Aranya Natural & Athulya at Srishti Welfare Centre in Munnar

aranya natural

 

Before visiting Munnar, I was not aware of the health issues related to tea plantation workers in India. Often foreign media would focus on the working conditions of garment factory workers, yet the problems related to tea plantation workers (primarily female) are largely ignored. Although they are not stuck inside cramped factories, tea plantation workers have to deal with other serious safety and health issues. Locals told me that workers not only have to work long hours at low wages, they also have to live together in communial dormitories with poor sanitation at the tea estates. Health awareness among the tea plantation workers is poor, and often they give births to children with various health conditions and disabilities, yet they receive hardly any government support.

 

srishti welfare centre

srishti welfare centre

 

In 1991, the Srishti Trust was formed, backed by Tata Tea Limited, to support differently-abled children of the estate workers. Founded by Ratna Krishna Kumar, the Trust launched two major projects: Aranya Natural and Athulya, aiming to rehabilitate local youngsters in a safe and fair environment. Later, Nisarga (the strawberry unit) and The Deli (a bakery and confectionery) were added to make preserves, breads and cookies using locally-grown ingredients.

Most visitors to Munnar would head to the main tourist attractions, but few would seek out the Srishti Welfare Centre. Well, they are really missing out. In 1996, the Srishti Welfare Centre moved to an abandoned shed in Tata Tea’s Nettimudi estate outside of the town centre. Their beautiful site is open to the public and visitors can meet many happy workers who are trained at natural dyeing and paper-making. What started out as an experiment has paid off for Ratna and her all-female team’, now even big corporations have employed the Trust to make paper and textiles-related products.

 

aranya natural

aranya natural

aranya natural

aranya natural

aranya natural

aranya natural

 

Aryana Natural is the natural dyeing department at Srishti. All the textiles here are created in a non-toxic environment and all the dyes are azo-free. Many dyes are locally sourced, like eucalyptus, Nilgiri kozha (eupatorium), tea waste, pine cones and other leaves, petals, roots and bark are harvested from the forest nearby. Some specific dyes are sourced elsewhere, like indigo from South India, lac from Jangir Champa, and myrobalan, from traditional medicine shops in Coimbatore. Only natural fabrics such as cotton and silk are used as they work best with natural dyes.

 

aranya natural

aranya natural

aranya natural

aranya natural

 

Every newcomer would receive training by volunteered trainers for about six months on skills particular to their aptitude and interests. Each artisan would specialise in at least one technique i.e. shibori or traditional block printing. World-renowned Japanese textile artist and researcher, Yoshiko Iwamoto Wada, regularly visits and acts as mentor to the young learners. She introduced many traditional Japanese shibori techniques to the trainees, which enable them to develop the skills further. Most of the artisans I spoke to told me that they really enjoy their work, and it was amazing to watch them work – they are fast and very skilled.

 

aranya natural

aranya natural  aranya natural

aranya natural

aranya natural  aranya natural

 

Athulya is the handmade paper unit that creates handmade paper from recycle waste paper, cut boards and other stationery waste. It is committed to use only natural additives in their paper, most of them are found around Munnar like tea, eucalyptus leaves, lemon grass, pineapple leaves, onion peel, flower petals, elephant droppings and water hyacinth (which is a weed affecting our back waters).

Now around thirty people work in this unit and they produce over 52 eco-friendly, azo-free, biodegradable recycled paper products by hand. It is also encouraging to see Starbucks hiring the unit to produce their shopping bags.

 

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya

Athulya  Athulya

 

At the back of the sheds, there are a line of greenhouses growing organic vegetables and plants. Seasonal vegetables are picked and used in the Srishti canteen where nearly two hundred employees have lunch every day. There is also a playground for the staff’s children to play, and an award-winning flower garden that features a wide variety of flowers.

 

srishti welfare centre

srishti welfare centre

srishti welfare centre

srishti welfare centre

 

One cannot come here without stopping at the shop. The Aranya Natural shop has to be the most beautiful shop in Munnar. It sells one-of-a-kind handdyed scarves, clothing and home accessories made by the artisans next door. The prices are extremely reasonable and you would not be able to find them elsewhere. If you purchase here, you are directly helping the centre and the artisans, thus making a bold statement supporting sustainable textiles and fashion.

 

aranya natural  aranya natural

aranya natural

aranya natural  aranya natural

aranya natural

aranya natural

 

The Srishti Welfare Centre is not only a beautiful site, it is also an inspiring organisation. Before my trip, I knew little about this place, and I am flabbergasted that few people outside of the textiles world have heard of it. If you have only one day in Munnar, make sure that you spare time to visit this centre because it is well worth it.

 

 

 

 

Aranya Natural’s “The sustainability of natural dyes” conference in Munnar

aranya natural conference

 

The purpose of my trip to India in February was to attend a natural dyeing conference. And it took place before COVID-19 changed our lives. Aranya Natural is a natural dyeing organisation under Srishti Trust in Munnar, supported by TATA Global Beverages Limited, which runs programs for the education training and rehabilitation of the differently abled children of Munnar’s tea plantation workers. Last year, it was the organisation’s 25th anniversary, and “The sustainability of natural dyes” conference was organised as part of the celebration. However, the conference was postponed by a year after a major flood in Kerala devasted many parts of the state. It was fortunate that the conference managed to take place before COVID-19 started to spread in India, otherwise it would have been cancelled for the second time.

Honestly, I am not a big fan of conference and would rarely volunteerily attend one. Yet this conference was like no other, and I felt that it would be beneficial if I want to continue my natural dyeing practice. To me, natural dyeing is not merely a hobby, it has become my passion and aspiration in recent years. Currently, we are seeing a revival of natural and indigo dyeing as many people realise the harmful effects of synthetic dyes on our bodies and environment.

 

aranya natural conference  indigo farmer aranya natural conference

Left: The conference schedule; Right: A local indigo farmer and conference attendee

 

The 2-day conference took place at Eastend Hotel in Munnar, bringing dyers, manufacturers, teachers, designers, farmers, and enthusiasts etc together from Indian and around the world. One huge draw for me was the list of speakers, which included experts like Yoshiko Wada, Jenny Balfour Paul, Michel Garcia, Charlotte Kwon (Maiwa), Dominique Cardon, Jagada Rajappa and Buaisou… these are all big names in the natural dyeing and textiles world, so it was a rare opportunity to meet them all in one room.

