interior store in Nottingham, he was criticising the consumer saying ‘this is the way we do it because it’s easier for us’ basically. We were thing the customer is your priority surely? PB: It’s amazing how much of that attitude exists. I think for me I’ve learned from the entrepreneurial bit, it had to go back to simplicity; it’s no good if it can’t be used by the customer or by the trade. You haven’t sold your issue then. Be clear about what you are doing and for who, and I think customer is an amazing thing. They are using their phones a lot more, and that would be really interesting. RS: At the moment, with your samples, you don’t do recommendations of ‘Oh if you’ve picked this, that will go with that’? PB: We don’t, no, but I’d like to be doing that. It’s funny when you’ve got Heal’s who have undergone new management recently, but you’ve got to get the store staff behind it, encouraging people to make mood-boards, to build a scheme, which encourages people to have fun and experiement. But also appreciating, that when someone is spending three grand on a pair of curtains, they want them forever. So it’s about being sensitive and also pushing them that little bit. JW: We are looking to create something that would encourage people to experiment a bit, in order to increase their confidence so they know they are making the right decision. PB: If you push people just that extra five percent, to encourage them to be a little bit different they will feel a whole lot better. And next time they might be more confident. Confidence is the issue. AM: I suppose really we are doing two things; we are trying to get rid of the labour of it and make it more practical, so making the selection easier, but we’re also taking an artistic eye and trying to think out of the box to create a bit more excitement for the consumer as well. So we were trying to look outside of the actual pattern book. So we were thinking of what if it was a quilt, with an adjoining story.
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JW: And we are thinking of applying it to a collection, and we really like the 18.10 collection. PB: I think it’s a really interesting one, because in a way it’s like you’ve got the starting point of that collection, the next collection we’re doing more housdstooth, jacquard, really layering it up, but this is very much about the press. JW: The video is great. AW: So are you saying the purpose of this was about gaining media and press? PB: Yes, and also that it’s a product line, but from a fabric department perspective, and what I want to be doing downstairs, is taking these designers and saying these plains go with it...But its how you encourage people to use these things. So it might be that you line a chair and you see a flash of stripes or whatever. JW: Because your average customer might not think of these things, or know it’s possible. PB: It can give a starting point, of what are you looking for, what question are you trying to solve from a customer, and it most likely will be for a sitting room, then you ask the questions, is it North or South facing...And it’s about an interior design route, asking people what colours are in their wardrobes. AM: Does the training of your staff reflect that? PB: Yes we have training, and it’s about confidence, not having trained interior designers, but solving the problem of confidence in a really nice way. That opens up a whole new kind of directon. But I do think help and education is key. In a way it’s plugging into social media that is already there, rather than trying to make your own. Where I worked previously we had 250,000 people in a community, and it’s how you tap into that. JW: The other thing we thought about was creating a film, and we played around with fabrics and did a photoshoot to bring the fabrics to life and show them in a different perspective. We thought a film could be a nice way to tap into social media, it could be in store and it could be shared. AM: I think getting the consumer excited about having something inserted in their homes. PB: Absolutely, and creating a visual library, something like pinterest, or polyvore, and you can use that content back on your site. Trying to use what’s there, in terms of inspiration. What I really like, that we used to do, is a visual questionnaire, so trying to find out what the consumer wants to get out of it, so that you can then lead them down a specific route. For example, what sort of home do you live in? Do you have kids? What colours do you like?
AM: Did you stop that then? PB: Yes, the problem was keeping the content updated. I think a simpler version of that would work. We would suggest products that would then become unavailable, and it would need updating. RS: You could have it where can see what Heal’s are suggesting, then you look through, and it’s a starting point. And that’s something they can choose to do. JW: The consumer is ready for innovation in this industry. They are using apps and smartphones to make decisions in other areas of their lives. From 33 mins till end… RB: Not changing the store too much, because if you have got those traditional consumers.. JW: you still have the book, the book is still key.. RS: and as generations go on, technology is continuing to grow and becoming a demand. PB: I agree and anything that you can do to make the process simpler, ordering samples easier and helping people to think about how to do it would be brilliant. I think the core is to simplify what is current. RB: With the samples, it could be another idea to have a visualisation with the samples, to give the consumers something a bit more than just the fabric itself. PB: Yeah, I think it all comes down to the way that you do it, and will be something that you will have to think about quite hard because of cost. The minute you start sending out samples you will have all of Pike’s costing, what it cost to send out. If you start adding colour copies or that’s when your app comes in and links in with the two, you get your sample and then you can have a look at scale and colour code and all the information and pricings. Generally there isn’t pricing on the samples. Again that sort of thing, the same core information whether you are in store or you have go your sample at home, but if your allowing, you know, here are three other fabrics that go really well with it that is an amazing thing but you know it becomes a database for … JW: The thing is with specification is ordering different selections of fabrics so every single sample request would require a certain amount of curation in terms of what’s going to go with the particular fabric.
This colour goes well with these colours and then you can edit and it almost teaches the system, so there are lots of things that you can do, but it is not time heavy having done it, you can do the sort of by the look all of this but it does take a long time to start with. JW: the consumers can download the app and look at the fabrics in more detail and try different things with them and that would be a different way of doing it wouldn’t it. RB: Another thing that maybe possible is you know the specific fabric that automatically is a search on Pinterest and any content that is associated to that fabric is pulled through. Again an element of hit or miss but that may have results it may not it becomes a trickier thing. AM: So what are your plans to, as obviously you said you were under new management, there maybe a lot of changes, what are your plans to move Heals forward though fabric. RB: The main thing is bringing up sort of the new Heals fabric business and that then intern will go into upholstery so we are doing this new fabric looks around that. But again I think education is key so it is how can you use pattern and its really educating them and the staff. One of the major things when I started was getting consultants who basically get trained, whether they want to or not, because knowledge is the main thing but I think also looking at things like hangers so where I can get free hangers I am going to get them, and then the books being taken away. I think books are hard so this is why I was interested in seeing your project, I do feel it is tricky and also just I have done Friday trying to order loads of samples and the amount of paper I think I had like 8 pieces of paper, I just scribbled Pia on the top rather than having to fill out my name and address 8 times because they know where I am. It about trying to showcase and help people. I had loads of samples downstairs to try and encourage people to, in books hey are all attached so any spare samples that we had it allowed people to take them out and play with them. RB: Yeah that was our main thing, this idea of versatility and being able to not have the restriction of the book. The only issue we have come across with having the fabric rolled up is that because there is quite a lot you need to have the help to get them down, which I guess is good in a way because you then get the expertise from the assistance. But if they want to come in and have a browse then in that way I suppose the book is good because they can just flick through on their own other wise you need to have help to bring it down. I mean this is probably a minority anyway. PB: What I meant was fabric on hangers not on rolls.
