Pike Textiles Research Portfolio by Jemima Wilson

PI K Fig 1, Take a sample, 2013

JEMIMA WILSON 1

N0365411

FASHOOO31

CON TEN

INTRODUCTION

METHODOLOGY

CONTEXT -The Pattern Book Cycle -Pike -Why the Book Works -The Problem Areas

8 10 12 15 16

INDUSTRY -Industry Evolution -Key Influences in 2014 -Cultural Calendar -Textile Innovators

18 20 22 23 24

MARKET -PEST and SWOT

2 3

CONSUMER -Psychology -Consumer Profiles -Focus Group

3 3 3

TECHNOLOGY

EXPERTS -Daniel Hopwood -Tony Coulston -Colin Edwards

5 5 5 5

26 30

32 35 36

RECOMMENDATION 60 RESOURCES -List of Illustrations -Bibliography -Appendix

64 66 67 69

A collaborative live group project with Alexandra Masters and Rebecca Seaman.

52 54 56 58

There will always be a need for the pattern book. However, as the traditional pattern book will not be as important in the future, ways to supplement the pattern book must be developed to provide a more interactive and engaging experience for consumers. Instead of looking to replace the pattern book, this project explores how the basic design of the pattern book can be improved and how technological platforms could be used to innovate the process of choosing fabrics and textiles for interior design.

Fig 2, Inventor, 2013

METHODOLOGY 1.INDUSTRY INTERVIEWS

Interviews were conducted with a selection of industry experts in order to find out how professionals in different interiors fields interact with the pattern book and how their experience could be improved.

2. FOCUS GROUP

A focus group was conducted with a group of NTU textiles students to challenge the basic design of the traditional pattern book.

3. IMAGES OF INTERIORS

Collecting primary images of interior spaces gave an insight into industry trends and consumer preferences in interior design.

4. STORE VISITS

Visiting interiors storesrevealed how retailers use pattern books and highlighted the main problem areas.

5. CONSUMER RESEARCH

Conumer profiles were created in order to identify the different consumer types and explore how they interact with sample books for interior design.

6. SECONDARY RESEARCH

Secondary research has been sourced from a range of websites, interior design books and interior magazines.

2. 6

Fig 3, Methodo

ology, 2014

4. 6.

CON TEX Fig 4, Pattern Books, 2013

The Pattern

n Book

THE PATTERN BOOK CYCLE

1. Fabric/Wallpaper Design

3. Pattern Book Construction

Pike enter the process to manufacture the pattern books.

2. Fabric Manufacture

FROM BEGINNING...

Fig 5, The Pattern Book Cycle Sequence, 2014

4. P

5. Fabric Selected by Consumer

7. Insertion into Interior

Pattern Book DistributionTo Retailers 6. Item Construction and Manufacture

...TO END

WHO ARE PIKE?

- Fabric Sample Book, Wallpaper Sample Book and Window Blind Sampling Manufacturer - Over 100 Members of Staff -Family Run Business - The pattern book is the brand - Looking for logistical solutions to secure future of pattern book and brand. -Realise potential for innovation of traditional pattern book

WHO ARE THE KEY INDUSTRY PLAYERS?

Fig 6, Pike Textiles, 2011

Fig 7, Perceptual map of industry, 2014

TRADITIONAL Jane Churchill Sandersons ColeFax and Fowler

Romo

Laura Ashley

William Yeoward Dedar

Designers Guild

HIGH TECH

LOW TECH Liberty

Osbourne and Little

ZUZUNAGA Zimmer and Rhode

Andrew Martin

Christian LeCroix

IKEA

MODERN 13

WHY THE PATTERN BOOK WORKS: TACTILE - Ability to feel fabrics and wallpapers VISUAL - Ability to see how fabric hangs and drapes

‘It is nice to have fabrics to look through, there is nothing like the real thing.’ (Hopwood, 2014)

RELIABLE - Rarely Malfunctions

Fig 9, Sample Book, 2014

Fig 8, Textile Book, 2014

PROBLEM AREAS: BACKWARD INEFFICIENT

SLOW NOT COST EFFECTIVE Fig 10, Problem Areas, 2014

LABORIOUS

DISORGANISED

HARD TO NARROW DOWN CHOICES

IND UST Fig 11, Cushions and Books, 2013

How has the interio

ors industry developed? 19

100 Y EARS OF EVOLUTION - KEY M Frank Lloyd Wright created the Praire Style House at the start of the modernism movement.

The international style blossomed in the 1920s led by Le Corbusier, Mies Van Der Rohe and Walter Gropius.

Belief in bridging the gap between technology, industry and architecture.

Ai of aw

Elsie de Wolfe

Interior design emerged as a profession - photos in magazines spread eclecticism to the middle classes.

Art Deco flourished internationally throughout the 1930s Eileen Grey

Fig 12, 100 Years of Evolution, 2014

1900

195

MOVEMENT S AND INFLUENCERS 1950s Suburban Sprawl - Clusters of houses were developed and interiors were designed by the home owners.

Revival of traditional style of post modernism, built on classic principles.

ir travel increased speed f communication and wareness of global design

Ettore Sottsass

Postmodernism borrowed styles from the past to create eclectic designs.

Technology-inspired drive towards minimalism, practicality and ease of living in the 1990s.

Terence Conran

E-commerce boom

2000

KEY INFLUENCES OF 2014 Etsy has boosted craft, providing a platform for people to make and sell hand-made goods for their homes.

