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We launched a pop-up art installation with contemporary artist and filmmaker Shezad Dawood with works woven by Brintons at Clerkenwell Design Week. Exhibited in a loading bay venue, alongside visual motifs and themes drawn from Dawood’s portfolio, the carpets feature bold colours and subtle photographic representations. 

The layering of imagery within the designs utilises the full range of our 32-colour High Definition Weave technology, our signature innovation that allows for a wide spectrum of design possibilities and dynamic patterns.

Avebury Rock by Shezad Darwood (2017), woven by Brintons

Joe Versus the Volcano by Shezad Darwood (2017), woven by Brintons

Multiple White-Out Palms by Shezad Darwood (2017), woven by Brintons

The exhibition space and nearby pop-up showroom consisted of four Brintons carpet-lined transformed sheds.

Brintons carpet-lined sheds at Clerkenwell Design Week 2017

Design and Manufacturing in the Midlands | November  7 – January  14

Midlands Modern is a showcase of products manufactured by Midlands based companies working with significant designers during the period from 1930 to 1980, highlighting innovative and modernist design. The show celebrates this mid-century period – a period during which the Midlands maintained its reputation as ‘the workshop of the world’.

The showcase contains work from a number of different disciplines, such as lighting, glass, ceramics and furniture, highlighting and showcasing the breadth and depth of manufacturing in the Midlands. 

Featuring in the exhibition is the work of Lady Margaret Casson: an architect, designer and photographer. Margaret Casson had remarkable talent, she studied at the Bartlett School of Architecture University College, London during the 1930s and was one of the few women on the architectural design course at the time. Casson went on to have an accomplished career as an architect and in a number of other design related fields. 

Tibor Reich, one of the 20th century’s most celebrated textile designers – who notably livened up post-war Britain with his taste in bright and vividly coloured textiles will feature in the exhibition. Reich fled from war-torn Hungary in 1937 to study textiles at Leeds University. After the completion of his studies he bought a 19th Century cotton mill in Stratford–upon–Avon and established Tibor Ltd. It is more famously known as the Clifford Mill, and it is where Tibor established his career in producing and designing woven and printed textiles, ceramics, tiles and rugs. 

The Robin Day range of contract carpets 1961 - 62

Robin Day designs from the Brintons Woodward Grosvenor archive have been loaned for the exhibition. 

Robin Day’s range of contract carpets for Woodward Grosvenor was launched in the early 1960s - specifically aimed at the architect/specifier market. The collection was designed to be produced in several colourways reflecting current trends and the surface pattern design was based on a gridded matrix of abstract images. The carpets were produced using the Wilton weave process, a manufacturing method particularly suitable to resisting the heavy use expected of carpets specified for use in the public domain. Brintons Archivist, Yvonne Smith worked with the Parkside Gallery Manager, John Hall to identify key pieces from the archive for the exhibition.

Robin Day made his name in the early 1950 producing innovative designs for Hille Furniture  utilising the new ‘wonder plastic’ – polypropylene. This design work contributing considerably to the establishing of the company’s highly successful Hille Contacts Division. His knowledge of designing for the contract design sector contributed to success in many other areas including projects with - Pye (radio, television and record-player cabinets), BOAC (aircraft interior and refreshment trays including the tableware and cutlery) and for the John Lewis Partnership (interiors and graphic identity).

Amongst a number of other disciplines on display, Midlands Modern highlights the contribution of the Midlands to modernist and contemporary design history, championing the midlands as a creative hub that is still just as relevant today.

Image top right: Midlands Modern Exhibition, Parkside Gallery, Birmingham

Images second right: Yvonne Smith, Brintons Archivist 

Images bottom right: Robin Day carpet designs loaned from Brintons Archive on display

Brintons is excited to introduce our latest axminster design collection,  Altered Gravity by Stacy Garcia, debuting  at Boutique Design New York (BDNY), booth #645!

