A walk through the Tasmanian Bush

Yolanda Zarins doesn't have to go far to find beauty in her local landscape. Photo: Yolanda Zarins

Regular walks among the towering ferns, ghostly gums and lush moss of the Tasmanian forest have inspired Yolanda Zarins' first hand printed series since graduating from Textile Design at RMIT.

Fern fronds and paint marks stretch across hand dyed cloth in shades of moody blue and grey. Titled 'Frond' and 'Pozo', Yolanda hand prints these designs differently each time, creating a series of one-off arrangements that share her experience.

Frond and Pozo, hand printed onto cloth dyed by Yolanda, now available in these cushions Photo: Yolanda Zarins

Armed with many types of work she had completed at university, Yolanda reached out to her home town of Hobart, explaining "I did a market early this year. It was the first time I went out by myself and shared my work with the public. The work was digitally printed and every single person that came up to me asked if it was hand printed. I didn’t really have a good story. Even though I think digital printing is amazing, and I really like that you can show the detail of a brush mark when it is digitally translated onto fabric, I started to think that I wanted to make something that I can have a story behind - something that is really attached to me,” said Yolanda.

She explained that the fern that gave her the inspiration for Frond had come from nearby. “You don’t have to go very far from Hobart to find somewhere beautiful, so I spent a lot of time drawing and tinkering around. Every so often some things just stick,” she said.

Frond, printed by hand in small batches, differently each time to create one-off areas of interest. Photo: Yolanda Zarins

Pozo grew over a long period of time, by regularly drawing and observing ferns, seed pods and native flowers.  After a while, certain elements of the plants simplified into motifs, which then formed into this simple geometric design.

Standing out from a cupboard full of prints, drawings and designs Yolanda had been working on, she set about printing the two designs. She began the 'One of A Kind' series by mixing her own dyes and print pastes, seeking colours that hummed. She cut panels of fabric into one by two metre lengths, which she then dyed, cut into irregular shapes, printed and finally sewed them into cushions.

Of this process, Yolanda explained “I wanted to make something that I could screen print free hand. The fern pattern does repeat, but I also wanted something that I could layer and create areas of interest – to build it up as I wanted to and see it come to life as I was printing it.”

Yolanda's colour swatches on natural cloth, dyed with print pastes she has mixed. Photo: Yolanda Zarins

“I’m not a perfectionist and probably won’t ever be able to do a perfect repeat. I also don’t have the resources to set up repeat printing, or a big print studio, so mine is more of an intuitive process. I just want to make something until it looks right.”

While there is an inherent freedom in this process that obviously suits Yolanda, she also favours the approach because it feels good, saying “I don’t want to be hunched over a printing table for hours doing something that is not interesting to me, because it takes hours! I wanted to do something that is beautiful and has a story, but it is also has to be enjoyable - it has to be fun.”

Small prints mean Yolanda can print differently each time, allowing lots of freedom and scope for interesting, one-off creations. Photo: Yolanda Zarins

A genuine and pleasing completion of this creative process has taken time, as it does for many art and design graduates. With no clear accredited pathway, creative careers are mostly self directed, requiring stamina, perseverance and a good dose of entrepreneurial skill.

Yolanda finished what she describes as a “commercially geared” degree surrounded by the support of friends, peers and Melbourne’s creative community, including being part of Full Drop Co, whom she completed a residency with at Harvest Textiles in 2013.

Despite these wonderfully close and creative ties, the call to home was strong. After eight years away, the lure of family and place made a decision to move back to Hobart a natural one.

After each of these steps, the 'One of a Kind' series is complete. Photo: Yolanda Zarins

"When I was leaving, people were quite shocked. I suppose because there is still this (very untrue) assumption that you can't be a creative person and also live in Tasmania. Aside from family and friends, and the fact that Hobart is my home, I felt like I needed the space for myself in a creative way. Melbourne is such a thriving and creative city, except it is easy to get caught up in what the collective is doing and creative comparisons. Maybe I will live there again one day, but at this point I wanted to turn away a little bit and be left alone to sort out what I wanted to do, not compare and really think about what was important to me", said Yolanda.