One factor differentiates Aranya Natural from other organisations – it is an all-women team led by a visionary founder, Ratna Krishnakumar. Since India is a patriarchal society, it is inspiring to see the empowerment of women here. The fact is women in India are likely to face more challenges than women in the West, so being able to run an all-female team here is highly commendable.

The conference also addressed the most important issue that we are facing in the textiles and fashion industry today – sustainability. The rise of fast fashion has done immense damage to our environment in the past decade or so, hence the conference aimed to increase the awareness of natural dyes, and discuss how the industry can shift from using synthetic dyes to more sustainable ones.

 

aranya natural conference

aranya natural conference

aranya natural conference

aranya natural conference

 

Until recently, sustainability has been fashion industry’s last concern. If you trace the path of your favourite item from Primark, then you might be in for a surprise. Your ‘bargain’ £10 shirt probably costs about £3-4 to make, meanwhile the garment factory worker in Bangladesh would receive less than £1 for a day’s work (14-16 hours). Aside from exploitation of these workers, the environmental damage caused by the chemicals used is unaccountable. Although India has had a long history with natural dyes, many garment manufacturers have now switched to synthetic dyes to cope with the high demand from the fast fashion sector. Natural dyes have been pushed aside due to higher costs. lower production rate and more labour intensive.

So, how can we re-introduce natural dyes back into the profit-driven industry? There are no easy answers, but I did meet some young Indian designers at the conference who are using natural dyes to create beautiful designs. I do hope that they will change the landscape of Indian fashion in the future.

 

aranya natural conference

Soham Dave and his sustainable collection

 

When I was still a student years ago, I bought my first shibori book, “Shibori: The Inventive Art Of Japanese Shaped Resist Dyeing” by artist, author, and curator, Yoshiko Iwamoto Wada. This is an important book to me and I never thought I would get the chance to meet Yoshiko in person, but I did – we even exchanged contacts, and later had dinner together, which all felt a bit surreal. Besides Yoshida, I also spoke to other speakers like Dominique Cardon, Michel Garcia, Axel Becker, Jagada Rajappa, William Ingram from Threads of Life, and Rashmi Bharti, the co-founder of Avani. The conference also enabled me to connect and make friends with attendees from around the world. Many of them are dyers, designers, textiles teachers, and shop owners etc, so I found the whole experience valuable and unforgettable.

 

aranya natural conference

aranya natural conference

aranya natural conference

 

The talks on both days covered a wide range of topics relating to sustainability and natural dyeing, but the word ‘indigo’ was a key term at the conference. Indigo is probably the most mysterious and complex natural dye of all. Indigofera is a flowering plant of over 750 species and belongs to the pea family, Fabaceae. It has been in cultivation in tropical and subtropical regions worldwide for many centuries, yet the characteristics of each specie varies and can yield different shades of blue. The world-renowned indigo expert writer, artist and curator, Jenny Balfour-Paul has published several indigo-related books, and she was the last speaker to give a talk on indigo. Not long ago, I read her novel “Deeper than Indigo: Tracing Thomas Machell, Forgotten Explorer, hence it was interesting to hear her examine the colour ‘blue’ from many angles.

 

aranya natural conference

aranya natural conference

aranya natural conference

aranya natural conference

Talks and slides on indigo

 

On both evenings after the conference, there were entertainments including dance and music performances, violin recital, and fashion show. The fashion show featured natural dyed designs created by Riddhi Jain (Studio Medium), Sreejith Jeevan (Studio Rouka) and Sunita Shankar. Unlike other fashion shows, their show was modelled by workers at Srishti, which was more authentic and fun.

Based in New Dehli, Riddhi Jain is a rising star in India’s fashion world who has won the Elle Decor India Design Awards, International Craft Awards and India Story design awards amongst others. She told me that she employs a small team of artisans and designers to create beautiful hand-dyed and hand-stitched shibori pieces that are one of a kind. I love her designs, and honestly, I would rather spend my money on an unique handmade piece that supports a local craft community than a designer piece that supports its marketing campaigns and executives.

 

aranya natural conference

aranya natural conference

aranya natural conference  aranya natural conference

Riddhi Jain (Studio Medium)

 Sunita Shankar

Sreejith Jeevan (Studio Rouka)

3rd row: Riddhi Jain and her collection; 4th row: Sunita Shankar and her collection; bottom row: Sreejith Jeevan and his collection.

 

I never knew that conferences could be so exhausting! Besides two full-day talks from 9am to 5pm, I did not anticipate two hours of evening entertainments, followed by dinners at 9 pm on both nights. Despite the lack of rest, I was still looking forward to attending two more days of workshops led by different experts. And I got to visit the beautiful site of Aranya Natural, which is located outside of the polluted town centre.

To be continued…

 

aranya natural conference

I loved my conference gift bag

 

 

LDF19: Biodesign Here Now at Open Cell

open cell

OPEN CELL

OPENCELL

 

After my recent visit to the biotech hub Open Cell at the Shepherds Bush Market, I was keen to learn more about biodesign and its future. Luckily, I didn’t have to wait long because at the London Design Festival this year, Open Cell organised an event called Biodesign Here Now at its premise over one weekend.

The event showcased over 30 emerging international designers and startups with innovative ideas that are breaking boundaries between biology, design, and technology. Although I missed the fashion show on the opening night, I did manage to visit the exhibition and listen to some designers talk about their projects.

 

bio design now

Yggdrasil

Yggdrasil – an architecture collective of PhD researchers from Newcastle University specialising in living technologies for the future. Our mission is to challenge conventional methods of construction by proposing an ecocentric alternative. We believe that the buildings of the future should be living, breathing and inclusive of nature.

 

Paula Nerlich

Paula Nerlich – her current research explores vegan biodegradable bioplastics and foams from industrial and household food waste with diverse possible applications within interiors and product design.