"Original works of art are translated into expressive Axminster carpet designs using complex color and textural overlays,” states Nadia Burton, Design Director for Brintons Americas. “Wild graphic strokes and frenzied paint splats marry with translucent floral forms to create boldly scaled designs catered to the hospitality market. Altered Gravity, with pattern repeats varying from 6‘ to 48’ is presented as an extremely versatile collection and one to watch in 2017,” adds Burton.


Inspired by the maker's movement, Altered Gravity features 14 patterns pulling influence from the diverse disclipines of the art universe.


Altered Gravity is a fresh approach for the Brintons + Stacy Garcia partnership, with designs derived from Stacy's original paintings. Although the elements have been dissected and rearranged to create new works of art, the viewer can still clearly see the artist's hand in each pattern.  Learn about Stacy's process and inspiration  in this behind the scenes video. 

Behind the Scenes with Stacy Garcia

Altered Gravity will launch November 13-14 at BDNY, at the Design Gallery by Stacy Garcia at booth #645. Not registered for BDNY yet? Click here to register for free! 

Brintons will launch the Mazij collection at the Dubai Hotel Show later this month (17th -19th September 2016).

Meaning a mix or melange of things, the arabic word Mazij conjures up the beauty and romance of the Middle East’s impressive and rich heritage of art and architecture and the many intricate patterns, motifs and colours that are associated with it.

Our design team sought inspiration in this impressively rich culture, and in the natural beauty of the region’s landscape, to create a wide-ranging and exciting collection of carpet designs that complement the flourishing contemporary architecture of modern hotel and leisure projects in the region’s cities and luxury coastal destinations.

The Mazij collection is composed of five ranges and a collection of Axminster or hand tufted rugs.

EDIFICE

The Middle East is capturing the design world’s attention today because of its ever-booming infrastructure. It has become a travel destination for design enthusiasts all around the world.

This section of the collection focuses on the design trends influenced by modern architecture and includes the works of well-known design houses all-round the globe.

MARRAKECH

When one thinks of Marrakech, images of patterned ceramic tiles, colourful pots, rugs and lamps and busy spice souks come to mind.

This was the inspiration for this segment of the collection; Brintons have blended the authenticity of the patterns from this region with a modern approach by designing with sophisticated shapes.

TERRAIN

The Middle East is not just rich in its history and culture but it also has wonderful geographic beauty. Its mountains, deserts and rivers make it geographically distinct and have influenced the development and maintenance of cultural traditions through much of the history of the region.

Inspired by the beauty of this land, the range very subtly interprets nature into carpet patterns.

PETRA

Petra, also called the Rose City due to the colour of the stone out of which it is carved. Brintons were inspired by has developed designs that reflect these natural effects in carpets.

The idea was to capture the natural effect of the sandstone, its colours and multi layered textural details.

PRAYER ROOMS

Mosque or prayer room carpets are special and unique as they have very distinctive features. They are used not only to enhance the aesthetics of the mosque’s interior but also to provide the marking on the floor to guide worshipers.

The interiors of the mosques today are inspiration for this segment. This ranges from traditional to contemporary, from simple to intricate patterns.

We look forward to showing you the Mazij collection at this year’s Hotel Show Dubai, Hall 7, Booth 7A272

Brintons have collaborated with Birmingham City University (BCU) over the last four years to support their textile degree students with their final year projects.

The BCU textile students showcase is the culmination of three years of study from their graduating students. The work on display is very diverse and highly individual, from concept to actualisation, representing the future career aspirations and developed aesthetic of the students.

Birmingham City University invited Brintons Commercial Marketing Manager, Sarah Draper and Designer's Jodie Hatton and Jay Ralley-Jones to the School of Fashion and Textiles Graduate Show 2016. The Brintons team were asked to award a prize for Design Innovation and selected BA (Hons) Textile Design (Constructed Textiles) Kayleigh Jones work. Her project was titled 'Puff, powder, Gloss' - cosmetic tactility.