"I left home when I was 18 and moved to Melbourne – I am now 26 and Hobart has completely changed in my eyes.  I feel more than ever that Tasmanian artists and designers love highlighting the fact that they live on an isolated island south of the Australian mainland, instead of disassociating, or moving to a bigger city. We’ve got something special here, and I am really appreciative of that. It feels awesome to be a part of such a unique community and geography," she said.

Pozo on the beach. Photo: Yolanda Zarins

Part of this uniqueness is the nature Yolanda so lovingly explores. When asked about the distinct colour palette in this series, she immediately references it to her surrounding landscape, describing Hobart as “somewhat gothic with a sort of moodiness". She references the mountains that curve around the city, with its deep blues, greys and blacks, "I think a lot of art and design here is completed in that direction, so maybe it is rubbing off on me.”

Many of the same colours can be found in large oil paintings by her father, a landscape artist. Exposure to his impressions of the local landscape now enable her to identify local colours as an artistic common thread. Always allowed unfettered access to his paints and tools during her childhood, the two recently reflected on this palette as she shared her new work.

“He came over the other week and we were looking at some of my new work . I had put a lot of dusty pink into my work as well as the blue. We were talking about how Dad's art work doesn’t really have that feminine sensibility to it. Maybe, growing up around him, my take on the Australian bush and landscape and plant life is coming through in a more feminine and soft way,” said Yolanda.

It is exciting to watch Yolanda find her voice. She has such an incredible way with the geometrics of her design. Now linked to the place she loves, it is a pleasure to watch her voice emerging.

Earlier work by Yolanda still remain within her native colour scheme. Photo: Yolanda Zarins

Brush marks and a journey of colour

Shilo Engelbrect's oil paintings are digitally printed onto linen, used for a variety of homewares, including this lamp. Photo: Jodie Cheetham

As with most of the textiles I have discovered online, it was a pure delight to finally experience Shilo Engelbrecht’s in the flesh. South African born, Brisbane bred and now based in Stockholm, Shilo is home for the summer and sharing her wares at a pop up shop on Latrobe Terrace, Paddington until Christmas.

A fashion and fine art graduate from QUT (Queensland University of Technology), Shilo transfers her vivid oil paintings onto linen, transforming them into a range of upholstery fabric, plump cushions, panels for use as wall hangings or bed throws,  pure silk scarves, tote bags and small keepsakes like fabric purses and gorgeous fabric story books.

The juxtaposition of Shilo's painting against the cloth printing with the same artwork is intriguing. Printed on linen, the fabric takes on a character of its own, a softer version perfect for the home. Photo: Jodie Cheetham

The abstract paintings are an exciting fusion of vivid colour and brush strokes full of feeling. The large scale of these marks capture so much depth and texture; bold blocks of colour provide both contrast and an overall sense of harmony.

It is easy to see why Anthropologie, who cites art and creativity as the centre of its brand, recently hosted the first showing of Shilo’s paintings at their King’s Road gallery in London.

Art work to live with - these lamps are such a beautifully simple design, yet full of texture and character. Photo: Jodie Cheetham

Shilo first developed this multidisciplinary approach during her tertiary studies, describing herself as "fortunate to have some wonderful teachers and lecturers who supported my experimentation even when it went out of the boundaries of the curriculum.”

“John Honeywill from Somerville House was my art teacher throughout my school life and continues to offer me wonderful support and encouragement in my work. Suzi Vaughan at QUT allowed me great freedom of expression and helped build my confidence and strengths, with a focus on textiles … so did David Hawke in Fine Arts, who encouraged the rebel in me in the fine arts department,” Shilo said.