RB: That’s where you almost need to be doing it on a bigger scale, but then again it becomes difficult with the technology and a lot of it has to start by hand, you can get a lot of technology which can help you in terms of looking at colour and print and you can make rules. 101
AM: so are you saying you can take them off the hangers. PB: So yeah you literally just unhook it and then you can lay it onto a piece of furniture. One of the brilliant things, well what I generally do is, if I am looking at a scale I will lay the fabric over a sofa walk away photograph it and then I will look at the photograph and straight away I can go no that scale is wrong. So I think that the kind of technology side of things is really useful. RB: Yeah and having them both as well. JW: Would there be anyway that we could get our hands on some of the 1810 samples?
I use to years ago work with Brintons doing carpet designs and we use to supply, when we sent samples out, we would send a Dulux colour card of all the colours that would work with that. So again it just so simple but it just takes that extra step. I think that for me is the next step in our company because it should have been done, which is just showing people that these work well. We are possibly going to do a paint range where a limited offer of colour but its almost like you are really good white your really good pale grey you really good mid tones, which then within reason almost rather than you trying them out yourself, we know these colours work as the colours are use around the store so you can see a big piece of it. rather than buying the paint putting it on the wall and thinking ahh this looks awful! I think so education, simplicity and keeping the customer absolutely centred to what you are thinking about, that would be my top advice.
PB: Yes, I can send you some samples. AM: Hopefully once we get the chance to mock up our ideas it would be great to come here and show you them. RB: Have you ever seen anything other than the hangers or the rolls, or anything that is different that has been done. P: I think it is only umm, I remember trade shows are great way of actually seeing how people show their fabrics. Even things like Chelsea harbour you will find that the majority of them have hangers and Catherine Island and American designer, who uses it simply but uses huge pieces of fabric that kind of the traditional hanger top but they would literally just be tied round, so straight away you can hold out a piece of fabric and that’s sort of one of my inspirations. We are now realising that our 1.5 metre samples are now too big and I am now doing it to half that width because I don’t think I actually need a full width, you still get enough of an effect. So it is almost tweaking and finding the point where actually the size is the right size rather than necessarily having to spend a huge amount of money all these large pieces. I think that its just, its having a department where or having an area where it is accessible because there is nothing worse than going in somewhere and its really neat and tidy and everyone feels like they cant touch it. You want that element, finding a balance between messy and disorganised and neat and actually feeling like you can touch something because it’s got to be inviting. The old department before I joined, had 8 main fabric houses and they all had a table and it was so dry and actually all that says to me if I want designers guild well then I will just go to designers guild shop, rather than us curating and saying well these are really interesting. Also within this market that you have got the John Lewis that has so much stuff there so for me what I want here is to have ort of a range of stuff which has that exclusive feel to it and well trained staff because it makes up for almost what lacks with what your doing to really help people to try and manoeuvre their way around, spending a lot of money and wanting to be happy when they get there where you can do things like mood boards and starting points and these colours work really well.
AM: In terms of the store and the departments, do you consider fabric as its own separate entity or if you are dealing with somebody who said ‘oh I want this fabric’ do you have ways where you try and up sell, so you will say ‘oh that goes well with this painting that you will find their’, or if your looking for a sofa.. PB: Yeah, we have a styling service that we launched at the end of last year which is still very early days but it is about having that personal shopper and its not about the whole home it is about helping so if they like this then you can suggest other things. Again it comes back to this, its helping but not over helping because they don’t want you to reinvent their life they just want you to say actually that looks great or that isn’t quite right have you tried this. JW: and people do appreciate guidance, especially with these, like you said, big decisions. A lot of money is being spent and you want to be sure. PB: Yeah and it they have never done it before then they want to be sure. Its one thing buying a cushion but it is a very different thing thinking right I am going to really think about the whole of it. One of this big mistakes when the customer thinks right I want to buy this green sofa and then haven’t actually thought about the rest of the room yet., so then you have to work it out around that rather than putting it all on paper on a moodboard and thinking right green sofa these colours and play around with different looks first. That for me is one of my major frustrations with talking to people and they are like, ‘well I have just bought this amazing piece what goes with it’, you can work around it but it just makes your life harder but again its knowing your customer and working with the lowest common denominator, without sounding mean. Because no one wants to be struggling or confused, other wise they just give up. RB: For someone that knows how to use the app its fine but its not going to offend them if you do keep it simple. PB: All the best inventions are simple. So don’t over complicate f you can help it, if you can’t explain what you are doing in a couple of sentences then your doing too much. We don’t do a huge amount of digital in here.
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JW: is it quite a new thing?
APPENDIX TWO - INTERVIEW WITH IAN TURNER - HOPEWELLS
PB: It is something that the head of online is looking at with the augmented reality but Heals is quite an old fashioned beast, but aware of what it needs to do.
Hopewells Manager
JW: Its not about changing its about moving with the times.
Nottingham 14th March 2014
AM: Keeping it contemporary whilst acknowledging your heritage. PB: That’s exactly right. I think it’s also just keeping it simple enough that people come round to it rather than think they can’t do it.
RS: What are the main stages that consumers will look through the pattern book before they purchase? Is it to gain inspiration, do they have a look in mind, do they come back to reaffirm their decision? IT: Some of the consumers know the pattern better than I do. They have done their research and /or they are just so interested that they know their designers well. With our consumers, some of them know what they want whilst others know nothing, so it’s a nice variation. As soon as a customer comes in we go straight to them and greet them, let them be and then approach them a bit later on whilst we observe their body language to see how much help they may need and whether or not they are confident in knowing what they want. Some consumers come in just for a general browse to gain inspiration, whilst I suppose other shave ideas of what they want but don’t realise they are getting inspiration when looking through the pattern books and the environment around them. Quite a lot of the time consumers, although think they haven’t got a clue what they want, do actually know what they want and have an idea. That’s where we come in to get that information to come to the surface of the consumers mind. We have an average of ¾ questions we ask that enables us to work out exactly what they want and the style they are looking for. RS: What point in the consumers decision-making process does the consumer order samples? How many roughly is the average amount of samples? IT: At any point really, when they want to gain inspiration when they want to try out something new and when they are at the final stages of their decision making process. We tend to actually lend out a maximum of three fabric books on a deposit so that they can get a good range of samples instantly, with no fuss and saves using up more and more fabrics, when sending out the samples. RS: What type of bindings have you seen used for the pattern book? Are they all very similar? IT: Most pattern books are bound in the same way, it’s the most efficient way at the moment. I have seen books that Romo did a few years ago, where the fabrics could be unscrewed.
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They were known as library books. How they worked was you were given 25 books, and in each book all the fabric samples could be removed so that when you got new designs you could change them without purchasing new books. The concept was great but it just didn’t work. In our store it was just too much, extremely time consuming to add and remove 40 fabrics for 25 different books and organize each of them. It was great for the consumer they loved it but for companies it just didn’t work. After the cost of labour you may as well have just purchased a book anyway. Would have cost the same in the end with less hassle.