Kayleigh created a collection of seductive, evocative and inspiring material concepts, influenced by the materiality of cosmetics. 

This explorative body of sophisticated treated and woven material possibilities, aims to inspire a trend informed audience  and appeal to various, design sectors. Photography of sprinkled make-up powders ignites an inceptive and curious material enquiry into the aesthetics of powder and gloss. The collection develops through treatments of acquired and hand-woven fabrics. Layering, trapping, coating and tufting processes create materials, which evoke atmospheric qualities and have a high tactile appeal. 

Image above centre: Birmingham City University awards ceremony at Parkside Campus.

Image right: Kayleigh Jones, BA (Hons) Textile Design (Constructed Textiles) student

Brintons Design Video

19th May 2016

Brintons is recognised as a powerful creative source stretching the way people think about pattern and colour on the floor. Our ability to combine thoughtful design with experience and technical knowledge allows us to deliver high performance floor coverings that will take your breath away.

Learn a little more about our design process in the latest video from our 'Fleece to Floor' series.

Brintons Design Video

Oren Sherman has created exclusive artwork for a variety of clients including Steuben Glass, U.S. Postal Service, VISA, Hermés, Disney, Pepsi Co, and many more. Oren’s style is crisp, confident and sophisticated. Alluring color and dynamic compositions draw us in, while the powerfully nostalgic scenes reference our collective American past. Oren’s interest in storytelling and design history has provided over three decades of widely diverse success. It’s no wonder the newest creation, BLOKWERK, circles back to the roots of his identity as a designer-storyteller.


The De Stijl movement was critical to the development of graphic design and for a century inspired artists and architects across the globe. We sat down with Oren Sherman to learn about what his story brings to Axminster, his interest in the De Stijl movement, and the birth of our latest collaboration, BLOKWERK. 

Q: Give us a little background: childhood experiences, family ties, early design memories? 

A: I was born in Boston in1956, which ironically makes me mid-century modern. My mom was a landscape designer and artist, she’s 93 and very definite in her tastes, we’re still disagreeing. It’s my earliest memory, drawing and making patterns in color was my first language. We were visiting museums before I could walk. As a child I remember visiting the Gropius house, Corbusier’s Carpenter Center and the best modern architecture that was the new style in Cambridge at that time. Utopian and very glamorous! 

Q: You’re an alumnus and professor at one of the most prestigious design schools in the United States. Tell us about your experiences being submerged in the thriving creative environment of the Rhode Island School of Design.

A: It was my dream to go there from junior high, when I was accepted I withdrew my applications to other schools, and never told my parents. I returned to teach part-time 15 years after I graduated. Being around the best of the best, of all different disciplines is a continual education. The students and faculty, the RISD Museum, The Fleet library, are a constantly inspiring and humbling experience.

Q: The majority of your work, both the Oren Sherman Limited Edition posters and your commercial commissions have been based in storytelling. There’s been a drastic jump in style from your narrative based illustrations to the cool abstractions of your textile designs. What happened between then and now? Is it the medium or the consumer that changes your design decisions?

A: No one has ever asked me this. I became interested in historical pattern as a student, RISD was originally a textiles college and they have an amazing rare book collection. My name is still on the cards from when the books circulated. The design archive at Brintons has many of the same books, when I visited there it was like seeing my old friends. I was not a textile major; I came to a fascination with pattern from color exploration. There is something so satisfying about systems of organization. I tend to see pattern not as flat repeats but as 3-D space.

Q: With your past work being strongly influenced by various historical narratives, has it been difficult moving away from naturalism into the abstract realm of pattern? Or are your patterns just more elusive stories?

A: Pattern is all about story; it’s just a different deliverable. The arrangement of shapes and colors on the page is to create the illusion of 3-D space. My work in pattern is very similar; it’s just a leap off narrative into design. The first artwork I designed that was not dependent on narrative as a subject was a shock to everyone but me.