Relevant and accessible to the everyday consumer, The Great Interior Design Challenge engages the people of Britain with Interior Design.

Grand Designs touches the consumer when in their own homes and has encouraged a more adventurous aproach to architecture.

Apple has changed the way we consume, design and make interiors decisions. We now carry the world wide web in the palm of our hands.

Ikea becomes worldâ&#x20AC;&#x2122;s largest furniture retailer - bringing stylish yet affordable interior design to the masses.

Fig 13, Key Influences, 2014

CULTURAL

CALENDAR

Martino Gamper presentation at the Serpentine Galleries

2. Sarah Cambell at the FTM. of the Tate Britain 5. Re-opening Caruso St John

3. Isabella Blow Exhibition at Somerset House

4. Elmgreen and Dragset exhibition at the V&A 6. Zaha Hadid’s ‘Vagina Stadium’ for 2022

Fig 14, Cultural Calendar, 2014

Dedar

Fornassetti House of Hackney Zimmer and Rhode

Zuzunaga

PANTONE KVADRAT

TEXTILE INNOVATORS 24

Fig 15, Textile Innovators, 2014

House of Hackney - Embodying East London cool, KVADRAT - Created textile nnovation such as ‘soft cells’ that fusing the sale clothing on ASOS, with matching wallpaper, curtains and upholstery.

control sound absorption and clouds that let the consumer use tiles of textiles to create 3D patterns on a wall.

Dedar - Collaborateions with Hermes, bringing Italian style Elitis -A brand that is proud of its ‘non-traditional stance’. to the globe, specifically in Dubai, Russia and America.

Fornassetti - Founded by Piero Fornasetti, designs largely

of the Italian Soprano Lina Cavalieri are the most popular range from Cole & Sons, and have become popular for both public and private spaces.

Zuzunaga - Design studio specializing in unique, colourful

interiors, textile and fashion accessories and is collaborating with luxury carpet company Britons.

Zimmer and Rhode - Enable consumers to create bespoke sample books on their website.

Pantone - Within interiors, services include the option to create

a styleboard on your i-pad, purchase colour palettes, swtatch library’s. The Pantone View service offers a key insight into colour trends and inspiration.

Liberty - Collaborations with brands such as Nike. Their inclusion of tattoo artists and chefs to create new designs based on their trades and their online delivery keep then in the forefront of design.

MA RK

Fig 16, HEALS, 2013

How is the market perform 26

ming? 27

THE ONLINE OPPORTUNITY ATTITUDES TO SHOPPING ONLINE FOR THE HOME - JANUARY 2013 - MINTEL

The homeware market is improving as the economy begins to strengthen and housing sales pick up.There are signs that people will spend a little more freely on home décor (Mintel, 2013).

Retailers will continue to make more efforts to inspire customers to assemble a coordinated look, using displays, catalogues and online technology to help improve the design literacy of today’s home makers.” (Mintel, 2013)

I browse online to look for value for money

I prefer to buy in-store to judge quality and colour

I browse online for inspiration Fig 17, Mulberry Home, 2013

I have bought online if an item needed to be delivered

I have reserved online and collected in-store

I shop online because products are cheaper

PEST

External factors to consider, which could affect the development of a new way of offering the pattern book.

POLITICAL

Rising house prices affecting home ownership means that younger consumers are not purchasing homes and investing in interiors.

-Shifts in UK political landscape -Cuts of living -Co-alition government - conservatibves aiding rich get richer and poor get poorer

ECONOMIC -Revival of housing market driven by first time buyer -Rising house prices -Wages are falling

SOCIAL -Aging population -Millenials to outspend the boomers by 2020 -â&#x20AC;&#x2DC;Kidulthoodâ&#x20AC;&#x2122; young adults are moving back home Innovation is occurring at a rapid rate across a breadth of industries, leaving the interiors sector behind.

Fig 18, PEST Diagram, 2014

TECHNOLOGICAL -Rise of hand-held device -Online/offline competing for consumers attention -Major advances in touch screen technology and augmented reality

STRENGTHS -Pattern book represents the tactile nature of the industry -Portable -Reliable

WEAKNESSES -Low Tech -Laborious -Expensive -Not cost effective -Not space efficient -Static presentation limits experimentation

Weak and inefficient areas in the process of choosing fabric and textiles from a pattern book beginning to outway strengths.

OPPORTUNITIES -Technological innovation -Improve basic design of pattern book -Engage younger consumer base

THREATS -Danger of alienating core consumer with innovation -Innovation risks losing the tactile element

SWOT

of the pattern book

Key opportunities lie in exploring new ways of supplementing the pattern book and engaging with consumers of the future.

Fig 19, SWOT Diagram

CON SUM

Fig 20, Helen Masters and Claire Laughlan

nd, 2014

Potential consumer to be engaged by more innovative approach to interior design.

Pikeâ&#x20AC;&#x2122;s current core consumer.

Fig 40, Rogerâ&#x20AC;&#x2122;s Diffusion Curve of Innovation

CONSUMER PSYCHOLOGY Three Levels of Processing: VISERAL > Appearance BEHAVIOURAL > The pleasure and effectiveness of use REFLECTIVE > Self-Image, personal satisfaction, memories

(Norman, 2005)

The pattern book must look appealing at a glance, then it must be effective to use, to ensure that when the consumer places that material within their interiors, it looks in situ exactly as expected.