Known for her bold use of colour, Shilo draws inspiration from her interests, journey and natural surrounds. Photo: Jodie Cheetham

Keen to broaden this horizon upon graduation, Shilo set Europe in her sights, arriving in Glasgow in 2007. When asked of any defining moments during her creative development, Shilo describes this time as it, saying “This was the ‘jumping in the deep end’ part that I needed to my find voice and confidence.”

Earning her stripes with the Centre for Advanced Textiles, who also print work for modern print trailblazers Timorous Beasties, she spent eight months gleaning first-hand experience of the digital printing process. In her down time, she researched Scottish architects and historical concepts of interior design.

Printed linen cushions and napkins are available in various sizes and colours. Photo: Jodie Cheetham

A move to Cambridge in 2012 found her expanding her interest in the Bloomsbury Group, which had originated in the area, to her by now bubbling brew of study, skill and exploration.

An intense two month period of painting in a tiny greenhouse followed, culminating in her inaugural series, titled ALV (pronounced ‘elv’). Swedish for River, it represented Shilo finally finding her 'flow', hence the title. Years of discovery promptly paid off when ALV was promoted by the likes of Vogue, Kit Kemp of London’s Ham Yard Hotel and Australia’s Koskela.

You can now see these fabrics, along with Shilo’s current range, Andamento, inspired by the UNESCO world heritage site on the Greek Island of Delos. Her thoughtfully curated collection of objects provide such an interesting story in their union; together they tell her story.

An innate understanding of colour means Shilo's work sits just as comfortably with more colours as it does within natural and pared back environments. Photo: Jodie Cheetham

After spending an afternoon in the store, I found myself becoming more and more immersed in the colour and feeling in her artwork, a sure sign that these pieces have enough depth and expression to be lived with long term. Her colours just 'work', so I kept going back for more. Stormy and pure shades sit in contrast beside each other, somehow offering an invitation to combine them with still more colour.

“It's hard to express in words how I feel about colour," Shilo said. "I'm very affected by it and I recently became aware of how I study and absorb colour combinations when I'm in nature or even walking around in the city.  When painting, I lie out on the floor all my tubes of oil paint. I begin by considering the colours and will isolate a few tubes together in groups so I can see them and how they will work.”

“I think you can create a calm and serene interior and still apply colour.  Australian climate and architecture allows for colour as we often have open and semi outdoor living spaces,” she said.

Fabric purses and large Day Lounge Cushion. Photo: Jodie Cheetham 

Looking forward, this lovely lady has covered every surface of her new studio in fabric, ready for her next collection of large scale works, certain to continue a very personal story about Shilo’s European journey and her natural surrounds.

If you’re in Brisbane, don’t miss the chance to see how lovely these linen pieces really are. Her pop up is open for a few more weeks, check out Shilo's facebook page for details. You can also find her range at Douglas and Bec, AP Design House, Spence & Lyda and Koskela.

Shilo's bed throws will also be in good company as part of the 2014 The Design Files Open House, opening next Thursday in Collingwood and running until 7 December.

Fabric 'story books', printed with Shilo's work. Photo: Jodie Cheetham

Sure footed steps walk a charming path

Leuca, from the Protea family. Photo by Sean Fennessy.

As far as entrepreneurial stories go, it doesn’t get much better than this. Three friends, tinkering solo on creative projects, decided to start a textile label together. Months later, the art teacher, graphic designer and marketer found themselves the first occupants of an abandoned wool store in Melbourne’s Kensington. With all the vitality of a fresh start, Tegan Rose, Lara Cameron and Bianca van Meeuwen tore up lino, painted and ultimately transformed the top floor at Young Husband Studios into a glorious work space.

And that’s where the knocking on doors started. For, despite their collective skills, these three had never created their own hand printed yardage. With all the gumption of do it yourself legends, they got on the phone and asked questions of anyone who would listen. And listen they did.