Q: What do you find most challenging about the creating for the hospitality industry?

A: As a designer, the first question I ask myself is “what problem is this solving?” I have been working in hospitality for some time; designing wall covering, bedding, and carpet collections so I understand the needs of this world. Along with RISD, I work at the amazing Elkus Manfredi Architects in Boston. I am surrounded by the best designers I have ever worked with. Being there has been hugely helpful in my understanding of how my work integrates into the overall design scheme, and solves needs of the client. Corridors are a challenging design problem; how do we engage a guest to travel down an endless corridor with only a 12’ repeat? That was the ah- ha moment! The transformation from an overlooked space, generally with no natural light, to a dynamic and engaging experience. The next revelation was seeing that patterns could implement as full bleeds that could be cropped and pieced at any juncture. That was the engineering miracle; no waste.

Q: What goes on in the day-to-day throws of the working designer?

A: Fast deadlines, problem solving that requires teamwork. Combining intellectual skills and design sensibility to make innovative work that integrates with and elevates the client’s brand.

Q: Your designs for BLOKWERK are obviously steeped in the philosophies of the De Stijl movement, which has developed the basis for the graphic design movement as well as greatly influenced mid century architects around the world. What is your personal connection with the De Stijl movement? How does that influence your design decisions today?

A: It was the system of organization that moved from textiles, to painting, to furniture, fashion and architecture. I love “movements” that sweep the design world, a historically rare series of events that has everything to do with sociology, politics, production innovations and original thought.

Q: How did your design process for BLOKWERK begin? Develop? End?

A: It was on a visit to Berlin, Hansavietel, a landmarked mid-century neighborhood that has architecture from the best international architects in of the day. It was one of my most inspiring design adventures. Color blocked exteriors, fantastic!

Q: From birth, how has BLOKWERK changed through the creative process of collaboration?

A: I could envision it, see how it would work. I knew Brintons’ Axminister to be the most beautiful woven carpet. It was all there but corridors have very specific engineering challenges. Brintons and I worked together for over a year, I am sure I drove them crazy. I’m not a carpet designer; I simply wanted to transform the floors into woven art.

Q: Do you have a design mantra?

A: “Come from forever and you will go everywhere.” - Arthur Rimbaud

Brintons, presented its RIBA accredited CPD at this year’s prestigious Surfaces Design Show.

The three-day show at London’s Business Design Centre, featured over 150 exhibitors showcasing the best in exterior and interior surface design giving visiting architects, designers and specifiers the chance to discover the latest trends for 2016/17

The British Contract Furnishing Association (BCFA) sponsored the CPD Hub at this years show, with 4 of their members including Brintons providing seminars, covering a huge range of topics.

Ian Barton, Brintons UK Regional Business Manager presented Brintons RIBA accredited CPD. The presentation explored the key aspects of designing for Axminster carpet production, featuring everything from the initial brief through the design process to installation. The talk also covered the history of Axminster, changes in technology and followed the full process involved in design and project management within woven Axminster carpet production.

Brintons, has helped the National Trust to recreate history at the iconic manor house, Baddesley Clinton, by supplying 19th Century designs from its extensive design archive.

Baddesley Clinton, with its mixture of stone and half-timbering, is a Grade I moated manor house in Warwickshire, originally dating from the thirteen century. It was owned by the Ferrers up until 1980 when it was passed to the National Trust. The house, which has featured in Granada’s Sherlock Homes series and The Adventure of the Musgrave Ritual, boasts a wealth of 16th century carvings and furniture as well as 19th century accessories.

One of the most intriguing aspects of Baddesley Clinton is the presence three secret priest's holes. These hidden chambers were built during the height of religious strife in 17th century England, and afforded visiting Jesuit priests a place to hide from prying eyes. 