Nina Jotanovic

Nina Jotanovic

Nina Jotanovic

Nina Jotanovic (in collaboration with Bartlett School of Architecture) – ‘Biogenic Luminosity’  is a research project that questions ‘flat’ appearance and unsustainability of synthetic materials in comparison to those of biogenic and geologic origin.

 

Mohammad Jawad

Mohammad Jawad

Mohammad Jawad – Manufactured by Nature: Growing Generatively Designed Products

 

Post Carbon Lab

Post Carbon LabPost Carbon Lab

Post Carbon Lab – a design research studio launched their service pilots of two pioneering microbiological processes for sustainable and regenerative fashion applications: Bacterial Pigment Dyeing and Photosynthesis Coating on fabrics and garments.

 

Studio Aurelie Fontan  Studio Aurelie Fontan

Aurelie Fontan is a sustainable fashion designer, with a focus on bio-design and circular economy (including zero-waste production methods in texture making and cutting). Her collection includes a bio-designed dress from bacteria, recycled materials and four fully recycled leather outfits, none of them being sewn together but rather linked through innovative re-usable elements that allow complete disassembly and recycling.

Piero D'Angelo's Wetwear Couture  Piero D'Angelo's Wetwear Couture

BIO DESIGN  Piero D'Angelo's Wetwear Couture

Piero D'Angelo's Wetwear Couture  Piero D'Angelo's Wetwear Couture

Piero D’Angelo’s Wetwear Couture uses Physarum Polycephalum/slime mould to create fascinating fashion pieces

 

OPEN CELL

Nicole Stjernswärd KAIKU Living Color

Nicole Stjernswärd KAIKU Living Color

Nicole Stjernswärd – KAIKU Living Color is a sustainable alternative to colours made from petroleum. KAIKU uses plant waste to create natural powder pigments. Many plants & fruits we eat every day, such as avocados, onions, and oranges, have valuable colors within their skins and peels. Normally these are left to rot in landfills, but KAIKU transforms this waste into a high value resource.

 

img_2253  img_2251

img_2252

Nikoletta Karastathi & Zafer Tandogdu’s ‘Awareness of the Microbial World’ explores antimicrobial resistance and the human-microbe relationship as key concepts for creating bio-textile.

 

Carolyn Raff

Carolyn Raff uses Agar Agar, an algae based gelatin substitute for many different experiments as a new kind of bioplastic. The complete biodegradable material can be created in many different shades, looks and structures. It is dyed with natural dye, mainly with algae based colours, such as astaxanthin and phycocyanin.

 

Mira Nameth Biophilica

Mira Nameth Biophilica  Chiara Tommencioni Pisapia - 'Made by moths'

Top & bottom left: Mira Nameth – ‘Biophilica’ is the result of a year long material development, working with plant-based resources. Biophilica materials are truly local, biodegradable, and recyclable.
Bottom right: Chiara Tommencioni Pisapia – ‘Made by moths’ is a project that investigates the potential of clothes moths and their digestive enzymes as collaborators in selecting and breaking down keratin-based textile-waste.

 

Silvio Tinello - 'Grown Objects'
Silvio Tinello – ‘Grown Objects’ is a collection where all the producrs have been bio-fabricated. This means, grown and harvested using biological processes. Grown in two predominant materials: A fungi bio agglomerate and bacterial cellulose, both grown in yerba mate: part of the “argentine cultural DNA’.

Lindsay Hanson, Margot Vaaerpass and Zaki Musa Resistance Runner  Wearable Lab on Body

Left: Lah Studio – ‘The Resistance Runner’ is a bio-formulated shoe that utilizes cloned bacteriocins and micrococcus in a nutrient broth cocktail; essentially harnessing the bacteria’s own defense system as a protective layer. 

Right: MIT Media Lab’s Fluid Interfaces group creates ‘Wearable Lab on Body’ wearable systems and interfaces for cognitive enhancement.

Valentina Dipietro Mychrome

Valentina Dipietro – ‘Mychrome’ is a project that explores the possibility of mycelium and its surface applications. Mycelium is the vegetative part of mushrooms and it has been used to bind agricultural waste and create new sustainable materials which are naturally fire retardant, insulating and sound-absorbing. Dipietro likes to focus on designing with waste as well as using it as a pigment to dye and finish her materials.

Midushi Kochhar A waste project

Midushi Kochhar – ‘A waste project’ is made from by-products of poultry industry, namely, eggshells and feathers. The aim is to create alternatives for plastic disposables and encourage sustainable living. All the objects are 100% biodegradable and once their purpose is over, they can literally be crushed and thrown away in the compost.

 

Pat Pataranutaporn wearable lab on body

Pat Pataranutaporn from MIT gave a talk on the future of ‘Wearable Lab on Body’

 

Denimaize

Denimaize

Denimaize gave a talk on denim made from corn husk

 

The last talk of the day was by Denimaize, a studio from the University of Pennsylvania, which includes bio-designers, artists and engineers. They use wasted and diseased corn husks and process them to extract their cellulose fibers. The corn fibers are spun with flax and woven in a twill pattern. The fabric is then coloured with microbial dye and relaxed with cellulase enzymes. Denimaize is a response to the dominance of the corn crop in the U.S. and the waste it generates, as well as the pollution in the denim industry. Denimaize is proposing a biological (albeit corny) alternative to the old way of denim processing.

The weekend event was interesting and inspiring, and it is very encouraging to see so many designers, startups and innovators coming up with sustainable solutions to address the issues our planet is facing right now. Sustainability is not a trend, it has to be here to stay for the sake of our future.

 

 

London Design Fair & Shoreditch Design Triangle

 Please Be Seated Paul Cocksedge

 

Please Be Seated is a large-scale installation designed by Paul Cocksedge, and it is made from more than 1,000 scaffolding planks. Cocksedge collaborated with Essex-based high-end interiors company White & White to re-imagine and re-use the building wood. The curvy seating encouraged passerby to sit and relax with their books or lap tops, which subsequently turned the square into an interactive and social space.

 

 Please Be Seated Paul Cocksedge

 Please Be Seated Paul Cocksedge

 

At the annual London Design Fair in the Old Truman Brewery, the main focus was on craftsmanship and sustainability (a big trend at the festival this year).