1. THE DIGITAL DEVOTEE

Onli

“The Internet I like – discovering companies like surface view...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.”

‘I really like wallpaper direct, as they have rooms that you can super-impose the wallpaper onto and get an idea of scale. ‘

(See Appendix Two)

Fig 20, Con

NSPIRATION: OWN INTERIOR:

ine

Fig 21, Angela Beattie Interior, 2013

nsumer Profile Inspiration 1, 2014

2. THE DIGITAL DOUBTER

INS

‘I like imperfections…The worst thing in the world would be for me to go somewhere like Ikea. I don’t like matchy-matchy things. Old and new can work really well together.’

‘I buy lots of interiors books.’

‘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.’

‘Antique markets are my pas

Fig 22, Consumer Profile

(See Appendix Three)

SPIRATION:

OWN INTERIOR:

ssion.’

e Inspiration 2, 2014

Fig 23, Lynne May Interior, 2013

3. THE DIGITAL DETESTER

INSPIRA “I have been to Designers Guild in my time. It’s a laborious process, that’s for sure.”

‘I’m really not one for the internet...I might have an idea, and then go on a designers website to have a look, but I always go to the shop and feel it. I wouldn’t just base it on the look.’ (See Appendix Four)

Fig 24, Consum

OWN INTERIOR:

ATION:

mer Profile Inspiration 3, 2014

Fig 24, Denise St Claire Interior, 2013

REINVENTING THE BOOK AS A PRODUCT: THE FUTURE CONSUMERS VISION Working with textile design students to challenge the conventional pattern book design.

Fig 26, Consumer Focus group, 2013

TECH NOL Fig 27, Science Museum, 2013

Te co de

Technological developments, which ould be hybridized in interior esign. 45

Augmented Reality could give clients more assurance that they are getting what they want, allowing the client to experiment with colour palettes, patterns and materials in their own homes before purchase (Mixed Reality 2013: online). The key benefit is the capacity for portability and access to a higher volume of information without needing large models or rolls of paper that are expensive and easily damaged.

AUGMENTED REALITY 46

Figure 28, Augmented Reality, 2013

Google glass takes augmented reality to another level, and could potentially change the way that we work, study, consume and live in the future.

GOOGLE GLASS

Building information modelling is changing architecture and construction industries, using product placement that can show qualities, materials and functions of a real product in situ.

Fig 29, BIM, 2012

BIM

The main downfall of digital pattern books is losing the tactile and all-round sensual element of the product. However, IBM Research predict that within the next five years, your mobile device will let you touch what youâ&#x20AC;&#x2122;re shopping for online. It will distinguish fabrics, textures, and weaves so that you can feel a sweater, jacket, or upholstery straight through the screen (IBM Research 2012: online) Fig 30, Haptic Technolohy, 2013

HAPTIC TOUCH TECHNOLOGY 49

INTERFACE

For each product range, Interface Carpets have created a virtual world and a narrative, in which the consumer can explore interactive moodboards, design inspiration and design trends. A story has been created for each product range, allowing the user to interact with it in different ways.

Fig 31, Interface, 2013

OLIOBOARD The most basic level of technology, allows users to create their own rooms in a hypothetical environment. There are also a number of similar apps, as well as some which enable users to use a photograph of their own rooms.

Fig 32, Olionoard, 2013

EXP ER Fig 33, Hopwood Studio, 2013

THE INTERIOR DESIGNER:

Daniel Hopwood in interview with Jemima Wilson, January 2014 Director of Continuing Professional Development of the BIID, Presenter of ‘The Great British Design Challenge’

He works through collections from unlimited companies, and as time is short, he needs to be able to go through the books quickly to see what clients want. It is nice if fabric houses have used fabric on a shoot, as otherwise clients can’t visualise it and can’t see it in scale Photoshop is currently used to visualise wallpaper and fabrics in the room for presentations to clients, however, this is extremely time-consuming. There is a need for the pattern book to be supplemented by digital technology in the future, but it is nice to have fabrics to look through, as there is nothing like the real thing. 54

‘Interior design is slower than fashion, but there is nothing on offer; suppliers have to create the technology and they haven’t.’ ‘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’.

(See Appendix One)

Fig 34, Two Grand Drawing Rooms Kensington, 2014

‘It’s got to be digital, it’s a digital age, it’s just working out the most effective method.’ (Coulston, 2014)

THE FASHION AND TEXTILE MERCHANT:

Tony Coulston of JRC in interview with Alex Masters , January 2014 For me lugging a bag around with these is just not practical. It doesn’t make any sense to me. In a digital age, why are we still lugging around A1 portfolio’s showing CADs. I don’t like the presentation of it; its inevitable if you cramp a load of paper into a bag, some drop down, there are creases. Therefore going digital is the singular most obvious route. If it’s happened in luxury fashion, why cant it happen with luxury interiors? It’s where fashion has been creative.

‘It costs me £60,000 a year on paper alone. If I’m saving £60,000 from all the paper, bikes, ink etc. I would rather spend £20/30,000 developing a digital platform.’ (See Appendix Six) Figure 35, JRC Studio, 2014

THE OPERATIONS MANAGER:

Colin Edwards of Cole and Son in Interview with Jemima Wilson and Alex Masters, October 2013

Need to identify a platform or a method that the retailer can use to generate sales to the consumer. Itâ&#x20AC;&#x2122;s that point of the consumer journey that is the most important. The current system does not involve the consumer and it needs to be more interactive. Consumers must understand the luxurious nature of what they are buying into, because a page in a book is not enough.