RS: Do you just have one book for particular styles? IT: they are separated into collections and some here like the room have separated them into patterns such as stripes. RS: Do you think that it would make life easier if you could remove the fabrics from the book so you could properly see the fabrics? Do you think it will help companies have less of a bulky book because you can swap and change that fabrics that you have in the book to keep it new and fresh?
RS: So what about an idea of making the book more versatile by adding removable fabrics within a ready prepared book, similar to Romo but with the store fiddling about constantly organizing and changing the books.
IT: Like a said with a big company it wont work as it makes it much harder for the staff. RS: What about smaller businesses with a lot less books. Here you have hundreds of books, where I have seen some that don’t have as much and could manage to work with something more versatile like that.
IT: Once again that is just a nightmare for us staff. Consumers will grab them out and place them in all different areas of the store. And we have 5 floors. You would then need to know what went in what book. We had some samples and it was more work than necessary. I think big companies would really struggle.
T: We do need lots of books. We can afford to have consumers come to us from all over and expect to see a particular fabric that they have seen somewhere and us not have it. As staff we need to know just about everything in each of the books and everything else in store so that we can give our customers the appropriate and best information and advice that is possible.
RS: But what about the consumers? How did they make to the idea? IT: The consumers of course loved the idea, it was easy for them. They are always grabbing at the fabrics anyway trying to rip them out. Some have even cut the fabrics out of our books too. If you could get the fabrics to have maybe some identity mark to them so that it was easy to mark out where they came from, or even a tag so that you physically couldn’t pull them out of the book, but just getting a bit more leeway.
Smaller businesses have less staff and they cant afford to be playing around with the fabrics when they have got other customers to serve. RS: How would you describe your clientele? Low, Mid or High class, in comparison to other interior design stores?
You also need to think about the fact the consumers may steal the fabrics if they are removable.
IT: We get a range of all types of consumers some that would spend £25,000 on curtains and others that would spend £100. No customer is like the next, I guess that what I love about the job, nothing is ever the same, no house no look everyone is different.
RS: What is the best pattern books that you have come across/ why? IT: At the moment the books are the way they are because, although manufactures are trying to find different ways to do it, they just haven’t been successful yet. RS: How many fabrics/ pages are generally in one of your pattern books? Does it very?
When you look a brands like Romo, which has different segments within. There is Romo which averages on about £75 a meter, Vella Nova, which is about £35 a meter and then Marks Alexander and Zinc thatcan go to about £175 on average a meter.
IT: Well they do vary and some are far to big that you can’t manage them. They are put into their collections and so the bigger the collection unfortunately the more fabric there has to be. On average though 30 – 40 samples in a book.
We have had some consumers that come in give us the house plan and say do my house, I am going on holiday for two weeks. No budget and no hassle. They don’t even give you any ideas that they have. Where as others wouldn’t even know where to start.
RS: What size is the fabric, that’ popular and more successful for the book?
RS: Some books have images in them, are they important for the customer?
IT: Well think of it in terms of what the customers want to see, nobody can tell anything by the fabric shape, colour and texture when it’s a 5cm by 5cm, we like to have them a minimum A4 size to a max of A2. Nothing overly big and bulky, that makes it difficult to work with and
IT: Yes. We get consumers flicking through the books and pointing at the images saying they want to see this or they like that. Some times they are referring to a chair that we don’t sell it was just prop in the image. But yes to answer your question they are. 104
RS: How many roughly in each book? IT: They have one for each collection. RS: so how do they show all the fabrics from that range? IT: They use cushions and other smaller variations to show the different looks. an extent. RS: What would help your job then, what would you benefit from? IT: Well I know that there is a need and at the moment that is the issue at hand, there are new ways to innovate using technology have you thought about that? RS: Yes, well that is another area that we are going to do that would almost supplement the pattern book. We wanted to look at the pattern book as a product first and see what ways we could improve it, and then start looking at ways to innovate it digitally. When looking at this book the images in here are still damaged even though they are in a plastic seal. IT: Yes I know that the problem, the customers fling them around and hey just get damaged. One area you could look at is the idea of not having them as images but having them digital. So as technology advances, the size of phones and ipadâ&#x20AC;&#x2122;s are getting thinner, could they potentially get to as thin as that paper and fit into the book? RS: we are already fighting against the price of the books, surely that would just making it even more expensive. IT: Well not necessarily, as more things are produced the older bits of technology are getting cheaper. But I guess it could be an idea to look into further. Now there is the new wallpaper where you can change it, so if you wanted to be in a forest you could change the image to a forest. Even turn your wallpaper into a TV and have it surround the room.
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Each account has its own quirks and deals. Besides actually producing the books, to get them to the point where they are deciding what they want in the book, and the way they want it, we have to have the fabric delivered. If they are disorganised it takes up lots, and lots of resources. However, if the client is organised, it’s a dream and very easy.
APPENDIX THREE - INTERVIEW WITH JOHN ALLEN AND CAROLINE ADAMS - PIKE TEXTILES Interviewees: John Allen and Caroline Adams Interviewer: Alexandra Masters, Jemima Wilson and Rebecca Baverstock-Seaman Date: 18 March 2014 Face-to-Face Interview
JW: So we’re potentially looking at ways to innovate the consumer purchasing experience by supplementing the traditional pattern book. Who are you clients that you think are quite forward thinking and would be willing to embrace some change?
Pike Textiles Factory
JA: Well, as I have said many times, many are very much stuck with the way that they do things, certainly the Colefax’s and Designer’s Guilds. Tim believes that Designers Guild could change once Patricia moves aside, that would leave a huge vacuum. And if the right person steps in, that has the potential to be an interesting shift.
JW: Do you find a lot of competition from abroad, from companies that manufacture in places like Poland? JA: Indirectly, yes. Designers Guild made policy last year to manufacture in England as much as possible, and to manufacture as much as possible from one mill, as that mill will have a certain style and method of doing things. The reality is that about half of their collections will be manufactured in various different mills, wherever they may be. But deliberately, they are trying to source in that way. There’s another client who recently have added a collection of plains to their collection, which they have sourced from a company in Germany, and they had associations with a manufacturer in Poland, so they are doing so, as part of the deal. AM: Caroline, who are you trying to win over at the moment?
JW: I know Tim was saying that in the eighties, Designers Guild were the innovators, and everyone was looking to them for inspiration. They were leaders, and they’re not anymore. We are looking to apply out recommendations to a particular brand, in order, if we are going to mock-up things and do branding, it would be specifically for that one brand. RB: Just to focus our idea more… JW: To focus it more, otherwise it is very broad. CA: So your visions for the next pattern book, you’re going to take that vision, and deliver it up for a particular business? JW: Yes, we would like to look at hypothetically applying our ideas to a brand, one of your clients.