 

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

 

One of the surprises was to see United Arab Emirates showing for the first time at the fair. Curated by the Irthi Contemporary Arts Council and the NAMA Woman Advancement Establishment, the pavilion featured 12 works made by UAE women using a range of traditional crafting techniques and local resources. Designed to reflect the nature and landscape of the UAE, elements such as wood and camel leather are featured in the works.

 

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

Contemporary craft work by UAE women curated by Irthi Contemporary Crafts Council

 

This year’s Material of the Year was all about biomaterials – another hot topic in the design world today. Developed from the by-products of the agricultural industries, biomaterials are innovative materials that are created mostly from food and industrial waste. One of the most intriguing materials is Totomoxtle, a new veneer material made with husks of heirloom Mexican corn designed by Mexican designer Fernando Laposse. Meanwhile, Italian design firm High Society has created plant-based lighting from the post-industrial waste including hemp, tobacco and residue leftover from wine production.

 

Fernando Laposse's Totomoxtle

london deisgn fair 19  Palmleather Studio Tjeerd Veenhoven

Top: Fernando Laposse’s Totomoxtle; bottom left: High Society’s Highlight; Bottom right: Studio Tjeerd Veenhoven‘s leather-like material and products made from palm leaves.

 

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19  london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

london deisgn fair 19

img_2033

london deisgn fair 19

london deisgn fair 19

 

 

In the nearby Shoreditch, I stumbled upon a pop-up shop showcasing a new brand that also uses industrial non hazardous waste as the main elements of design. Cancelled plans is created by Indian designer Mallika Reddy, who has been collecting rejected materials from local factories and combined them with conventional materials to create a range of fashion accessories. The range will be available for purchase on the website at the end of the year.

 

img_2024

img_2026

img_2027

img_2028

Cancelled plans’ pop up shop

 

 

 

 

 

London design festival: Kings Cross design district

coaldropsyard

coaldropsyard  coaldropsyard

Coal Drops Yard

 

This year, the ever-changing Kings Cross was chosen as the design district for the first time at the London design festival. Aside from the annual design trade show, DesignJunction, there were many exhibitions and activities taking place during the festival.

I received a trade preview invitation to visit Designjunction, so I set off earlier to see what was happening in the area. The initial installations I encountered were two giant wooden sculptures that resembled robots. Designed by Steuart Padwick, the “Talk to me” installations were designed to ‘converse’ with passerby, as part of Designjunction in support of the charity Time to Change to encourage Londoners to talk about mental health.

 

img_1841-min  img_1842-min

‘Talk to me’ installations

 

img_1844-min  img_1845-min

Camille Walala’s installations

 

Probably the most ‘bizarre’ installation at the design festival was “Disco Carbonara”, by London-based Italian furniture designer Martino Gamper. Inpspired by the 1984 Summer Olympics in Los Angeles and a Potemkin village, the designer used film sets and scaffolding to create a temporary structure. There was disco music playing inside and a bouncer standing outside stamping visitor’s hands, yet there was nothing inside… it was just a façade.

The fake disco structure was made from a patchwork of cladding created from waste offcuts from an Italian company called Alpi. The conceptual installation aimed to make visitors think about urban design, and the sustainability of temporary structures created for short-term events like the London design festival.

 

Disco Carbonara by Martino Gamper

Disco Carbonara by Martino Gamper

 

Tottex and Kiosk N1C 

Textile waste banner installations by Tottex and Kiosk N1C

 

img_1906

img_1905  img_1907

STORE Store making meringue

 

Granby Workshop launched a new range of ceramic tableware made from 100% waste materials. The range has grown out of extensive research by the Liverpool-based ceramics studio gathering, testing and analysing materials from a wide range of post-consumer and industrial waste streams including glass, metal and ceramic recycling, steel production, quarry spoils and water filtration. Collectively, these sources generate hundreds of thousands of tonnes of waste per year which otherwise goes to landfill. The range is now available for purchase on Kickstarter.

 

Granby Workshop

Granby Workshop  Granby Workshop

Granby Workshop

Granby Workshop

 

tom dixon  tom dixon

tom dixon  tom dixon

TouchySmellyFeelyTastyNoisy at Tom Dixon

 

PRINT - Bill Amberg Studio

PRINT - Bill Amberg Studio

PRINT - Bill Amberg Studio

PRINT - Bill Amberg

PRINT – Bill Amberg Studio‘s new ccollection of digitally-printed leather hides are made with collaborators including Marcel Wanders, Calico Wallpaper, Solange Azagury-Partridge, Lisa Miller, Alexandra Champalimaud and artist Matthew Day Jackson.

 

Out of all the exhibits and events that I saw on the day, ‘Designing in the turbulent times‘ initiated by Maison/0 – the sustainable innovation programme created at Central Saint Martins in partnership with the luxury group LVMH – was by far the most interesting and thought-provoking. The exhibition showcased graduate projects from Central Saint Martins offering compelling propositions for more sustainable and equitable futures. “How can we break away from our current systems and adapt a more sustainable way of living?” is the question that we should all be thinking about, and here, these young designers are trying to address this issue in their work.

 

designing in turbulent times

designing in turbulent times  designing in turbulent times

designing in turbulent times

Maria Cuji

Bottom: Maria Cuji’s worked with artisans from Ecuador tp produce woven textile made from factory offcuts and leftover yarn.

 

'Weighting feathers' by Jing Jiang

'Weighting feathers' by Jing Jiang

‘Weighting feathers’ by Jing Jiang uses waste feathers from the farming industry to create a jewellery design range

 

Olivia Page

Olivia Page

Olivia Pages exploration on bio-waste materials and has created a “Recipe Book of North Portugal, Abundant Biological Wastes for Construction Materials”

 

designing in turbulent timesi  designing in turbulent times

designing in turbulent times

Grayshan Audren‘s ‘Seamless: Woven workwear for the automated future’ addresses the waste issue in the fashion industry; Top right: ‘Wool: Re Crafted’ by Nathalie Spencer is a vegan alternative to wool by utilising the discarded waste leaves of pineapples from markets and juice bars around London and processing the fibres into a wearable material. 