Lara found herself talking to a retiring printer who was happy to divulge a lifetime of experience before he hung up his apron. He talked, Lara wrote. Reams of notes detailed the tools and techniques of their new trade, as well as minute instruction on how to construct their 10m printing table with interlocking stops. Although the information made little sense at the time, the advice turned out to be pure gold.

Rolls of goodness; old favourites sit comfortably by Ink and Spindle's latest additions. Photo by Sean Fennessy.

Perhaps it was in these moments that the girls sealed their open approach. For the past six years, Ink and Spindle has openly shared their process and journey with many, including Caitlin Klooger, creator of Pippijoe, who became a natural partner late last year when Teegs decided to act on a call to travel.

In addition to playing their part to strengthen the industry, this openness has brought the label respect, friendship and a glorious morning tea ritual. Creatives of all genres quickly became Young Husband neighbours, with many sharing the journey with cake and a cup of tea at ‘Ink and Spink’.

These good intentions were also woven into their design process. With the environment at its core, Ink and Spindle worked hard to source sustainable cloth, non toxic inks and develop processes to minimise water usage and waste.

Waratah, taken from a lino cut by Lara Cameron. Photo by Sean Fennessy.

Lara Cameron, the only remaining member of the original trio, said “Our desire to live, work and create in an ethical and sustainable manner has influenced how Ink and Spindle began and developed. Everything from the materials we carefully select, to our production processes, to our everyday business decisions. It all reflects our aim to walk softly on the earth.”

“We love Australia’s native flora and fauna, but also the energy of the urban environment in Melbourne. It is very important to us that our designs have inherent longevity. Rather than following current design or fashion trends too closely we try to develop textiles that will fit in your life for many years to come” she said.

So Ink and Spindle’s original designs still sit proudly beside their slow grow counterparts. Each roll of organic hemp, linen, cotton and yak is adorned with native motives and the occasional pattern, printed in earthy and neutral hues, along with trademark pops of duck egg blue and turmeric.

Waratah in White and Coal

Like Waratah, designed by Lara after a trip to the 2012 Capturing Flora exhibition at the Art Gallery of Ballarat. Of the process, Lara said, “I knew that I wanted to firstly develop a lino print and capture the beautiful texture of that medium in a screen print. The carving was done over one rather warm weekend down at Fairhaven, perfect weather to soften the lino!”

This relatively large print sits harmoniously with Silver Gum, also released in July 2013. Lara said, “Silver Gum is another one of those designs that spent a lot of time brewing in the back of my mind before finally coming to life. The tricky bit was finding the perfect shaped leaf, but once that happened the rest of the process was fairly straightforward”.

“The design came to life one morning during a bicycle ride to work through Royal Park. Enamored by the leaf forms, I picked the almost-flowering stems for photographing later in the back yard. Both colours in this design are printed from a single screen – the second is printed with the screen rotated 180 degrees,” she said.

Silver Gum in Grey Lead and Inky Blue

These screens measure 1.8m tall and require two people to print. With a person at each side of the table, the ink is passed from one to the other in a series of interlocking repeats. Through all of the studio activity, the mesmerising printing of their cloth is a constant, with the harmony of each stroke captured beautifully in Artisan Magazine’s fourth issue late last year (non apple viewers can see it on Vimeo).

This process only happens to order, a production choice that minimises wastage and allows Caitlin and Lara to customise a design based on a client’s colour choice. You can explore these options using Customise tool on Ink and Spindle's award winning website.

From every aspect, Ink and Spindle strikes me as such a healthy business. With sleeves rolled up, hearts open and a desire to enjoy their journey, an inspirational business has been created. Starting from little, the label is now strong. Their organic fabrics are truly delightful, and resonate with all of the thoughtfulness and respect with which they are created. I, like many, look forward to the next sure footed and thoughtful steps.

One branch of a Silver Gum lent itself to a repeat - a slowly forming idea in the mind of its creator, Lara Cameron.