CA: The world usually. My top at the moment are Marks and Spencer’s, and I would like to get Next, and I’d like DFS. I would want to work with Next, then Marks and Spencer’s and then DFS.
RB: So, I spoke to a man at Hopewell’s Interior store in Nottingham, and we were talking about the versatility of the pattern book, and making the fabric detachable so the consumers can physically hold the fabric without having the restriction of the book.
AM: So, would you prefer to work with smaller companies as there are fewer restrictions? CA: If you think of it, it terms of how many stores they have in the UK, and they probably have three hundred store, Marks and Spencer’s, three fifty maybe. JA: But, Marks and Spencer’s have about thirty home stores, and the pattern books only go into the home stores. Relatively small.
He hated the idea, because he has used it before, and also Romo have done it a while ago where they had the detachable fabric, where they gave the samples to them and then the company would have to put in the fabrics themselves. Hopewell’s was very negative about this, saying it wasted time, whether the consumer liked it or not. Surely the consumer is key? But apparently, well, we wanted to know a bit more about that from your perspective? Did you know about that particular book?
RB: I wasn’t that aware of M and S selling home, so its probably smaller. JA: But Marks and Spencer’s are very good, and in terms of merchandise they are far better than John Lewis. 106
JA: Not specifically, no. We have used inter-screws, which is quite a lengthy process. There is the benefit for the brand, but maybe not the retailer as customers might take them away with them.
DFS do this very effectively. They only use inter-screws and they have a very strict regime. Every showroom has to prove to head office that they have all the swatches. RB: I was thinking about it, in terms of a library. People go in, and they take books out. But the man at Hopewell’s was complaining that people steal them, and cut them, and create a mess. But if you’ve got a way of locating where its meant to go, and a good system, then I would have thought that it would be fine. JW: What we have been looking at, is that fundamentally, when we have spoken to retailers, consumers and experts, or whoever, that the pattern book itself will always be key. That is at the core of the consumer decision-making process. A fabric has to be felt before a decision is made. We have identified that there flaws, and it could be more efficient, and it could be brought more into the twenty first century. We are starting off looking at the book as a product, and making it a little bit more engaging, inspiring and interactive. We are then look at how to create a narrative around the collection to excite the consumer, and then we’re looking at incorporating some kind of digital approach. So we’re looking at it as a three-way thing, with the book at the centre. CA: So this is your mock-up of a book? RB: We liked the idea that there is more to the book than just the fabric, with more of a narrative. Consumers liked the idea that they could create narrative with their rooms and stuff, so this was responding to their thoughts. Ways to incorporate a narrative into the pattern book. AM: Essentially we want to create more of a package, and more of a product, as opposed to a purely functioning item. RB: Especially when ordering samples and things, if you were to order something from a luxury store, like a fashion item, you get lovely packaging. Whereas if you order samples from an interior store, you just get it in a plain envelope. There’s nothing inspiring. JW: Basically, we feel that the current packaging does not reflect the luxurious nature of the industry. We want to reflect that a little bit more. JA: So in terms of the brand, are you saying that it doesn’t matter if its large or small, it just has to be a collection of fabrics? JW: And it just gives us more of a focus, to say we’re working with brand to apply our ideas.
RB: Particularly if we want to create some sort of narrative, we don’t want to have numerous brands and create a narrative for all. We want to create a specific narrative for a specific brand. JA: My first thought was Blendworth as we have spoken this morning, and they are certainly open to new ideas. They are deliberately trying to spend less and less on pattern book beciase their job is to sell fabrics, and not pattern books. AM: We had wondered about Romo’s Black edition collection with Jessica Zoob. JA: Yeah. AM: We wanted an artistically persuaded book, because then that gives us scope to play with ideas and narratives. I see you’ve got Linwood, and they offer an interesting package. RB: What brand would you recommend? JA: Jane from Kaolla has had the same obersvations. She has worked with apparel and finds the whole way the interior industry works to be quite backward. They are smaller, and newer. And we did talk to her about this whole topic. AM: Is there anyway we could talk to her? CA: She would be great to talk to, but I don’t know whether…what do you want to achieve by the brand that you choose? AM: We want to achieve a luxury service that would engage with the consumer than what we perceive as walking into a store and seeing a whole load of books. We want a book that is more of a package and more of a service, and that reflects the luxurious fabrics that are within it. JW: We’re looking for a brand that, as part of the decision making process, you would see the book, but the book would be more than just a big book of fabric. You would have more guidance in terms of inspiration, it would have been put together a little bit more differently. And then, we’d like to have planned a digital tool that could supplement the pattern book. There are programmes out there where you can visualise a room and then experiment with surface pattern in that room. You could have a pattern book, and then literally visualise that In your own home.
JA: So, presumably, you would want to talk to this brand?
CA: Do you want that brand to be a Sanderson, Designers Guild fabric house brand, or do you want them to be a retailer.
JW: Yes, we would really want to get some brand input.
AM: I would have said the former, but we’re open to suggestions. Nothing is set in stone. 107
CA: I am thinking several things. Kaolla might not be big enough or different enough, and I have some of their stuff in my office as I am in the process of creating a mood board. I am thinking Sanderson home brand, but I’m also thinking Heal’s.
Is there more scope for cross marketing? RB: This guys that I was speaking to, at Hopewell’s was frustrated by people pointing at an image in the pattern book and say ‘I want that chair’, and he would have to say ‘I don’t know where that chair is, that’s not ours’. So I suppose, in terms of imagery, if they did have that whole collection, Heal’s could.
AM: Heal’s would be good. CA: Heal’s would be kind of great, as they’re pulling together their own fabric collection …
CA: It would be interesting to have things like QR codes going to a different room-set every month or something. So you could click and purchase it.
AM: And they’ve got a whole service in-store. CA: Yeah, but then that doesn’t fit your criteria of it being a fabric brand…
JA: Thinking it through, what we are doing is anticipating the behaviour of the future consumer and developing tools that appeal to todays consumer, therefore, its about changing consumer behaviour, because they’re behave with what is in-front of them. Some fabric houses really respond to what the retailer tells them to do. So it’s the retailer that guides consumer behaviour. So Heal’s does just that, Blenworth does not.
AM: I meant that very loosely. Heal’s would be amazing, if that’s a viable option? JA: They are also trying new things. JW: That’s what we want really. We’ve got just over two months, and it would be great if we could talk to the brand and say ‘this is what we’re doing’, and really get some input as to whether it would work.
AM: What you’re saying, does support the way the consumer shops. Because its naïve to think if someone shops at Ikea, they wont have a bespoke curtain made. People mix, and they are influenced by everything in their home. So using Heal’s would support how the modern consumer shops.