 

Tansy Hamley  Tansy Hamley

Tansy Hamley

Tansy Hamley

Tansy Hamley  Tansy Hamley

Tansy Hamley

Tansy Hamley’s ‘An Indian traffic jam” display of blockprinted and indigo-dyed textiles at Central St Martins reminded me of my textiles trip in Indian earlier in the year.

 

designjunction: The Greenhouse by LSA & Friends

designjunction: The Greenhouse by LSA & Friends

designjunction: The Greenhouse by LSA & Friends

designjunction: The Greenhouse showcased LSA’s new CANOPY collection, a partnership with the Eden Project alongside a range of products and concepts from brands such as Vitra, String Furniture, Artcoustic, with plants decorated by The Botanical Boys.

 

The organiser of designjunction changed this year, and the locations of the show were scattered around different parts of Kings Cross. I skipped the Canopy pop-up shops because there were too many activities happening at once! At the main Cubitt House Pavilion, there were less emerging designers and fewer exhibitors than before, which was quite disappointing. I visited my friends from Di Classe, had some drinks and decided to call it a night.

 

diclasse  di classe

img_1931

isokon  isokon

Designjunction at Cubitt House Pavilion

 

The last stop of the night was Designjunction’s Rado Star Prize in the King’s Cross Light Tunnel where they showcased design pieces by the next generation of young British designers. The theme, ‘Re:Imagine’, explored different ways design can improve life: by evolving existing product forms through materials, function, technology, end-use or even, re-use. Surprisingly, this section of the show was more interesting than the main pavilion, so I believe the organiser need to make some changes to improve the show next year.

 

img_1948

img_1947

img_1951

Top: Judges’ winner 2019 – Huw Evans’s Concertina collection

 

A visit to the Biotech hub, Open Cell

shepherds bush market

Shepherds Bush market

 

In the last few years, we are hearing more of the terms ‘biodesign’ and ‘biotech’, but is it a fad or a breakthrough that will change our world? Recently, I joined a design-oriented walk called ‘Human: Biophilia in community and design’ organised by the Design Museum and curated by Something & Son to find out more about the biophilic communities and projects that is taking place in London today.

It has been years since I visited the Shepherds Bush market, and I was surprised to learn that a biotech hub is now situated in the middle of the market. Opened last year, Open Cell is a biotech hub for startups and designers located at the Old Laundry Yard, with 45 shipping containers that have been converted into labs, workshops and office space. Founded by Helene Steiner and Dr Thomas Meany, they aim to create a low-cost labspace with a user-centric focus, and provide a flexible testbed where innovative lab designs can be rapidly installed and tested.

 

open cell

open cell

open cell

open cell

 

We were greeted by Helene Steiner at the yard, and she gave us a tour around the area and explained about the work they do. I found it encouraging to see these affordable and community-driven labs because as many of the world resources are becoming scarcer, it makes sense to use the living organism around us to create alternative, innovative and sustainable materials for our future.

We met a bio fashion designer Piero D’Angelo who uses slim mould to create textiles and fashion, which is absoultely fascinating. The slime mould would also release a scent that makes people aware of any pollution in the surroundings. I never thought I would want slime mould on my skin, but maybe it is time to change my preconception.

 

Piero D’Angelo

Piero D’Angelo

 

We also met with three architects Paola Garnousset, Pierre de Pingon and Martin Detoeuf, who are the founders of Blast Studio. The collective uses mycelium, the root network of mushrooms, and coffee cup waste to create a series of homeware and furniture called ‘lovely trash’. Since 500 billion coffee cups are discarded globally and mostly end up in land, this project is a great way to upcycle these coffee cups. The cups are processed into a substrate that enables the mycelium to be fed on. This mycelium material can be transformed into vases and furniture through the 3-D laser printer. The results are very interesting and look almost like ceramics!

 

blast studio

blast studio

blast studio

blast studio

blast studio

blast studio   blast studio

Blast Studio

 

The tour of the Open Cell lab was eye-opening, and it has given me more hope about the future. I believe that not only the way we consume has to change, but sustainable innovations are necessary to change our future, and hopefully biodesign/ biotechnology will play a crucial role in the years/decades to come.

 

Sustainable fashion and textiles – it’s not too late to change.

fashion from nature

fashion from nature  fashion from nature

Fashioned from Nature exhibition at The V & A museum

 

It is time to face the truth: the fashion industry is one of the most polluting industries in the world. This is not fake news, it is a fact.

Confession 1: I am guilty of polluting the environment, and I have been doing it for decades without being fully aware of it. I think most of us have. Yet we cannot go on ignoring the consequences of our unintentional actions.

Confession 2: I have always loved fashion, and I even worked in the industry briefly in my 20s. I have bought countless of clothing and accessories at sales without wearing them, and I ended up selling most of my stuff on ebay or donating them to Oxfam.


fashion from nature symposium

fashion from nature

Fashioned from Nature: Designing a Sustainable Future conference at The V & A museum

 

Last year, I visited the Fashion from nature exhibition at The V & A museum and attended the Fashioned from Nature: Designing a Sustainable Future conference that accompanied the exhibition. Then back in Jan, I visited the Future Fabrics Expo orgainsed by the non-profit organisation, The Sustainable Angle. I figured that in order to be a better consumer/designer/retailer, I’d better educate myself first.

Over the last few years, I made a conscious decision to change the way I consume, and I went about it in several ways:

I unsubscribed myself from newsletters sent by most fashion companies, and I rarely go out to shop for clothing unless it is essential.

If I see fashion items I like in the shops or online, I would not buy immediately. I would wait a few weeks and if I love it THAT much, then I would check again to see if it is still available. Most of the time, the item would either be sold out or I have completely forgotten about it.

I always check the fabrics and materials. If you think cotton is good, think again. Cotton production actually requires huge quantities of land, water, fertilisers and pesticides, and has a negative impact on the environment. Organic cotton is a more eco-friendly option.