When everything old is new again

Cherry Blossom V2, an original Rouse Phillips design and longstanding best seller

When Anastasia Phillips made her way to a Sydney party eight years ago, she had no idea she was stepping out for a date with destiny. In one of those rare and life altering moments, she met Tim Rouse, a recent Visual Design graduate, and their conversation quickly found its way to textiles.

“When I met Tim it was unbelievable that we wanted to do the same thing,” said Anastasia, who had just completed her Fine Arts degree, majoring in screen printing. “In one month he was leaving for India to find people who could manufacture his textile designs. After three months, we were in India together” she said.

Upon their return, the couple started designing textiles for fashion, all the while nursing their dream to create their own range. Their designs sold well, to labels including Lisa Ho and Ginger and Smart, often garnering suggestion that their repeat patterns would translate well to homewares.

The period was a valuable stepping stone to later finance their label, however the throw away nature of the fashion world trended against their moral ethos. So, when a City of Sydney initiative for Oxford Street presented an affordable work space option in 2012, the couple jumped and Rouse Phillips was born.

Columns, one of the most recent additions to the Rouse Phillips range, born from Tim's recent interest in Shibori

Their vision for the label has been fixed since that first meeting – to create a textile range that is both timeless and current. With a distinct nod to classicism, Anastasia and Tim aimed to produce a quality comparable to their favourite European brands, at a price point that people can afford.

“We wanted to put out an aesthetic that we loved and bring it into the every day. Design shouldn’t be about the latest trends, a lot more thought should go into what people are buying. We all see what the latest trends are on our feeds, but the truth is that I can see it aging terribly,” said Anastasia.

“From a design point of view, let’s choose to hark back to what was, rather than just contribute to landfill. A lot of people feel like they have seen our fabric before, even though it is new. They want to collect beautiful things for their home – things that look good with what they already have. We hope that our work feels familiar because it’s based on the principles of classic, good design”.

Citing the venerable likes of William Morris and Fortuny as influences, this approach is clear in the range they have created. With the help of hard and fast, almost familial relationships formed with their Asian manufacturers, their signature designs are digitally printed in warm and muted colours on completely natural base cloths.

Check Stamp, a playful and organic version of traditional check, sits comfortably with Deco Arch, displaying the couple's preference for timeless and classic design

Each design evolves differently, usually reflecting an inspiration or creative process capturing one of the couple’s interest at the time, such as the newest edition Columns, evolving from Tim's recent interest in Shibori dying.

“Tim started doing experiments in the bath tub and the washing machine at home,” explained Anastasia, “He was doing all sorts of things and creating lots of test bits to see how it worked out. He was tying lots of things into fabric to create patterns and when he unravelled this particular piece we both really loved the design. We scanned the piece, put it into repeat and recoloured it.”

Deco Arch, Check Stamp and Coburn, a homage to the Australian abstract painter, John Coburn

This new design sits comfortably with earlier work thanks to the couple’s preference for earthy and easy to live with colours. This power of colourway choice was illustrated for the couple early on when they released Cherry Blossom V02.

“The colours of Cherry Blossom V01 are quite Japanese and it was popular ever since it was first released,” explained Anastasia, “but it was not until we brought out Cherry Blossom V02 that it really took off and became our best selling design. People love the fresh blue and cream of that particular colourway, reminiscent of the classic blue and white made famous by Wedgwood,” she said.

Beginning from an original photo of three original flowers and a single stem, taken by Tim, Anastasia believes that the design is popular because “people love beautiful things. Even single men want to have Cherry Blossoms on the wall because it is beautiful,” she said.

This simple and powerful sentiment is reflected in Anastasia’s tips for making foolhardy textile choices that will stand the test of time, “After thinking about what you already have in the room, how you use the room and the architecture and era of your home, know that a lot of work can be mixed and matched. It really does depend on the person – if you really love something, that’s what you should have in your house”.

The warm and earthy tones of Rouse Phillips fabrics blend beautifully in the home