JA: I haven’t spoken to them since the Homes and Gardens thing. They’ve commissioned designers to develop their own designs for interior fabric, So they’re all named designers, like Zandra Rhodes. That begs the question, how are they going to display all of this? They have eight designers as a Heal’s fabric collection.
JW: Just yesterday we were talking about when I interviewed the interior designer Daniel Hopwood. He put on his website a job he did for a house in Chelsea. He said that he had been given an unlimited budget, he said that he still threw in some things from Ikea. It interesting to see that even at the top end, there is an element of mix and match.
AM: The potential for that sounds exciting. Zandra Rhodes would be quite fun.
AM: Heal’s is still very accessible.
JA: So its an exciting time for Heal’s. CA: Is the collection in-store yet?
CA: Tottenham Court Road is where their Head Office is, but I am not sure if that’s their flagship.
JA: I’m not sure. The difficulty with what you would need to show is how it would link with the online tool. That may not be hard to ask the consumers to make that leap.
JA: There will definitely be the whole collection though, regardless. AM: Well, I know there is one in Guildford and one on the Kings Road as well.
CA: I could speak to Louise walk s through the collection. That is an option. One of the things that came into my mind when I was going through your presentations and things, one of the things that it made me think about was partnership promotions. There’s not a lot of pictures currently in pattern books, but it did get me thinking – why aren’t Linwood promoting Ikea rugs? Why isn’t there some sort of partnership going on?
JA: Caroline, what is Louise’s role there? CA: Fabric buying and display, and the assistant to the head of… JW: It might be worth, if you have a contact, we could get in touch and tell them a little bit about what we’re working on? That may help shape our ideas and link it to the brand.
Or maybe you put different prints and promotions into different places where you would source interior items? Where you go, ‘look at these beautiful fabrics, but what about this print, and this lamp?’
JA: Sure. The reason I printed out that page from Becci’s portfolio – please talk me through 108
What is the empty space?
AM: Both of these industries are aspirational though – every man would want a tailored suit if he could and everyone would want a bespoke curtain of sofa if they could.
RB: More traditional but not high-tech…
JA: This afternoon, how do you want to spend your time?
AM: So, Laura Ashley doesn’t have i-pads or technological innovations in-store. That area is lacking in innovation.
JW: We would like some photos, different types of books, some costings. We are at the stage where we need to think about that again.
JW: So a lot of traditional brands are not high-tech.
AM: Do they vary widely, or are most books a similar price to produce?
AM: You design may be more traditional and for a more traditionally minded consumer, but that doesn’t necessarily mean that they don’t use technology. It’s a style more than a mind-set, but brands don’t seem to be taking that on-board.
JA: They vary widely. Generally our costs are half the price of what the books costs. So a small book simply done, will come to around ten pounds. Its not so much the size of the fabric, as that’s given to us, or though that does effect the way it is treated and therefore does incur more labour costs, but the size of the patterns, the number of the patterns and the way they have been treated can bring a book up for around fifty pounds. It obviously, also depends on how many books.
RB: Its more, sort of emphasising the fact that the industry, a lot of them are traditionally anyway, but at the moment it like, that’s what we’re trying to do – trying to innovate them. AM: What did it make you think John?
JW: Do you know as a company the sales the books produce?
JA: Pretty much the same. That the majority of brands aren’t particularly forward thinking or high-tech – but are they the real opportunity, or will they sail into the sunset?
JA: No idea how many metres of fabric are sold, though sometimes they will disclose that with us.
RB: You were saying that you were trying to get smaller brands on-board with you and that niche brands may be more inclined to do that because they are more up and coming.
Sometimes it’s striking how inefficient the whole process is. A really good book, that we produce again and again and that consumers love, and that we have done for four years, may only produce four sales a year. A lot of them are out there and have never made a sale.
JA: It’s easy for them to be more agile, because they don’t have an existing structure that they are confined to.
Small retailers need to justify their existence with pattern books though.Very inefficient.
There are some that we deal with that are traditional in a design and practical sense, but they’re small. That might well be able to do things differently.
So, lets go on a tour.
RB: I suppose bigger brands that are used to the way that they have done things, it’s almost a bit scary. AM: To have what you are secure and comfortable with – your profession – questioned is difficult for anyone. RB: When I think of my Dad, he’s very stuck in his ways, and if you give him some technology he hates it, and he says ‘What is this!?’, so I think of a lot of the industry like that. JW: It’s interesting, because I’m looking at bespoke tailoring brands and them engaging with a younger consumer, and it’s a similar thing. There are a lot of overlaps. A lot of brands are very backward and need to evolve but retain the tradition and heritage. 109
CONSUMERS APPENDIX FOUR - INTERVIEW WITH LYNNE MAY AM: What inspires your interior decisions? LM: Antique markets are my passion. Portobello Road, that’s where I bought the antique pictures that you can see. On a Saturday when the antique shops wares are on the street, I spend hours exploring. AM: Any magazines? LM: Lots of magazines. World of Interiors is so arsey, serious, not quirky enough. It’s too contrived, and its so boring. I buy lots of interiors books (pulls out French Homes). Not so much magazines actually, they’re not good value for money. They’re very expensive. I’m fed up of people saying that they’re interior designers, when their not. The spaces are amazing, but I often don’t like what they’ve done to it and it’s not within my reach. Other people houses and shops inspire me too. AM: Did you find sourcing things for your home an easy process? LM: I find sourcing everything for my home easy. I love it. I made a decision that I wanted everything in my house to have had a life. I don’t want anything new. It has to have had a life before. AM: Where were you destinations of choice to purchase items for your home? LM: Kempton antiques market, and Portobello again. I don’t go to high street shops. I don’t want any new crap anymore. I change things all the time. That mirror has to go, it’s from Laura Ashley, and it upsets me. Uh, it really offends me. It has to go. AM: You were showing me the other day the wallpaper you sourced on e-bay, is that something you do a lot? LM: Yes, I take great pleasure in spending a good hour on e-bay. I know what I want and I know what I like. Now I think I am going to get rid of the TV, which I hate. I’m trying to get away from looking too twee. I want to stop buying ornaments, which I can’t help doing, and get more statement pieces. Like the old school chairs around the dining room table. I like the idea of putting something ultra-modern in to contrast everything in here.
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LM: I hate the idea of dressed curtains. I had the idea of pleats, its too uniform. The French linen curtains are my new obsession…I like imperfections…mismatched lines, rust marks…I basically source old French linen, preferably with initials and give them to my curtain maker. I didn’t need to get it lined, I like to show off the imperfections. My curtain maker often says ‘Do you realise there are holes here, and rust marks here’, but of course I do, that’s the whole point. It was very cheap to do. All she had to do was fold it over and put curtain rings on.
