OUR VISIT TO KATHMANDU

Visiting Kathmandu to research Tibetan style weaving techniques for rugs, was a fascinating experience and one we will never forget. Kathmandu is a chaotic sprawling city and we spent much of our time driving through its bustling streets visiting spinning factories, dye houses and weaving mills. This gave us an excellent snapshot of the city and its people.



We were so impressed with the skill of the weavers and stunned with the speed at which they could work and as a designer there’s nothing like seeing the production first hand to learn the tensions of the process.



It was also very fulfilling to see our first trial weaves. Above is Cathy Brown holding a sample of Rabat, her first ever rug design, see full rug below.

We did manage some down-time and spent an amazing afternoon at the Boudhanath Stupa, a sacred Buddhist Shrine and the surrounding markets, where we were tempted with jewellery and local crafts. Both Cathy and I brought beautiful silver necklaces.

Image by U. Roberto Romano, courtesy of Rug Mark

The most profound experience for myself, Cathy and Edwin Rysenbry (owner of Mokum) was seeing firsthand the poverty of Kathmandu, which was also present within the weaving community. After visiting Rugmark and learning of their educational programmes we became extremely committed to their cause and through Mokum’s association with them we have an unique opportunity to improve the lives of the weavers and their children through Rugmark’s education programmes and support services.

We also enjoyed spending time with Sonam Tsomo and her family who took such wonderful care of us and shared their extensive knowledge of Tibetan rug weaving during this and subsequent visits.

In our next rugs post we look forward to sharing the entire launch range with you. Mokum rugs will be available within Australasia later this month. Please contact your nearest Australian or New Zealand trade showroom for further details www.mokumtextiles.com.

By Stephanie Moffitt

ÉTOILE – FRENCH STAR

Étoile clutch (image 1)

Étoile sketch (image 2)

Étoile CAD (image 3)

Dauphine Collection

The clutch pictured above (image 1) features our plush velvet Étoile from Mokum’s Dauphine collection. The clutches were created as limited edition gifts for our North American press kits. It’s another divine example of applying our interior fabrics to applications outside their recommended specification. The word Étoile is French for star and is also the name given to the highest ranking dancer in the Paris Opera. When designing Étoile Beth began by researching French antique lace, she then sketched a star motif (image 2) and placed it into repeat (image 3), using a CAD textile program. Étoile is a stunning velvet jacquard with a subtle sheen, which is created by a viscose pile and the motif is edged in a fine ottoman weave.

10 MINUTES WITH JEREMY HANSEN

HOME New Zealand editor Jeremy Hansen in a photograph taken by his artist brother Tim

Last week we asked Neale Whitaker, editor-in-chief of Belle Magazine, to comment on Australian design. This week we spent 10 minutes with Jeremy Hansen, editor of HOME New Zealand, asking his perspective on New Zealand design…

What attributes make New Zealand design unique?
That's becoming a more difficult question to answer, and I think that's a really good thing - New Zealand is a really multi-cultural country and I think that if our design had a particular 'look' it would reflect poorly on us. That said, there are common elements that shape the way things are designed here. We're really open to a huge range of international influences, so I think we've always been good editors of new trends. Like Australia, we have a wonderful quality of light. The natural environment in New Zealand is an overwhelming presence in many parts of the country, so our design is inevitably shaped by that. We're very isolated from the rest of the world. Many of us live close to the sea. So if I were to stick my neck out a little bit and name some common characteristics of New Zealand design, I would say that our best design shares a pared-back sort of elegance, an emphasis on natural materials, and an unfussy, relaxed feeling.

Who is your favourite New Zealand designer?
I enjoy the consistency and practicality of a lot of Simon James' furniture designs. I love the smart, but never tryhard, irreverence of Karen Walker's garments. Ngahuia Damerell has designed some beautiful fabrics. Katie Lockhart is a stylist that has done some beautiful work for our magazine as well as overseas publications like World of Interiors and Case da Abitare – she’s able to subtly tap into a New Zealand sensibility. Nicholas Stevens and Gary Lawson at Stevens Lawson Architects design wonderfully dark, mysterious homes. And the team at Mitchell & Stout Architects have made a series of buildings that are full of poetic, thought-provoking spaces.