Fig 36: Cole and Son, 2014

The pattern book is the main vehicle to support retailers, but 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. (Edwards, 2013)

RECOM MENDA 60

Fig 37, Future Sample Book, 2013

‘A page in a book is no longer enough’ (Edwards, 2013)

1. MIRRORING THE

LUXURY FASHION MODEL -Website and app database, where all pattern book collections are in one place to make browsing, comparing and requesting samples easier and quicker. -A complimenting editorial to communicate design ideas and trends, and enable the consumer to visualise the fabric in situ. -Interior style advice to assist consumers in decision making -App could be used by retailers in store. -Pike would make commission on any online sales or sales made from sample requests that have been made via database.

A digital service that can curate interior styles for individuals, sourcing and recommending products that fit personal parameters.

A digital screen could be placed in the front of the pattern book, enabling the consumer to browse through the fabrics in the pattern book and visualise fabrics in situ, using an image of their own home.

2. A DIGITAL TOOL TO ACCOMPANY THE PATTERN BOOK Fig 38, Recommendations, 2014

RES OUR Fig 39, Claireâ&#x20AC;&#x2122;s Interior, 2014

LIST OF ILLUSTRATIONS Figure 1: Masters, A., 2013. Take a Sample [Photograph]. Surrey. Figure 2: Masters, A., 2013. Inventor [Photograph]. Guildford Figure 3: Jemima Wilson, (2014), Methodology Figure 4: Masters, A., Pattern Books [Photograph]. Surrey. Figure 5: Jemima Wilson, (2014), The Pattern Book Cycle Sequence Figure 6: Anon, 2011. Pike Textiles [digital image]. Wisbetch Standard. Available at: http://www.wisbechstandard.co.uk/news/pike_textile_display_ becomes_1_000th_business_to_receive_ree_free_review_1_1069853 [Accessed 20/01/14] Figure 7: Wilson, J. 2014. Perceptual Map of Industry [Own Model] Nottingham Figure 8: Masters, A., 2014. Textile Book [Photograph]. Surrey. Figure 9: Masters, A., 2014. Claire’s Book [Photograph]. Surrey. Figure 10: Wilson, J and Masters, A., 2014. ProblemAreas [Own Model] Figure 11: Masters, A., 2013. Cushions and Books [Photograph]. Guildford Figure 12: Wilson, J., 2014. 100 Years of Evolution [Own Timeline] Figure 13: Wilson, J., 2014. Key Influences [Own Moodboard] Figure 14: Wilson, J., 2014. Cultural Calendar [Own Moodboard] Figure 15: Wwilson, J., 2014. Textile Innovators [Own Moodboard] Figure 16: Masters, A., 2014. Heals. HEALS [Photograph] Surrey Figure 17: Masters, A., 2014. Mulberry Home [Photograph] Guildford Figure 18: Masters, A and Wilson, J. 2014. PEST. Context [Own Model] Nottingham Figure 19: Masters, A and Wilson, J. 2014. SWOT. Context [Own Model] Nottingham Figure 20: Wilson, J. 2014. Consumer Profile Inspiration 1. Figure 21: Masters, A., 2013. Angela Beattie Interior Series [Photographs] Surrey Figure 22: Wilson, J. 2014. Consumer Profile Inspiration 2. Figure 23: Masters, A. 2013. Lynne May Interior Series [Photographs] Surrey Figure 24: Wilson, J. 2014. Consumer Profile Inspiration 2. Figure 25: Masters, A. 2013. Denise St Claire Interior Series {Photographs] Surrey Figure 26: Masters, A., and Wilson, J. 2013. Consumer Focus Group. [Own Moodboard] Figure 27: Masters, A., 2013. Technology Now. The Science Museum [Photograph] London Figure 28: Anon, 2013. Augmented Reality [digital image]. Gizmag. com. Available at: http://www.modlar.com/blog/use-of-bim-for-interiors/ [Accessed 20/01/14]

Figure 29: Anon, 2012. BIM [digital image]. Available at: http://www. modlar.com/blog/use-of-bim-for-interiors/ [Accessed 11/10/14] Figure 30: Anon, 2013. Haptic Technology [digital image]. Lemon Polka. Available at: http://www.lemonpolka.com/a-guide-to-haptics/ [Accessed 21/01/14] Figure 31: Anon, 2012. Interface [digital image]. Interface. Available at: http://www.interface.com/US/en-US/global [Accessed 14/10/13] Figure 32: Anon, 2013. Olioboard [digital image]. Olioboard. Available at: http://olioboard.com/ [Accessed 18/10/13] Figure 33: Anon, 2013. Hopwood Studio [digital image]. Daniel Hopwood Studio. Available at: http://www.danielhopwood.com/ [Accessed 09/01/2013]. Figure 34: Anon, 2013. Two Grand Drawing Rooms Kensington [digital image]. Daniel Hopwood Studio. Available at: http://www.danielhopwood. com/ Figure 35: Masters, A., 2014. JRC Studio [photograph]. London Figure 36: Wilson, J., 2014. Cole and Son [Own Moodboard] Figure 37: Masters, A., 2013. Future Pattern Book [Photograph] Nottingham Figure 38: Wilson, J., 2014. Recommendations [Own Image Series] Figure 39: Masters, A., 2014. Claire’s Interior [Photograph] Surrey Fig 40, Roger’s Diffusion Curve of Innovation

BIBLIOGRAPHY Anon. 2013. Representative of Osborne and Little. Interview with Alexandra Masters, London, 29th October 2013

Gehry, F., 2013. You accept ugly cities but complain if we do something special. The Times, Arts Supplement, 13th November 2013. Grove, S., Morris, T., 2013. Know your market – meet the players who are reinventing retail. Monocle, October 2013, pp. 97-106.