The joy for me is sourcing items for my home, so anything digital feels too removed and eliminates the whole adventure of it, the bit I love. E-bay feels different, because you’re not being sold a ready-made or contrived idea or product. The hours spent looking at textiles and trinkets are my favourite, and nothing could replace that.
AM: How has your taste changed? Have you always felt the need to source old items with a life? LM: I have always felt it, but before I didn’t have the confidence. I’m much more insistent now that it is something old. I don’t even want new pots and pans anymore, somebody else must have used it. That is a rule that I’m trying adere too. I don’t want something produced in China, that’s a copy of something. The worst thing in the world would be for me to go somewhere like Ikea. LM: That’s the other thing that drives me. I love a bargain. I always wonder, why does anyone buy anything new? When you can get cheaper, more interesting things in antique markets. Particularly dark wood furniture is such good value, like at your house. It’s so cheap at the moment because people don’t think its fashionable, but I predict it will be soon. I was buying painted furniture when everybody else was into dark wood. I’ve always been reasonably progressive, because I’m so interested and have to be for my jewellery. For my jewellery I have found that it takes people at least two years to catch up. People say to me ‘I can’t wear long’ and ‘I can’t wear a tunic, it makes me look pregnant’. Tunics are on their way out now, people are going much shorter and more tailored. But I know they sill still stick around amongst certain groups of people for a while. I would say I’m ahead compared to my friends, but only because it’s my thing. I just love to see what other people are doing with their homes. I suppose though, I go to trade fairs and speak to buyers at the first stage or people making or sourcing. I surround myself with it all, so its hard to ignore all the new exciting ideas. I go by a feeling for something. I don’t like to be told what to like at just because it’s in ‘fashion’. We were French throughout before. Now I’m trying to rough it up a bit, it was too much before. I went through a phase because I worked at Laura Ashley. That’s the other thing, people don’t change their houses for years. I have always changed things a lot, but you have to have a lot of time and a lot of spare cash to really transform your home. I don’t like matchy-matchy things. Old and new can work really well together, and I like to have lots of individual pieces that I personally have sourced. 111
APPENDIX FIVE - INTERVIEW WITH ANGELA BEATTIE
AM: Did you go to stores and go through all the sample books?
Angela Beattie, Florist with Helen Masters, Curtain Maker in Interview with Alex Masters 3rd January 2014 Angela lives in a clock tower
AB: Yeah, Heals has a great selection. It’s a nice big table with all the books. Iwent to Brewers in Godalming too. AM: Did you find using the sample books laborious?AB: No, because it’s a hobby that I enjoy. HM: Angela is not what you would class as normal either. This is the third time thisparticular room has been done in a year. I think its possibly farmore normal forpeople to decorate every 10 years. Its something you are passionate about,dressing your home.
AM: Where did you source inspiration for your home? AB: The Internet and magazines mainly HM: Do you buy a lot of magazines?
AM: Ultimately did you make the decisions online? Did you browse in-store and buy online?
AB: Lynne is nice, she give me hers. I like BBC Homes and Antiques, I subscribe toHouse and Gardens, that’s quite up-market, but I just like looking. The Internet Ilike – discovering companies like surface view. I really like wallpaper direct, asthey have rooms that you can superimpose the wallpaper onto and get an idea of scale. You get different ideas, and any room in the house you can experiment with. That’s the thing about sample books - you don’t get an idea of scale.
AB: I did. I had heard about Andrew Martin, but I saw them in a shop in Harrogate,then I came home and went on Wallpaper Direct and purchased the rolls. It helped me seeing the scale on website, and setting it in rooms. AM: Is there anyway you felt your decision process could have been made easier?
Are you Helen?
AB: I think I’d like to get more from Interior Design shops. I find them stuffy in attitude. And you can’t borrow the books. The books are huge. I like deciding in the comfort of my own home, without being pressured. Now its done I don’t think it looks that amazing. Looking at what it could have looked like, looking at the dull avenues and wrong colour choices. Guild etc. I don’t want to carry those books.
HM: No. Increasingly I do use online, but not really. I love touching and feeling thefabrics and I generally stay safe and neutral.
Its very tricky as there’s so much choice, but you have to make a decision, and once it’s done…t’s done.
AM: So Surface View is key for you. Remind me about the wallpapers you told meabout when you took me around the house?
I wanted to have a link between the rooms though, so the whole house is one story.
AM: So would you say you rely on digital tools to select fabrics and wallpaper foryour home? AB: Yes, I do. Surface View do the same sort of thing. You can see animage on acanvas. Obviously its really old hat now, but I have just discovered it and loved it.
AB: The map and the drawer wallpaper is Andrew Martin.
HM: I really would do thing more if I had a bigger purse and more time. AB: I really like it here.
AM: Did you find selecting fabrics, and wallpapers an easy process? AB: I didn’t actually, but that’s because the house is quite hard. It’s nothing to dowith marketing. HM: How old is this house? AB: It was built in 1890. It’s not the age… it’s the lack of light. HM: These radiators, although beautiful were very obstructive when thinkingabout what to do with the window. Angela hasn’t skimped on fabric though – wehave the blind for function and the curtains for theatre. 112
AM: Helen, is there anyway that your life could have been made easier In helping Angela select her fabrics? HM: No, that’s not a problem to me. I’m small fry. And I don’t concern myself with that, I ask my clients to select the fabric, then I measure it up, advise them on the hang, and then I create the curtain. I might not get every job because I don’t carry books around, but they’re expensive. I say ‘All I want from you is the face fabric. I mean, I tell them where to look online and what shops to go to. I get an idea of taste and advise accordingly. If you’re bold, you go for Designers
APPENDIX SIX - INTERVIEW WITH CLAIRE ASHCROFT AM: So, I just want to find out what has inspired you… CA: Oh, my darling husband. What was your inspiration for our home? PA: Absolutely nothing, I said you get on with it. When you could decide on tiles for the bathroom, I said, It’s not my problem. AM: So Claire, what has inspired you? CA: I would say magazines. I have some delivered, Olive, House and Garden. Erm, other people maybe. It’s hard. It’s not something I am conscious of… My honest answer is that I see one thing that I love, and I then work everything around it. Mainly a object that I love. So I reupholstered my sofa, and built the room around it. Come through to the sitting room… So I saw that sofa in a different configuration and purchased it, and then leaving Ikea I saw that television unit and impulse bought. Those oblisque things I saw on display in a shop and just said to the lady “I want them”. I panic buy. AM: In terms of your consumers, how do you find people are when assisting them purchase clothing? CA: I find that styling people with their clothes is interesting. People generally don’t know what to wear, and they need me for guidance. I don’t think a lot of people know what they like. I’m just very quick with my decisions. AM: I think that’s quite rare. Some people think of things as function, but the image of your home and self mean a lot to you and for all of us in creative industries. CA: Oh, here’s my pile of House and Gardens. Well you see, when you look at that it’s actually quite dated. I’ve just had a subscription so was resigned to it, but I cant say its influenced me, at least not anymore. It’s not inspirational. I like flicking through. AM: So, I just want to find out what has inspired you… CA: Oh, my darling husband. What was your inspiration for our home? PA: Absolutely nothing, I said you get on with it. When you could decide on tiles for the bathroom, I said, It’s not my problem. 113
AM: So Claire, what has inspired you?