As part of a re-furbishment project to replace a worn out wilton runner, Curator for the National Trust, Andrew Barber, approached Brintons’ archivist, Yvonne Smith to find carpet designs that reflected the individuality of the home and its former owners - the Ferrers family,

Having no evidence of original carpet patterns to replicate, Andrew visited Brintons’ archive to find designs from the 1870’s,and 1880’s to evoke a design that would sit comfortably with the historic interiors.

With the help of Yvonne, six potential designs were chosen, featuring different field and border designs constructed of geometric shapes and intricate colour patterns. Speaking of the project, Andrew said: “It was a wonderful experience visiting the archive and working with Yvonne to explore the original point pattern papers in order to really get a feel for the designs and the period that they encompassed.

“As the Ferrers family were well known Roman Catholic converts, we wanted to choose designs that reflected their religious leanings as well as the Victorian taste that features largely in the property. As stained glass windows, rich oak beams and ochre-washed walls appear throughout the house, we wanted to discover designs that did not merely coincide with the interiors but created a perfect balance between them. To judge by the positive comments we have received from visitors this seems to have been achieved.”

Two separate patterns were chosen for the field and border of the carpet to create one cohesive design that reflected the chosen period of 1870 – 1885. These were fitted on two staircases and two main corridors of the property, one of which spans the whole width of the inner courtyard.

Andrew continued: “As the widths of the staircases and corridors differ, we chose to separate the designs of border and field to accommodate this. This resulted in some parts of the corridor featuring just the field design and in other parts featuring both the field and border designs.

A Victorian colour palette consisting of deep maroons, pinks, reds and black were chosen based on original watercolour interiors of the manor house, which helped to induce a rich Catholic feel to the property.

Two intricate, geometric and floral inspired designs were picked for the field and borders to reflect the Victorian period of the interiors and to enhance the spirit of the property.

Andrew continued: “The carpet design perfectly reflects the character and spirit of the Ferrers family and it was a fantastic opportunity gradually and gently to increase the individuality of the house.”

Image top right: ( l to r) Yvonne Smith, Brintons Archivist with Alexa Buffey, National Trust

Image top right: Baddesley Clinton, corridor area

Birmingham City University are showcasing their final year student’s work at The January Furniture Show, which runs between the 24 – 27th January at the NEC Birmingham.

In its 7th year, the Trends project presents the pinnacle of design with students creating a range of new designs inspired by two trends forecast by Colour Hive for Autumn/Winter 2016/17: ‘Strata’ and ‘Play’. The project provides new inspiration and demonstrates how trends can be applied from original design thinking through to end product, it also allows students to create a unique portfolio of ideas from which to convey their employment potential. The trends project doesn’t just give an insight into future talent – it helps mould and support it.

Brintons collaborated with Birmingham City University to create sample rugs based on original designs by Constructed Textile Design students Rosie Williams (Strata) and Chloe Baker (Play); the rugs were manufactured using Brintons revolutionary 32-colour High Definition looms. 

The trends, which Birmingham City University students have interpreted, are STRATA and PLAY:

STRATA

As our natural world continues to surprise and sometimes alarm us, we realise its significance in the everyday. Strata pays particular attention to geology to better understand the unrefined beauty of the earth, exploring man's influence on nature and vice versa. 

PLAY

Brimming with creativity and optimism, play inspires us to do just that. Subverting traditional notions of grown up good taste, this trend responds to our inner child, encouraging a cut and paste attitude, full of fun and energy. 

Brintons, has helped the English Heritage to repeat history at Walmer Castle by supplying 19th century designs from our extensive archive.

Constructed in 1540 by Henry VIII, Walmer Castle is a Tudor castle situated in Walmer, Kent. Housed by the Duke of Wellington from 1829 - 1852 during his position as Lord Warden, the Duke’s bedroom is his final resting place and is a popular tourist attraction maintained by the English Heritage.

As part of a renovation project to restore the Duke of Wellington’s bedroom as it was at the time of his death in 1852, Brintons’ Archivist, Yvonne Smith, was approached by the English Heritage Curator for the South East to explore the archives for a design that reflected the style of the original carpet.