Ashcroft, C., 2013. Independent Clothing Retailer and Stylist. Interview with Alexandra Masters, Surrey, 10th January 2014

Friend, R., 2014. Patterning Manager for Sanderson. Telephone Interview with Rebecca Seaman, 6th January 2014

Barbican., 2009. Le Corbusier: The Art of Architecture [Online]. Barbican. Available at: http:// www.barbican.org.uk/lecorbusier/exhibition [Accessed 29th December 2013]

BBC., 2004. Anon. A Profile of an Architect [Online]. BBC Learning Zone. Available at: http:// www.bbc.co.uk/learningzone/clips/a-profile-of-an-architect-walter-gropius/6432.html [Accessed 27th January 2014] BBC., 2014. Anon. Cameron Pledges to Cut Red Tape for Small Business [Online]. BBC Business. Available at: http://www.bbc.co.uk/news/business-25903681 [27th January 2014]

Edwards, C., 2013. Operations Manager of Cole and Son. Interview with Alexandra Masters and Jemima Wilson, 10th October 2013

BBC., 2014. Anon. UK Pay Rising in Real Terms [Online]. BBC Politics. Available at: http:// www.bbc.co.uk/news/uk-politics-25869001 [27th January 2014]

Ferdinands, V., 2013. Textiles Specialist at The Conran Shop. Interview with Alexandra Masters and Jemima Wilson, London, 29th October 2013

Beattie, A., 2013. Florist. Interview with Alexandra Masters, Surrey, 3rd of January 2014

Foy, C. 2011. Augmented Reality Change rooms [Online]. Trendhunter.com. Available at: http:// www.trendhunter.com/trends/topshop-kinect [Accessed 24th January 2014] Friend, R., 2014. Pattern-

ing Manager for Sanderson. Telephone Interview with Rebecca Seaman, 6th January 2014

Cadwalladr, C., 2013. Life Inside the Amazon Machine. The Observer, New Review Supplement, 1st December 2013, pp. 10-11. Clark, N. 2013. A new twist on an old favourite as transformed Tate Britain reopens [Online]. The Independent. Available at: http://www.independent.co.uk/arts-entertainment/art/features/ a-new-twist-on-an-old-favourite-as-transformed-tate-britain-reopens-8947834.html [Accessed 20th January 2014]

Jones, R. Budget 2013: Osborne offers homebuyers Help to Buy. Guardian Online. Available at: http://www.theguardian.com/money/2013/mar/20/budget-2013-osborne-offers-homebuyers-help-to-buy [Accessed on 10th November 2013] Gehry, F., 2013. You accept ugly cities but complain if we do something special. The Times, Arts Supplement, 13th November 2013. Grove, S., Morris, T., 2013. Know your market – meet the players who are reinventing retail. Monocle, October 2013, pp. 97-106.

Coulston, T., 2013. Owner of JRC Imports, Fashion Textiles Design Company. Interview with Alexandra Masters, London, 30th January 2014

Hopwood, D. 2014. Interior Designer. Telephone interview with Jemima Wilson, 10 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]

Kansara, V. 2014. A Person Stylist for Every Shopper. The Business of Fashion [Online]. Available at: http://www. businessoffashion.com/2013/12/thread-kieran-oneill-offers-a-personal-stylist-for-every-shopper.html [Accessed 20th January 2014]

Dillon, B. 2005. In the Dark Room. 1st Edition. Ireland: Penguin Books Design Centre, Chelsea Harbour., 2014. [Online] Available at: http://www.dcch.co.uk [Accessed 20th October 2013] Hopwood, D. 2014. Interior Designer. Telephone interview with Jemima Wilson, 10 January 2014

Kew. Anon. Cotton – Industrial Revolution In Britain [Online]. Kew. Available at: http://www.kew.org/plant-cultures/plants/cotton_history_industrial_revolution.html [Accessed: 4th January 2014]