After I started to learn about natural dyeing, I became more aware of the negative impact that synthetic dyes have on the environment. Although natural dyed items requires a lot of water and are more expensive to produce, they are much preferable to the synthetic ones.

Go vintage… I rummaged around my wardrobe and found many hardly-worn items bought years ago that still look good today. Mixing old with new is what I like to do these days.

Mend or upcycle your clothing – I think it can be fun and creative. I have already put a pile of old cotton t-shirts aside to be dyed naturally. I can’t wait to redesign them!

Sell unwanted clothing and accessories online – I have been doing it for years and have sold many items that I no longer wear on ebay and other websites. If the item has sat in the wardrobe untouched for over 2 years, then it’s time to review it.

Buy good quality and timeless pieces that would not look outdated in 10 or even 20 years’ time. Luckily, I have never really been into fast fashion, so I have items from 10 to 15 years ago that I can still wear without cringing about them.

Buy from sustainable fashion brands that actually care about the environment and workers.

Last but not least – simply buy less.

 

future fabric expo

future fabric expo 19

future fabric expo 19

future fabric expo 19

future fabric expo 19

 

In the last few years, there are many interesting sustainable fashion brands that offer consumers alternative options, and even the big fast fashion brands are making changes or introducing new eco lines. Aside from pioneers like Stella McCartney, People Tree, Komodo and Patagonia, there are others like Bethany Williams, Aiayu, Ecoalf, Beaumont Organic, Thought, Armedangels, Lowie, Bibico, PIC style, Vildnis, EKO, G-Star Raw, King of Indigo, Lemuel MC and Veja… to name a few.

 

Bethany williams  aiayu

future fabric expo 19

 

You can also learn more about the issues and secrets of the fashion world through the following documentaries:

The true cost directed by Andrew Morgan.

Riverblue directed by David McIlvride and Roger Williams.

Dirty white gold directed by Lee Borromeo.

China Blue, Store Wars: When Wal-Mart Comes to Town trilogy and Bitter seeds are part of the Globalization trilogy directed by Micha Peled

The Machinists directed by Hannan Majid and Richard York

Machines directed by Rahul Jain

The next black on the future of fashion (free to watch)

Alex James: Slowing Down Fast Fashion

Stacey Dooley Investigates Fashions Dirty Secrets

 

It is never to late to change our buying habits, and if we all become more aware of what and how we consume, it will inevitably bring about changes and have a more positive impact on our planet.

 

LCW 19: Beyond Paper – The Craft of Material Making at G.F.Smith

G.F.Smith

 

I have been wanting to visit paper specialist G . F Smith‘s showroom since it opened in 2016, but somehow never got round to it. The London craft week provided me the opportunity to visit the showroom as well as the new exhibition ‘Beyond Paper – The Craft of Material Making’ co-organised by MaterialDriven, a design agency and Material Library. The exhibition presented a collection of new, experimental materials that are at the forefront of design and sustainability.

 

GF SMITH

GF SMITH  GF SMITH

GF SMITH

 

G . F Smith & Son was founded by paper merchant George Frederick Smith in 1885. And for nearly 140 years, the company has been providing the finest speciality papers to the creative and fashion industries. Their Soho 4,000 sq ft showroom features a 14m-long collection wall displaying their paper in 50 Colorplan shades, accompanied by paper installations that change regularly.

The company’s long-time collaborator Made Thought not only designed the colour wall but also the corporate identity that was awarded D&AD “BLACK” Pencil for Brand Expression in 2015 (see below).

For those who think paper is ‘dead’, they probably have yet to visit this stunning and inspiring showroom.

 

GF SMITH

GF SMITH

GF SMITH

GF SMITH

GF SMITH  GF SMITH

GF SMITH

 

At the exhibition space downstairs, the display included a wide range of sustainable and experimental materials that reflect the current landscape of making across fashion, interiors, architecture, and graphics.

 

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

 

Some of the innovative materials at the show are as follows: ‘That’s Caffeine’ tiles made from used coffee grounds and biodegradable resin by industrial designer Atticus Durnell; recycled polystyrene by designer Sam Lander; Papertile made from 100% post-consumer recycled paper by design duo Jasna Sokolovic and Noel O’Connell; textiles made from upcycled seashore plastic by De Ploeg; and Ecopet, a recycled polyester fibre made from plastic bottles etc.

It is always encouraging to see designers and makers using waste materials to produce new and biodegradable materials are not harmful to the planet. We certainly need more innovations and collaborations in this sector as a way of conserving our raw materials and preventing further damage to our highly polluted planet.

 

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

  Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

Beyond Paper – The Craft of Material Making   Beyond Paper – The Craft of Material Making

 

To be continued…

 

Papermaking with plants workshop in The Highlands

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The scenery from Ullapool to Assynt

 

Scotland is one of my favourite places in the world. I love the landscape, wilderness, people and traditions; however, I am not so fond of its weather – a crucial element that has put me off moving up there. I have been traveling up to Scotland annually for the last few years to attend a meditation retreat in June, but I would only stay for about 1 week or less each time. This year, I decided to explore further and spend longer time there during my 6-month sabbatical. I stayed for three weeks in July. It started in Glasgow, then Fort Williams, Ullapool and and the Isle of Lewis.

I stayed in Ullapool to attend a paper-making with plants workshop at a local artist, Jan Kilpatrick‘s home/studio in Assynt, a remote area north of Ullapool. Since I wasn’t driving, Jan arranged her friend and workshop attendee, Jo, to give me lifts during the week as she happens to live in Ullapool. The commutes from Ullapool to Assynt were simply breathtaking, and I was capitivated by the sight of Cul Mor, Suilven and Quinag during these car journeys.

 

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Jan is predominantly a landscape textile artist, but she is also a paper and mosaic artist. However, most of the courses she offers on her website are textiles related, so it was lucky that I managed to sign up to her paper-making course, which seems to be less in demand (as we were told). Since there were only a few of us, we got to know each other quite well during the week.

The reason why I signed up for this course was due to my passion for paper and interest in plants/botany. I have previously attended one/two paper-making sessions that lasted less than an hour, so my knowledge was minimal and I wanted to learn more about the technique and craft. Besides, the thought of spending the week sourrounded by nature up in the Highlands was a huge draw for me.