AM: Did you find sourcing materials for your curtains and re-upholstery an easy process?
CA: I would say magazines. I have some delivered, Olive, House and Garden. Erm, other people maybe. It’s hard. It’s not something I am conscious of…
CA: I went to Heals and told the girls what I was looking for, and they helped me. They weren’t very good though, they knew which books to go to. I said cotton or Linen, and they kept getting out silk when I had said it was for a kitchen. Anyone that knows about moisture and fabric would not show me silk. I didn’t find them to be knowledgeable.
My honest answer is that I see one thing that I love, and I then work everything around it. Mainly a object that I love. So I reupholstered my sofa, and built the room around it.
I felt frustrated as I wanted to flick through myself. I wanted them to point to the books and guide me easily and then leave me to it.
Come through to the sitting room… So I saw that sofa in a different configuration and purchased it, and then leaving Ikea I saw that television unit and impulse bought. Those oblisque things I saw on display in a shop and just said to the lady “I want them”. I panic buy. AM: In terms of your consumers, how do you find people are when assisting them purchase clothing? CA: I find that styling people with their clothes is interesting. People generally don’t know what to wear, and they need me for guidance. I don’t think a lot of people know what they like. I’m just very quick with my decisions.
AM: Essentially you know what you like, but not everybody does. CA: My daughters always say that I have been a bad mother as I have never let them decorate the Christmas tree, but it has to be stylish. Because everyone would come into the house and see a horrid tree, and that would reflect badly on me. AM: That interesting, so you link you interiors with your identity? CA: Yes I do. Completely.
AM: I think that’s quite rare. Some people think of things as function, but the image of your home and self mean a lot to you and for all of us in creative industries.
I’ve grown in my eye, I am more confident in my own style now.
CA: Oh, here’s my pile of House and Gardens. Well you see, when you look at that it’s actually quite dated. I’ve just had a subscription so was resigned to it, but I cant say its influenced me, at least not anymore. It’s not inspirational. I like flicking through but that’s it.
AM: Well with our consumer you have to be of an age where you have the funds, so inevitably that will reflect in the way you dress your home in terms of confidence and quality.
I would never just buy something for £4,000 like some of my friends. I guess because I am a business person, I like to research and get a good deal.
CA: Well you can have a small house and make it look amazing. Money doesn’t mean you have style. I think even when I had less money I still managed to express my style within my interior.
I can’t throw anything away. I just rearrange and paint and reupholster. I will have to learn to throw things away. All this furniture was pine, and then we painted it all. So I have just updated my existing interior more than anything.
Back to fabrics, Heals also have the fabrics hanging, I’m not sure I like that.
I mix Ikea with more expensive finds. That was a cheap way of getting that look [the dining room chairs]. In Okra they were £400 each, but I got them from Ikea and then got them covered.
CA: Not for me, I also think the same about rugs. I like to see the rugs down on the floor. I don’t know why they roll them up, as you cant see what they look like. I know they can get them out for you, but I’m always in a hurry, and don’t necessarily have the time to trawl through un-rolling carpets.
AM: I thought that would be easier.
AM: As a fashion stylist and tradesperson, could you see a way that you could make the sample book more fashionable and appealing? 114
APPENDIX SEVEN - CONSUMER DECISION JOURNEY FOCUS GROUP
CA: More of a focus on lifestyle and room sets. The thing I do like are the room sets. So you have the fabric and the photograph made up and that for me visually is the most important thing. I don’t even need to see the real thing. If I see it in situ, draped and hung, I know I’ll like it. It’s seeing how it would really look like.
Consumer Decision-making: LM: Lynne May CA: Claire Ashcroft AB: Angela Beattie
AM: What made you go for bespoke curtains?
What part of your decision journey would you physically go in-store and look at fabrics?
CA: The look. I didn’t even consider getting ready-made. Any curtains that I have admired have been hand-sewn. I think that there is a stigma attached to ready-made curtains.
LM: I generally don’t have an agenda, and I generally don’t go into high-street stores. If I did, I would go in-store first and would want to play around with fabrics. But, as you have said before, the books are a hassle.
My mother used to go to British Home Stores, and they were never the right length, hems were bad. Quality completely is the main thing. I also know that my curtain-maker knows exactly what she’s talking about. I only care about the visual thing. Its nice to say I want this, and someone will produce it for you.
CA: After I have seen what I like in a magazine, or at a friends, or perhaps to browse. I will know what I am looking for, I know that much. AB: After I have seen it online. I like to play around online and experiment too I can be confident with what I want before I go in-store. After you have looked online/ got inspiration. Do you ask advice from the assistants? LM: Not really, I would go to my curtain-maker as she is always more informative. It’s often too annoying. CA: I have done before, but I have never been impressed by the service that I have received, so I would rather be left to it. It depends, if they’re good at their job and understand fabrics and their behavior to different styles. AB: I generally don’t like to, though I do sometimes. But, I generally feel like the assistants are rambling some sales pitch and not interested in what I really want. It’s often too intimidating. When is it you usually look through the fabric book? To gain inspiration, to visualise a fabric you have seen online or to reaffirm a fabric decision? LM: To gain inspiration, and I may have found a fabric I like and I want to see the whole story – the other fabrics in the collection. CA: If anything, to reaffirm a fabric decision. Just to make sure, so before I hand over the cash and place an order, I need to know that it looks as good in a styled picture. AB: To visualize fabrics I have seen online.
When would you use digital technology? To get inspiration at the beginning, throughout or do you never use technology for inspiration? 115
LM: I go on my i-pad to order items off ebay, I love ebay. Or inspiration throughout I suppose. CA: Throughout probably, I don’t spend hours cause I don’t have the time. I will just go on a website that has been recommended to me by a friend or my curtain-maker.
LM: Definitely the style. I want the style to match. For instance when I was going through my French chatau phase, I was looking for whites, and powdery colours, and that sort of cracked paint and tassels etcetera.
AB: Everything really – I get a lot of inspiration online from the experimentation it allows. So, I guess mainly for perspective though.
CA: I do yes, because I generally have a key piece that I want to style my room around. So I will be looking for the same colours, or textures.
If you could visualize the fabric you wanted in your room when would you most likely do it?
AB: Yes, I said to you before Alex, I don’t think the house is as much as a story as I would have liked. It bothers me. But I spend a lot of time thinking about the feel, I want it be homely and coherent.