Knight, L., 2013. Argos sees successful transition to click-and-collect. [Online] BBC, 17th January 2013. Available at: www.bbc.co.uk/news/business-21057345 [Accessed 29th December 2013]. Lanier, J., 2013. Who Owns the Future?. London: Allen Lane. Laughland, C., 2013. Curtain Maker and Owner of Claire Laughland. Interview with Alexandra Masters, Surrey, 10th January 2014 Mintel, 2013d. Attitudes to shopping for the home. [Online] Mintel. Available [Paywalled] at: Mintel.com [Accessed 29th December 2013] ubetkin, B. 2011. Modernist of the Month Ludwieg Mies Van Der Rohe [online. The Modernist. Available at: http:// www.themodernist.co.uk/2011/12/ludwieg-mies-van-der-rohe/ [Accessed 25th January 2014] Masters, H., 2013. Curtain Maker. Interview with Alexandra Masters, Surrey, 10th January 2014 May, L., 2013. Jewellery Designer. Interview with Alexandra Masters, Surrey, 3rd January 2014 Mintel, 2013a. Shoppers prefer mobile devices for showrooming. [Online] Mintel.com Available [Paywalled] at: Mintel.com [Accessed 4th January 2014]. Mintel, 2013b. Online Sales Increase. [Online] Mintel. Available [Paywalled] at: Mintel.com [Accessed 290th December 2013] Mintel, 2013c. Showrooming: the red herring in e-commerce. [Online] Mintel. Available [Paywalled] at: Mintel.com [Accessed 9th December 2013] Mixed Reality Studio, 2013. How architecture and interior design could benefit from using augmented reality. [Online] Mixed Reality Studio. Available at: http://www.mixedrealitystudio.com/blog/how-architecture-and-interior-design-could-benefit-from-using-augmented-reality/ [Accessed 28th November 2013] Norman, D., 2005. Emotional Design. 2nd Edition. USA: Basic Books Pike Textile, 2013. Pike Textiles [Online] Available at: http://www.pike-textiles.com [Accessed 12th October 2013] Preston, R., 2013. Housing: Recovery or Boom? [Online] BBC. Available at: http://www.bbc.co.uk/news/business-25966014 [Accessed 30th January 2014] QURESHI, H., 2012. New interiors trends at Home design show [online]. The Guardian. Available at: http://www.

APPENDIX

1.2 Interviewee: Daniel Hopwood Interviewer: Jemima Wilson Date: January 10th 2014 Time: 3.30pm Telephone Interview

APPENDIX ONE - TELEPHONE INTERVIEW WITH DANIEL HOPWOOD

1.0 Jemima Wilson jemimacwilson@gmail.com 7 Jan

He works through collections from unlimited companies

to studio Dear Daniel,

Not wild on seeing fabrics all matched up - thinks it’s more cut for retail Likes separate books for voil, velour etc

I wanted to get in touch about a final year university project I am currently working on with Pike Textiles, a company that produces textile sample books.

Time is short and he needs to be able to go through the books quickly to see what clients want

The aim of the project is to explore ways to improve and supplement the traditional pattern book; to create a more engaging and refined experience for customers selecting and interacting with textiles and wallpapers for interior design.

It is nice if fabric houses have used fabric on a shoot, as otherwise clients can’t visualise it and can’t see it in scale

I am looking into how digital innovation could be used to enhance the fabric selection process, and I was wondering if it may be possible to speak briefly to you or a member of your team about your experience of selecting fabrics and wallpapers and any thoughts you have for future development?

It save a lot of time if the images are of large scale fabrics

I’m currently studying in Nottingham, and although I am in London until tomorrow for Men’s Collection shows, if you would be willing to have a quick chat on the phone or if I can email a few questions that would be brilliant. Whichever works best.

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

Photoshop is currently used to visualise wallpaper and fabrics in the room for presentations to clients

There is a need for the pattern book to be supplemented by digital technology in the future, but it is nice to have fabrics to look through, there is nothing like the real thing.

Please let me know if this is something that you are willing to discuss further.

In the fashion world it is multiple order, but for interior design everything is a prototype, so it is expensive to pull something together, which is only for one product

Thank you very much for your time so far, I look forward to hearing from you. Kind regards,

Interior design is slower than fashion, but there is nothing on offer; suppliers have to create the technology and they haven’t

Jemima

Zimmer and Rhode is most efficient for product presentation

Jemima Wilson www.thestylesoliloquist.blogspot.co.uk @JemimaCWilson 07896148834

1.3 Studio Hopwood 29 Jan (3 days ago)

1.1 Studio Hopwood 7 Jan

to me Hi Jemima,

I can confirm that you can quote from the interview that we had.

Sure do give me a call. I am in my office all today and tomorrow after 10.

Best,

Dan

APPENDIX TWO - CONSUMER INTERVIEW WITH ANGELA BEATTIE

Angela Beattie, Florist with Helen Masters, Curtain Maker in Interview with Alex Masters 3rd January 2014 Angela lives in a clock tower AM: Where did you source inspiration for your home? AB: The Internet and magazines mainly HM: Do you buy a lot of magazines? 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 super-impose 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. 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. Are you Helen? HM: No. Increasingly I do use online, but not really. I love touching and feeling thefabrics and I generally stay safe and neutral. AM: So Surface View is key for you. Remind me about the wallpapers you told meabout when you took me around the house?

AB: The map and the drawer wallpaper is Andrew Martin. 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. AM: Did you go to stores and go through all the sample books? 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: Ultimately did you make the decisions online? Did you browse in-store and buy online? 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? 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. Its very trickyas there’s so much choice, but you have to make a decision, and once it’s done…t’s done. I wanted to have a link between the rooms though, so the whole house is one story. HM: I really would do thing more if I had a bigger purse and more time. AB: I really like it here. 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 THREE - INTERVIEW WITH LYNNE MAY

Lynne May, Jewellery Designer, in Interview with Alex Masters 3rd January 2014 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. 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 curtainmaker. I didn’t need to get it lined, I like to show off theimperfections. 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. 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’smy 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 atthe first stage or people making or sourcing. I surround myself withit 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 atjust because it’s in ‘fashion’. We were French throughout before. Now I’m trying to rough it up abit, it was too much before. I went through a phase because Iworked at Laura Ashley. That’s the other thing, people don’t change their houses for years. Ihave always changed things a lot, but you have to have a lot of timeand a lot of spare cash to really transform your home. I don’t likematchy-matchy things. Old and new can work really well together,and I like to have lots of individual pieces that I personallyhave sourced. The joy for me is sourcing items for my home, so anything digitalfeels too removed and eliminates the whole adventure of it, the bit Ilove. E-bay feels different, because you’re not being sold aready-made or contrived idea or product. The hours spent looking attextiles and trinkets are my favourite, and nothing could replace that.