An image from HOME New Zealand styled by Katie Lockhart using vintage New Zealand Crown Lynn ceramics, photographed by Derek Henderson. www.katielockhart.com

www.simonjamesdesign.com

www.karenwalker.com

Grey Triangles from Ngahuia’s graduate collection

What is your favourite New Zealand building?
That's a tough one. I love the easy-going simplicity of a house in Freemans Bay, Auckland, by Mitchell & Stout Architects. And Stevens Lawson Architects won our magazine's Home of the Year award in 2007 with an Auckland home that beautifully melds indoor and outdoor spaces without ever being predictable about it. Both of these homes subtly draw on a uniquely New Zealand design heritage - the Mitchell & Stout house feels a little like a boat, full of subtle Pacific influences. And the Stevens Lawson home references the black buildings that were common in New Zealand in the early 20th century, as well as incorporating the darker, moodier side of the New Zealand character.

HOME New Zealand magazine’s Home of the Year 2007, designed by Stevens Lawson Architects. www.stevenslawson.co.nz


The Freemans Bay home in Auckland by Mitchell and Stout Architects http://www.mitchellstoutarchitects.co.nz/Work/hekestreet.htm

How critical is indigenous culture in our design aesthetic?
In recent years we've had a bit of a flood of inferior design objects that seem to believe that using a Maori or Pacific element in their design makes them uniquely New Zealand. To me, these sorts of objects are no better than the kitsch you find in your average tourist shop. People need to spend time learning about the significance of these cultural elements before they appropriate them for their designs. Like any good design, if the concept behind it isn't deeply felt and thought through, it's not going to work. Recently the Auckland gallery Objectspace held an exhibition of work of contemporary weaving by male artists that referenced and overturned Maori and traditional notions of weaving at the same time – this is the kind of use of indigenous references in design that points the way to a non-kitschy future. www.objectspace.org.nz

Describe New Zealand design in one sentence.
Innovative, exciting, and rich in variety.

T-SHIRT QUINELLA

Winning T-shirt

and Runner-up

Congratulations to Ngahuia and Stephanie on their prize winning Architecture for Humanity T-shirts. Ngahuia won first place for her gorgeous "Design Like You Give a Damn" T-shirt, whilst Stephanie was runner-up with her subtle approach to branding. Each year, in lieu of sending Christmas gifts to clients, Mokum donates to Architecture for Humanity, a non-profit organisation which uses design to combat poverty. We wish them a Happy 10th Birthday!

10 MINUTES WITH NEALE WHITAKER

Image by Jason Loucas, courtesy of Belle

At Mokum we often talk about taking a cultural approach to design, reflective of our Antipodean heritage. So what does that mean, what actually makes Australian and New Zealand design unique? For an Australian perspective we went straight to the top asking Belle magazine’s editor-in-chief and judge from TV show homeMADE, Neale Whitaker, a few questions about Australian Design.

What attributes make Australian design unique?
Australian design is free of convention and acknowledges the cultural diversity of our country. It respects international design but edits and adapts to create true individuality.

Who is your favourite Australian designer?
It’s difficult to focus on just one name across so many disciplines, but Dinosaur Designs embodies everything I admire and respect about Australian design. They have longevity, creativity, individuality, business acumen and a sense of humour. There is nobody else quite like them.

Image by Daniel Guerra, courtesy of Dinosaur Designs

What is your favourite Australian building?
Predictably perhaps, it would have to be the Sydney Opera House. I can’t think of any other building in the world (with the exception perhaps of the Taj Mahal) that is such an iconic emblem of a nation. Added to which it is jaw-droppingly beautiful.


How critical is indigenous cultural in our design aesthetic?
Our indigenous culture should be understood, valued and respected, but it cannot influence everything. Design has to be a 360-degree experience.

Describe Australian design in one sentence.
It breaks the rules.