 

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papermaking with plants workshop

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highland flowers  highland flowers

ullapool

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Over the five days, we spent most of the time working outdoors as we were quite lucky with the weather (except for the last day and when the midges attacked). Being able to pick many fibrous plants and grass from Jan‘s wonderful garden and use them as the materials of our paper was fantastic. The process of paper-making involves soaking the plants overnight, followed by boiling the plants with soda ash (or washing soda) and water. Then it is necessary to break down the plant fibres into pulp using a blender, and we mixed the plant fibres with recycled paper pulp to create different textures and varieties.

 

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papermaking with plants workshop  papermaking with plants workshop

papermaking with plants workshop

papermaking with plants workshop  papermaking with plants workshop

paper making

papermaking with plants workshop  papermaking with plants workshop 

papermaking with plants workshop

 

The next stage requires a mould and deckle (you can make one using picture frame and mesh), a vat filled with water and a bit of pva glue. Then it is time to add the pulp mixture into the water and let it dissolve in the vat. What followes is the most difficult part – using the mould to scoop the pulp from the back and bottom upwards inside the vat. When the mould is lifted you, it is best to shake it from side to side to drain the water and even out the pulp. This process requires patience and steady hands for consistency, and it may take several attempts to get the pulp evenly rested on the mesh. Sometimes the paper may be too thick or too thin, and it differs depending on the plant fibres.

 

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papermaking with plants workshop  papermaking with plants workshop

 

The final stage is to remove the deckle from the mould and place the pulp on the mesh safely onto a wet paper towel. Then you need to press the pulp down with a sponge, add another piece of paper towel on top and place a heavy wooden board on top to squeeze out any excess water. After some time, you can lift up the board and hang the paper to let it dry on a rack.

 

papermaking with plants workshop  papermaking with plants workshop

 

We used a variety of plants like nettles, horsetails, daffodils, montbretia, dock leaves, and grass as our pulp, and we also added some flower petals as decorations. Since the process of paper-making is the quite repetitive, Jan suggested that we try mono-printing with plants, as well as eco-printing by arranging the plants onto the paper followed by steaming it.

 

papermaking with plants workshop

papermaking with plants workshop  papermaking with plants workshop

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papermaking with plants workshop  img_5770

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papermaking with plants workshop

papermaking with plants workshop

 

After four days of making and experimenting, we spent the last day compiling everything together into a large portfolio book showcasing all the papers we made, and binded it together with some strings. We also created two mini plant books each featuring some of our handmade paper.

 

papermaking with plants workshop

papermaking with plants workshop

papermaking with plants workshop

 

The five days went exceedingly quickly, and I found the workshop extremely inspring and enriching. It was also lovely to enjoy the vegetarian lunches that Jan prepared for us daily using many ingredients from her vegetable garden.

On Wednesday, we crossed the road and visited the Elphin market where there were vendors selling food and craft produced by local farmers and artisans. I learned that many artists and artisans chose to live and work in the Highlands due to its remoteness and landscape and nature, which I have no dounts would make one more creative being in this environment.

It was sad to leave this place behind, but there was more adventure awaiting, so I left feeling quite joyous and refreshed.

 

salad  img_5841

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elphin market  elphin market

elphin market

elphin market

 

New designers Part II 2016

Northumbria university products

Lewis power Leon lighting  Kaelin Rose Newton's CitySprout

Top: Northumbria university’s crafted interactive products; Bottom left: Leon lighting by Lewis Power; Bottom right: Kaelin Rose Newton’s CitySprout

 

This year’s New Designers show Part II was probably the best that I have been to in recent years. Overall the standard was very high, and I think it was more exciting than the DMY International design festival that I attended in Berlin a month ago. The show continues to affirm the outstanding design talents in the UK, and it is always exhilarating for me to see innovative designs that could change people’s lives for the better.

At Northumbria University, the merge of new technologies and traditional craft making resulted in a series of minimalist designs that are innovative, functional and aesthetically beautiful. One of the them is Kyle Abbott‘s ‘Touching Warmth’ –  a personal heater which becomes active when picked up and stroked. The temperature of the object can mimic the warmth and comfort of body heat.

I also spoke to Tom Leslie, one of the two winners of the ‘John Lewis Loves’ awards from the group. His project ‘In Search of Atmosphere’ and the other winner, Lewis Power‘s ‘Leon’ both explore users’ experiences through their interaction with light and objects.

 

james vanderpant  Bryn Burbidge's SeatLocky

Jaxon Pope's 'modular gas burners

Top left: James Vanderpant‘s touch sensitive modular lighting ‘Helios’ won the Johnson Tiles Associate Prize; Top right: Bryn Burbidge’s ‘SeatLocky’; Bottom: Jaxon Pope/Selce Studio‘s ‘modular gas burners’.

 

At London South Bank University, there were also some intriguing display like CitySprout‘ by Kaelin Rose Newton – an indoor hydroponic planting unit with removable modular sections and a water reservoir in the base. There are moisture sensors in both levels to ensure that the plants are watered autonomously. The design also functions as lighting, which is perfect for all modern city homes.

Another was ‘SeatLocky’ by Bryn Burbidge, winner of the New Designers Innovate – Helping Inventors Associate Prize at the show. Bryn told me that he came up with the design of ‘SeatLocky’ after his bike and bike seat were stolen. The bicycle locking device consists of 6 cnc’d aluminium hinges which lock together for insertion into the seat tube. It is an elegant looking device, and I hope it will be launched in the market soon.

 

George Riding's The Wire Series table   DSC_0046-min

george riding's watering cans

Maddie Lamont's Jarrah

winter and kurth  winter and kurth

Top left: George Riding’s The Wire Series table; 2nd row: George riding’s watering cans; 3rd row: Maddie Lamont‘s Jarrah; Bottom: Winter and Kurth’s ‘For What It’s Worth’ 

 

Winter and Kurths ‘For What It’s Worth’ is a collection of work that debates the value we place on high design and craftsmanship and its perception as a status symbol. One of the pieces is an unique Marquetry table with graphite legs influenced by Junichiro Tanizaki’s essay In praise of shadows in which comparisons of light with darkness are used to contrast Western and Asian cultures. I love the subtlety of their designs and their precise craftsmanship, and I would like to see more thoughtful furniture like this in the market.