APPENDIX FOUR - CONSUMER INTERVIEW WITH DENISE ST CLAIRE Denise St.Claire in interview with Alex Masters Housewife Friday the 17th January AM: How did you find selecting fabrics for you home? DS: I found it easy to select fabrics this time because I was limited by my budget. Laura Ashley have had such mass discounts that there was no question. I didn’t have the liberty of money or time to indulge in expensive fabrics. I’ve done my time, you know, I’ve gone into Heals, I have ploughed my way through the sample books and I have been to London. Andrew Martin included, but when you’ve forked out for a great extensions and have more building work to do something has to give. I have been to Designers Guild in my time. It’s a laborious process, that’s for sure. AM: What did you find most useful? Editorials, room sets, sample books…? DS: I had to feel it, that’s for sure. I think you do get to know a designers ilk. AM: Have you stuck with certain designers then, as you know their style? DS: You do learn to know a designer, but I still look around.

I may use it just to narrow down my selection. I always start with the Osborne and Little’s and then work my way down to Laura Ashley. Budget is very key and although the fabrics are lovely, when considering the meters required and the cost of making it up, it just becomes too greater an expense. I also focus in the reception area and the main living spaces. Like the bedrooms are not really on show, it’s more about comfort so the budget is lower. I up the budget for the living room etc. AM: So you see the areas that people see as the most important areas? DS: Yes, because they are the most important parts. They are where we spend the most time and what most people see. AM: Have you got more modern? DS: I used to have my Victorian house with pine everywhere, and I used to go to family in Yorkshire and get antiques. So it has changed, but I think we are influenced by fashion and space. The only way this house was going to go was contemporary, so I think it’s definitely also about the space. You have to work with what you have.

AM: This is very modern. Your previous houses, were they very different? DS: Yeah, well I have lived in a Victorian terrace, which was all Designers Guild. I had a big chesterfield and is was more colourful. AM: Did you design your interior around certain objects? DS: No. For instance in the kitchen, the chandelier extractor fan was the last thing. We went to various kitchen companies. I prefer independent companies as you can get more what you want. I have really found that independent companies are more versatile. I really wanted to go contemporary for this house. The Andrew Martin thing, when I needed my sofa recovering, I knew where to go as I already had one sofa in an elephant print. You know what a designer is famous for, and then that gives you a lead to where to find what you want. AM: Did you flick through magazines or anything? What inspired you? DS: No - word of mouth and seeing things in other people’s houses. AM: The internet? DS: No, no, I’m not really one for the internet. I have an i-pad but it wouldn’t be my first port of call. I might have an idea, and then go on a designers website to have a look, but I always go to the shop and feel it. I wouldn’t just base it on the look.

APPENDIX FIVE - COMMUNICATION WITH COLIN EDWARDS

APPENDIX SIX - INDUSTRY INTERVIEW WITH TONY COULSTON

5.0 Jemima Wilson jemimacwilson@gmail.com 22/10/2013

Tony Coulston Founder of JRC in Interview with Alex Masters Fashion Textile Merchant and Design Service 308th January 2014

to colin.edwards Hello Colin,

AM: What’s the most effective method you use to display your textiles?

I hope you are well.

TC: This was very poignant when you emailed me, its something I’m working on at the moment. We are looking at new ideas, but they are real embryonic stages right now. It’s an idea, now we have to do it. It’s all to do with R and D. For me lugging a bag around with these is just not practical. It doesn’t make any sense to me. In a digital age, why are we still lugging around A1 portfolio’s showing CADs. Equally, when you come in here you have combination of drops, a lorry load of fabrics next door and then more CADS, and more CADS. All the clients want things referencing on CADS. We send 750 of those out a week from client requests. It cost me £60,000 a year on paper alone.

A colleague of yours kindly passed on your email address to me, and I wanted to get in touch as I am currently working on a final year university research project with Pike Textiles, a company that produces sample books. The aim of our research is to explore ways to improve and modernise the pattern book to create a more engaging and refined service that better reflects the luxurious nature of the product and industry. We believe that the process of making interior design choices using pattern books is a fairly backward and laborious process and that there is potential to innovate the way that customers select textiles and wallpapers for interior design. From our research, we will create suggestions to compliment and improve the textile book for customers in the modern age.

AM: I was thinking you could save yourself money if you could do the same thing digitally. TC: Its got to be digital, it’s a digital age, its just working out the most effective method. AM: What we have been exploring though is that you cant get away from that you have to touch the fabric, and that’s how you can see the drape and the quality of the fabric.

We are currently in the process of arranging short meetings with industry experts next Monday 28th, and we would be delighted to arrange a brief conversation with you if possible?