Stay tuned for the New Zealand perspective, we have asked editor of HOME NZ, Jeremy Hansen, his view too!

Mrs. Press Dressing Room

Mrs. Press dressing room delights

Clare & Beth outside Mrs. Press Dressing Room, Darlinghurst

Shop Til You Drop, April 2009

Shop Til You Drop, June 2009

Clare Press, former features director of Vogue Australia, recently opened a flagship store in Darlinghurst - Mrs. Press Dressing Room. Beth has worked closely with Clare and together they have created the glorious designs which adorn the packaging of Mrs. Press dressing room delights - scented candles and soaps. Beth has also designed limited edition silk prints, especially for Mrs. Press ready-to-wear range. The store is a must, you can find Mrs. Press Dressing Room at 136a Darlinghurst Road, Darlinghurst. For those not in Sydney, fear not as you can shop on-line!

THINGS WE LOVE - Whangapoua, New Zealand

My favourite place in the world is Whangapoua, New Zealand. A beautiful beach town on the east cape of the Coromandal Peninsula in the North Island. I have been visiting Whangapoua for 16 years, it is where I got married and where my husband has spent summer holidays since he was born.

Now that I live in Sydney, Australia I have a much greater appreciation for New Zealand’s countryside. Two things resonate, how intensely green it is and how much the landscape changes before you, within such a small amount of travelling time. There is such diversity within New Zealand’s landscape, which makes it such a unique place to visit.

The photo’s above were taken on my last trip to Whangapoua - just last week!

The three images below show Whangapoua during the summertime.

By Stephanie Moffitt

TETOUAN SKIRT

Bethany's skirt in Tetouan colour Twighlight (reversed)

Tetouan colour Fuchsia

Morocco collection

We know you love to see our interior textiles used outside their recommended specification. Bethany's gorgeous skirt, pictured above, is made from Tetouan - a 100% silk design from our Morocco collection. Bethany created the skirt using the reverse side of Tetouan colour Twilight.

ECO-ROOM SCHEME

I love natural and environmentally friendly fabrics and fibres, with my favourites being linen, wool and silk. The scheme (pictured above) is my ideal eco room setting, which includes lots of eco-fabrics in subtle natural tones, teamed with bright, bold colours such as reds, pinks and blues. For flowing drapes with a crisp feel I have chosen Meridian's Telopea colour Pumice. Telopea, from the Australian Botanicals collection, is a semi-sheer woven in Belgium with 100% eco-linen.

I also love Modern furniture, so for my scheme I have selected Jardan's Archie Chair and Sofa. The Archie range is made with an environmentally sustainable kiln-dried American Oak and uses high-resilience CFC-free polyurethane foam seat. I have chosen to upholster the chair in Meridian's Mallee, also from the the Australian Botanicals collection. Mallee is an upholstery weight 100% eco-linen fabric with a rustic and natural appearance.

To add a bit of zest I have selected Loop's Sateen in either Chilli or Ruby to cover the Archie sofa. Sateen, from the Everyday Objects collection, is an environmentally friendly fabric containing 90% enviro-wool and 10% enviro-nylon. It's suitable for heavy duty use yet has a soft and luxurious handle.

For funky cushions I would choose Mokum's Arabesque colour Red Coral. Arabesque is from Mokum's Maroc Outdoor collection, but is also great for indoors. Arabesque is woven from 100% solution dyed olefin, which can be recycled up to ten times.

For the finishing touch, I have selected an unusual looking accessory, which I found on the Internet, a lamp from Electric Firefly, which contains recycled plastic and provides the ideal light for a relaxing atmosphere.

BARGELLO

image 1

image 2

image 3

Bargello, from our Dauphine collection, is a contemporary take on a traditional fish-scale repeat system. The design was inspired by shell motifs, often used in Rococo architecture as embellishment, along with flowers and scrolls. Images 1, 2 and 3 illustrate the design process, below are a few of our favourite images of shell motifs and fish-scale repeat systems.

Rococo wall shell

Plaster embellishment - Melk, Austria

Japanese chiyogami paper

Path - Lake Como, Italy