When examining the pattern, English Heritage and Brintons didn’t have any physical carpet to work with, but instead used a watercolour painting of the Duke’s bedroom by painter Thomas Shotter Boys, which still hangs in Walmer Castle. The style of the carpet was identified as a Brussels weave, and a picture of the painting was taken to the archive to find designs that were as close to the original as possible.

Rowena Willard-Wright, Senior Curator for English Heritage South East, said: “When working on the Duke of Wellington’s bedroom restoration project, not only did the carpet design have to be of the right period it also needed to closely approximate the carpet’s design and the colourways represented within the watercolour.”

After examining hand painted design papers from Brintons’ expansive archive, three examples were chosen that were of the era and of similar Brussel’s style to the carpet depicted. 

The English Heritage consulted Linney Carpet Consultants, which specialises in traditional installation methods, regarding the design and the appropriate application methods. To ensure that the period style was completely mirrored, a traditional method of installation was used on the 65sqm of carpet to replicate the original style of the bedroom.

Dewi Hughes, Project Manager at Linney Cooper Carpet Consultants, said: “When we installed the design we used a hem and blued tack method of installation, and all seams were sewed by hand. This method was traditional to the period and would have been used on the original carpets, completely replicating what would have been in the Duke’s bedroom.”

Featuring shades of dull rose pinks, bright terracottas and red fawns, the early Victorian panel designs were transformed into a pattern repeat that reflected the traditional interiors of the 19th Century period.

Rowena, continued: “When working on historical renovations such as Walmer Castle, Brintons’ archive is a national treasure for curators involved in this kind of specialist research and it was fantastic to find a design so close to the original.”

Brintons has helped Sir John Soane’s Museum re-create 19th century history by supplying a design from our expansive archive.

The Museum, which was the home and library of renowned neo-liberal, 19th century architect Sir John Soane, recently under took a major project to restore the private rooms of Soane and his wife. Historic Carpet Research helped in this restoration by working closely with Brintons’ Archivist Yvonne Smith to find a carpet design to reflect the original.

Brintons’ extensive archives were the source of a design for Sir John’s bedroom, and other rooms on the second floor, that reflected the carpets seen during that era. Two contemporary watercolours of the bedroom and bathroom were the only guide to work with when deciding upon a new design, as none of the original carpet remained in the Museum.

Lady Susan Stern, Historic Carpet Research, said: “The chosen carpet is perfectly in keeping with the feel of the period, and reflects the style of both Sir John Soane and the Museum. We chose a leafy, Regency style pattern that featured swirling movements, adding to the effect of the design.

“As we only had the watercolours to work with, which did not show any details of the pattern, we focused heavily upon the hues and shapes within the painting to select a design that was reflective of the carpet Sir John Soane would have had.”

The chosen pattern features four hues of red, ranging from deep burgundy to lighter pinks, producing a real depth to the design that is contrasted against a lighter, stone background. The selected painted pattern paper was taken from the archive and transformed into a full repeat carpet design.

In the renovation the new design was installed in the master bedchamber in the same manner as depicted in the watercolour, as a bedcarpet of strips laid around the bed. The carpet was also installed in the bathroom to the master bedchamber, the book corridor, the Oratory and Mrs Soane’s morning room, where it was laid as a rug.

Sir John Soane’s Museum was built by the architect in three stages beginning in 1809, and consists of three properties, No.12, No.13 and No.14, which were originally knocked down by the architect and completely rebuilt up to 1824.

Today, the Museum is the National Centre for the Study of Architecture, housing an expansive research library, gallery and intact living quarters where Soane and his wife resided.

Lady Stern continued: “It was very rewarding to find a pattern of 1824 in Brintons’ archive which enabled the production of a 21st century carpet in the spirit and aesthetic of the time of Sir John Soane.”


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