TC: There lies the problem. For display purposes…okay, this is my idea. We are in the process of talking to digital companies, though we haven’t even had the meetings yet. It’s significantly more convenient and fast-paced. The area that we really struggle with is the output from the garment to what I can physically achieve in a day with appointments is disproportionate. If our girls do 20 new designs in a day, I can go to all of our clients with those new designs. It’s not humanly possible. What we have done, is that we have a design portal so you have a password and you can go into the portal, so if we have River Island say we want to look at medium sized florals, the girls will go into their portal and load it up with the relevant designs, give them the password for the day and they can go in. Some of the customers love it, and it gained real momentum but then it dropped off. I would still be doing meetings and feeding and selling. It would save me an absolute fortune. If I’m saving £60,000 from all the paper, bikes, ink etc. I would rather spend £20/30,000 developing a digital platform. This specific tablet with our design on would mean I wouldn’t have to take bag loads of CADS.

Please let me know if you would be willing to spare around 15 minutes to speak with myself and two team members next Monday. However, if this won’t be possible, perhaps we can arrange a phone conversation or that you may be able to send some thoughts via email? Thank you for your time so far, I look forward to hearing for you. Kind regards, Jemima Wilson

5.1

AM: So at the moment you are lugging bags of designs around London?

Colin Edwards colin.edwards@cole-and-son.com 22/10/2013

TC: I take portfolios out, yeah. Incredibly cumbersome, I don’t like the presentation of it, cause its inevitable if you cramp a load of paper into a bag, some drop down, there are creases. Not all the time, but some do and it starts to look really messy. Therefore going digital is the singular most obvious route.

to me Dear Jemima I can spare you 15 minutes next Monday Regards Colin Edwards

The downside as you say is that you don’t physically feel it. The difference with our business, as I don’t know about interiors, is that ours is so fast. It is ‘I want those designs today’, whereas for interiors it’s a much longer process. As those ranges probably stick around forever and you just build on those. The synergy is where there is, and there is potential for instant visualisation. Surely that’s basic design packs, if you speak to architects, they can instantly drop things into their designs.

TC: Yes, people go ‘ooh, now I can see it. I want just that, I want that garment and that design’. It’s incredible. Now all out competitors have caught on, so we’re having to think more innovatively to stay ahead, hence the app. That’s life. It’s almost like you need to showcase a collection of the skills.

AM: Its difficult, because they create the books for Liberty, Designers Guild, Christian Lacroix, you name it, but the design of the book lies with the company, not Pike.

AM: Its more creating something that reflects the luxurious nature of the product. The environment is not really aiding the consumer that has the cash to spend.

TC: So they’re just producing?

TC: Do you think that they have the software to compliment that?

AM: Yes, erm, so we’re just trying to bring something innovative that will bring the whole production up to date.

AM: No software.

TC: That does make it difficult if they’re not actually creating. How do they showcase what they can do? AM: We have been looking at service as something to introduce. As speaking to companies it seems it is their knowledge of the pattern books is key. So I would be interested to know how much you, and your knowledge is key to your business? TC: It always will. There always has to be someone pushing the product, and then it becomes person-to-person skills. If someone is really monotone and has not enthusiasm the designs wont sell. It gives no incentive. Front of house is essential. It’s the three p’s isn’t it? People, product, price. If you have all that’s a recipe for success as the people are crucial. You need al elements. The first of the p’s is the people, so you have to have someone front of house pushing and enthusing about the product. AM: Cause without you, not that I don’t know what this would be, but I think your companies relies on you. TC: I had a long conversation the other day specifically about that, because my friend and I are both a similar age and similar business, be it that he makes the garment and I make the fabric. This is where the business foremost is about the owner, and your behaviour and then the knowledge and respect you build throughout the years. But Pike are a production company.

TC: So they need some bespoke software where every single design is punched in. Then you could insert the key words for it to narrow down the collection. If you had all of those resources you would go there, and Sanderson gets an order based in the service that Pike is offering then they should get a commission. That could be lucrative for them as an idea. There are all of these services in fashion, like Thread where you Alex Masters, wear such and such and then photograph it and get a certain amount of likes, and then that leads back to the brand which leads to another sale and then you personally get commission. It’s a real buzz thing that started 7 years ago. So Thread is completely bespoke and there isn’t anyone they haven’t got hooked up and then they profile you or I and then every week they personalise the offering for you, and then Thread gets commission form the fashion brand for gaining them a sale. AM: What we have been discussing is going back to luxury e-commerce, as before if you said you can take luxury garments online, someone would say, no one will spend £2,000 on a coat they have tried on. Net-a-porter have completely changed that. There is more of a service and more information buying clothes online than buying fabric. TC: To a certain extent it’s mirroring the model. If it’s happened in luxury fashion, why cant it happen with luxury interiors? It’s where fashion has been creative.

AM: Well we are considering create a book to go with it with editorials and stories. For you, do clients respond to seeing the design in context? Does it help you if you have a picture of a girl with the design imposed on a garment?

Let me just look Pike up on a business database…

TC: Yes, massively. We started that about 20 months ago and we were the fist company to do, just to start dropping in. The amount of order we have from it is insane, the amount of customers we have that cannot visualise…so few people, and even people a senior buyer level, even people that get paid an absolute fortune to do just that still cant go ’That’s going to look really cool on a skirt. It’s a god given skill, you have it or you don’t. Trust me there are very few people.

I think some form of digital is the way for Pike to go when looking tomorrow.

They look like a good little company. £1.8 million pounds worth of assets.

AM: So you make more sales on the designs that have a picture attached?

APPENDIX SEVEN - FOCUS GROUP WITH NTU TEXTILES STUDENTS 30TH NOVEMBER 2014

APPENDIX EIGHT - TUTORIAL RECORD SHEETS

APPENDIX NINE - DECLARATION FORM