 

KreisBoard by lucas freitas santos  Joshua Akhtar's Baithive

Conor Shimizu Moore's Artemis

jack hubery   Elspeth MacLeod's Mella

Josh James's 'Melt'

Top left: ‘KreisBoard’ by Lucas Freitas Santos; Top right: Joshua Akhtar’s ‘Baithive’; 2nd row: Conor Shimizu Moore’s ‘Artemis’; 3rd left: Jack Hubery’s ‘Experiments in Recycled Plastic’; 3rd right: Elspeth MacLeod’s ‘Mella’ beehive; Bottom: Josh James’s ‘Melt’

 

Sustainability and recyclability continue to be the key concerns in the design world, and there were some notable projects at the show.

Lucas Freitas Santos‘ KreisBoard is a surfboard covered in 17,000 cigarette butts collected in only 2 days. The toxic litter contains more than 4000 chemicals that pollute our oceans worldwide. I was surprised by the statistics, and I think the project delivers a strong and important message to the world.

Jack Hubery‘s ‘Experiments in Recycled Plastic’ is a collection of colourful bowls made from recycled plastic bottles using rigs and domestic oven.

Similarly, Josh James‘s ‘Melt’ is a kit that enables anyone to turn their waste plastic into beautiful handcrafted objects, at home. It is particularly encouraging to see waste plastic being turned into beautiful and personalised handcrafted objects or stationery. The project also won the ‘NotOnTheHighStreet.com’ Award at the show.

The New Designer of the Year Award’s Runner Up, Elspeth MacLeod is a Industrial Design & Technology graduate from Loughborough University. Her Mella is a self-monitoring beehive, allowing the user to check up on their bees whenever they want. The system checks the temperature and humidity regularly, and it aims to reduce direct contact between the user and their bees, and create a healthier environment for colonies to thrive in.

Another bee-related project is ‘Bait Hive’ – a sustainable, low-cost design solution for a foldable bee hive. Josh Akhtar from Brighton University is the second winner of this year’s New Designers W’innovate & Wilko Award. His Bait Hive is designed to be used in a wide variety of locations and is dedicated to swarm capture. It utilises a pheromone to aid in attracting a swarm, and once it enters the hive, a rotating door is used to trap the queen whilst allowing the colony to continue to forage, ensuring the swarm stays in its new location.

I also had an interesting chat with Conor Shimizu Moore from University of Sussex about his ‘Artemis’ growing kit – a new vivarium that features both an aquarium tank, and an open-terrarium environment. Artemis’s open-terrarium features a cutting edge “Shikkou-Nuri” paint technology from Japan that allow users to grow variety of plants from kitchen herbs to even Sphagnum Moss.

 

amy elisa lowe's hello hospital

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Sebastian Ng Lei's insect eating  pierce brennan's handle with care

Top: Amy Elisa Lowe’s Hello Hospital; 2nd left: Robert Sampay’s ‘Dawn’; 3rd row: April Wu‘s ‘Mercury’ is a fun DIY musical instrument for children in poor countries; Bottom left: Sebastian Ng Lei’s ‘The experience of insect eating’; Bottom right: Pierce Brennan’s ‘Handle With Care®’

Amy Elisa Lowe‘s fun ‘Hello Hospital’ is an interactive storyboard which helps children and parents learn about the stages of going to hospital prior to admission in order for them to feel more at ease.

I learned about the existing drug dispensing error of the hospitals from Robert Sampay, whose mother is a nurse. His drug dispensing device, Dawn aims to reduce this problem and provide a safer way to load, track and dispense medication to patients. Patient prescription information is provided through an intuitive bluetooth low energy platform, resulting in an easier administration procedure and enhanced patient safety.

The Mars Chocolate Design Thinking Award winner, Sebastian Ng Lei’s ‘The experience of insect eating’ actually sounds more mind-boggling than it actually is. The sustainable project challenges our conventional view of food consumption in the West. The designer explained to me that his machine can product low-cost and nutritious cricket crackers that are more beneficial and eco-friendly than meat-eating. The concept is fascinating, but can consumers overcome their psychological barrier? I wonder what cheese on cricket crackers will taste like…

For people with OCD (myself included), Pierce Brennan’s Handle With Care® – a door handle with hand sanitiser is much appreciated. If this product becomes widely available, we can finally put away the tissues we often use to avoid touching the dirty door handles!

 

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Bethany Christou's Slow Samson  tilly gibbs

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Sarah adams DSC_0080-min IMG_6328

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2nd row left: Bethany Christou‘s Slow Samson; 2nd row right: Tilly Gibbs‘ ‘A to Z of New York’; 3rd row: Katie Williams‘ The evacuation of St Kilda’; 4th left: Sarah Adams‘ needle felting work; 4th middle: Emily Dayson; 4th right: I love this Donald Trump illustration!

 

Shannon Bartlett Smith  Rebecca Chan's komorebi side tables

Shannon Bartlett Smith

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Top left and 2nd row: Shannon Bartlett Smith’s Paper cuts; top right: Rebecca Chan’s Komorebi side tables; Bottom: Kate Colin design‘s hand folded lamps

 

Last but not least, I spent the last 15 minutes of my visit at One Year on chatting to Shannon Bartlett Smith and Rebecca Chan. I was quite blown away by Shannon‘s papercut sculpture, and I found her delicate hand-cut pieces inspired by her hometown completely mesmerising! Meanwhile, her neightbour Rebecca Chan‘s Komorebi side tables inspired by the interplay between light and trees are also unique and beautiful.

Unfortunately, I didn’t have enough time to fully enjoy the graphic design section, which was a real shame. But what I saw briefly was encouraging, and I hope that all these UK design students will continue to produce brilliant work.

After experiencing disappointment at the design festivals in London and abroad, I finally feel more reassured after my visit to this graduate show! I only hope that Brexit will not be a barrier for these young talents in the future. I wish them all the best!