LM: For me, it would be after I have got a selection of samples, and then I would want to take them home and compare them both through app and with the fabrics in front of me. Mainly I would be looking for scale and whether they suit curtains, blinds, pleats, pooling etcetera. CA: If I could, straight away. I would want to see the editorial, and quickly shove it in my room to know in an instant. I can’t imagine it would look as good though – like the light and the colours, I don’t know how you could achieve that well. AB: From the beginning I would want to do that so I could confirm my decisions and experiment throughout. I think I wouldn’t have had to change my curtain so much, as I would be pleased with my decision for once! I changed the curtains in here three time. At what point do you order samples? At the beginning, more to the end before you confirm your decision? LM: Gradually, as I see ones I like. I generally know instantly though. CA: More towards the end. AB: Probably after I have done a lot of searching online, so in the middle? Would you ever look on a digital platform whilst you are in store? To get inspiration, see more information on the product, to look at images of the fabric in a photograph or to try and place the fabric virtually into your room? LM: Not really, I go in-store to feel the fabrics if anything. CA: Yes, I would. If I could find a fabric and quickly look online and see it in situ fully made – up – that would make my life so much easier. AB: Definitely cause it would make my decision’s better, although, I generally don’t want to spend too much time in the store because they start pestering you. When selecting fabrics, are you thinking about the story of your room? What items they go with, colours, patterns etcetera?
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EMAIL CORRESPONDENCE
If these questions can be answered via email or if a quick discussion could be arranged that would be brilliant.
APPENDIX EIGHT - EMAIL INTERVIEW WITH LAWRENCE POLLARD
Many thanks for your time so far. Looking forward to hearing from you.
8.0
Best wishes,
A few questions for an interiors project Inbox x
Jemima
Jemima Wilson <jemimacwilson@gmail.com> 4 Apr to pollard Hi Lawrence, Thank you for passing on your email address via Rosie. I’m working on a group project with Becci Seaman and our project focus is on innovating the traditional pattern book for the modern consumer; improving the process in which consumers select fabrics and wallpapers for interior design. We have a couple of questions we would like to ask you or any suitable colleagues...Having read a bit about the company online, perhaps this may be relevant to visualisers? See what you think! 1) We are looking into the creation of a digital platform, which could be used in conjunction with the pattern book, to enable the user to view samples of fabric and wallpaper in the context of a room. We think our idea is more suited to consumers decorating their own homes, but would it be beneficial for your design team to have a digital tool such as an iPad app to accompany the pattern books, to facilitate quick digital experimentation of visualising fabrics and wallpaper in a particular interior space? 2) If this tool generated an accurate approximation of what the fabric or wallpaper would look like in the interior space but did not provide a photo-real image, would this still be useful to see volumes of colour, pattern etc? 3) What methods of interior visualisation are currently used by united design partnership and how effective are they in visualising fabrics and wallpapers in interior spaces? What are the main flaws in current methods? 4) We have been looking into the use of various augmented reality apps, what digital visualisation technology would you recommend that we look at for developing our idea?
8.1 Lawrence Pollard <pollard@united-designpartnership.com> 7 Apr to me Hi Jemima, I have passed on your questions to the creative director Rachael, who specs all the finishes for each project including fabrics. I have also passed them on to Klaus, (Niclaus) who is the head of the visualisation team here at United. They will be able to give you some more in depth answers than I will. I have answered the questions too just to give you a slightly wider scope. 1) When selecting fabrics we either go to our existing sample library which consists of a physical range of materials or we go on to a suppliers website/book to see what is available and then order a few physical samples in. I think if you were going to create an app to accompany pattern books you would have to incorporate all the major suppliers in that app so there wouldn’t be the need to constantly swap from one companies website/book to the others although the need for a physical sample is always going to be needed. In relation to visualisations, I think the material is chosen first and then a digital version is acquired from a suppliers website/made for the use in visualisations (although Klaus/Rachel should be able to tell you more about this). 2) I can see how this would be a great tool for people to use on their own homes but within a professional context i think that a design team would be able to work without this. The task of imagining what materials would look like in a space should be part of a designers job, however I could see this being used in smaller design teams and great for people doing their own homes. 3) We use 3ds Max (3d animation program) together with a rendering plug in for 3ds called Vray. These give photo realistic images that are sometimes hard to tell the difference between 117
APPENDIX NINE - EMAIL INTERVIEW WITH JESSICA ZOOB
photo and visual. If you give 3ds vray a search on pinterest you’ll see what I mean. Although these types of renders are usually the final visualisations shown to the client. We do simplified versions during the design development too but these are still done with this program first without materials then with.
From: Alexandra Masters <alexandra.masters@btinternet.com> Subject: Re: Creating a story - brief chat the beginning of April? Date: 24 March 2014 09:48:37 GMT To: jessica zoob <jessica@jessicazoob.com> Reply-To: Alexandra Masters <alexandra.masters@btinternet.com>
In relation to the flaws I know that producing a true representation of a material in certain lighting conditions can produce problems in visuals and the relationship between FF&E (Rachael) and the visualisation team (Klaus) can sometimes be tricky in concern with materials. Although they will be able to better describe these problems.
Good Morning Jessica,
4) I’m sure you’ve seen the new oculus rift technology (which looks sick!) ha but if you look more into the video games side of it too because they do some pretty amazing stuff, not sure what programs they use but i think similar 3d ones. Ones to look at would be Maya, 3ds max and then vray is a plug in you can get for many 3d modelling programmes that designers like to use to apply materials and lights.
I hope the show went well last week? Looking at your collection online again, and they really are lovely…if only I wasn’t a student! Seeing as you are very busy, I thought If I email you a few questions, perhaps you could answer them in your own time?
I hope these answer some of your questions. Hopefully the other two will be able to give you better ones and take their word over mine because I’m just a student :P
Have you found that the consumers are as interested in the story and inspiration behind your works as the viewers of your art - an entirely different audience, or perhaps not?
The other two are usually quite busy so hopefully they will be able to answer your questions soon but if you have any more questions you can always give me an email and I can try find out for you :)
- Do you think it is important for each collection to have a story behind it? Particularly in the transition from canvas to product?
Good luck with your project !!
- Did you have any ideas how to embody your oeuvre/identity in the Romo collection outside of the product? (Perhaps a booklet of your artwork etc. or invitation to an exhibition)
Lawrence Pollard Student Designer
- Do you find it easy to convey the artistic quality of your work in a consumer product? - As an artist, do you think that pattern books could be more inspiring for the consumer when selecting materials for their home, particularly when as exquisite as yours?
United Design Partnership 200 Tower Bridge Road London SE1 2UN
I would really appreciate if you could even answer one of my questions, however brief. Not to worry if not, as I understand you will be incredible busy. Alex
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