"About 1911, I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Russian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions, and we then tried to apply the same process to other objects and paintings." Sonia Delaunay (2) 

For Sonia, working in textiles could be seen as a way of defining her artistic difference from her husband, Robert, and it also linked her to her Russian roots, especially that of folk art. 
Sonia created a simultaneous environment through her patchwork art. In the couple's apartment, colours would dance together in the form of cushions, book covers and lampshades, creating a kind of homely theatre of aesthetic experimentation. ​

Sustainability.
Such a big word and such a big subject.  And I don't think I can tackle it, in just the one blog.

But, for now, I wanted to share another experience in London, the trade show I went to called 'Future fabrics Expo' from the organisation 'The sustainable angle'.

I came across these guys on instagram, when I started following a feed called @make_fashion_circular , an initiative by @ellenmacartherfoundation. 

a Cadiz runs a company in Chile, called Rentivo, which is a growing niche to lease products instead of selling them. His focus is on baby gear.

When I started Smitten, I had recently left a full time job working for one of the large (Australasion) textile houses based in Auckland. I was a little bit horrified at the accumulation of end of life textiles that took up such a large amount of warehouse space and eventually, once the warehouse sales and emporiums had taken the best of the worst, it all ended up in landfill. (and this was more than a few rolls, more like a container ship load). And this is the same across 1000's of textile houses.

So, before I share some of the interesting start-ups and textile business out there, thinking differently with the planet in mind. Here is a bit of a summary of my research over the years, which is at the heart of why I do what I do.
I was also quite affected by the documentary 'The true cost' , if you haven't see this, then you should.

Textiles are the 2nd biggest pollutant in the world, with one garbage truck of textiles being landfilled or incinerated every second. 

Here's a breakdown of some of the issues in textile production:

Water:
Typically, to produce 1 kg of fabric, 200 litres of water is consumed. This is because a lot of water is used throughout the fabric production process including; washing the fibre, bleaching, dyeing and then cleaning the finished product.
All this is separate from the fact that plants like cotton, consume at least 19,000 litres of water to produce just one t-shirt. (!)
​
Air pollution
Gaseous emissions in the textile industry have been sighted as the second largest pollution problem in the industry after water pollution, especially since most processes in textile production produce atmospheric emissions.

Solid waste and water pollution
The textile industry also produces lots of solid waste which ends up in landfills and water bodies, which can cause environmental issues. Globally, each year, about 90 million items of clothing end up in landfills.

This is only scratching the surface. You can read more here if you're keen, here are some links:

• http://reve-en-vert.com/fashion-industry-one-biggest-water-polluters-world/
• https://www.washingtonpost.com/national/health-science/the-fashion-industry-tries-to-take-responsibility-for-its-pollution/2016/06/30/11706fa6-3e15-11e6-80bc-d06711fd2125_story.html
• http://www.lenzing.com/en/investors/equity-story/global-fibre-market.html
• https://en.wikipedia.org/wiki/Environmental_impact_of_the_coal_industry
• http://www.ecowatch.com/fast-fashion-is-the-second-dirtiest-industryin-the-world-next-to-big–1882083445.html

OK, so there is much good happening as a reaction to this, and I have picked out a few things to to talk about inspired by the Future Fabrics Expo. 

​Also - I have written a bit about why I love line here

THE FUTURE FABRICS EXPO 8, 24th - 25th January 2019

The future fabrics Expo is in its 9th year this year, and I was lucky enough to catch it last year. It was held in Victoria House, Bloomsbury Square, London. And as you would expect was a very a very busy and bustling event. 

The focus of this expo is to showcase and communicate the positive benefits of a diverse range of responsibly and sustainably produced low impact textiles and materials.

I was on the hunt for some new base cloths to print on, that would tick the boxes of sustainability at a good price point.  There was a lot to take in, and I left in a bit of an overwhelm, clutching business cards and a few hundred phone shots, in the hope to follow this up with manufacturers when back in N.Z. (still on top of the to do list!)

It wasn't like a normal trade show though, with manufacturers pushing product and buyers competing for space. It was more of a platform to educate and inform visitors from a diverse range backgrounds, promoting and connecting materials and suppliers with visionary designers and brands.

Photo credit: www.sustainableangle.org

Alongside the racks and racks of beautiful textile samples, the expo had several display tables, with back-lit perspex tops,  upon which were intriguing specimens and petri dishes on display.
This area showcased research into smart textile practises. The companies that are committed to making a lower environmental impact and are seeking alternatives to the fashion industries reliance on cotton and polyester.
​These included Biotec textiles, textiles made from food waste, and businesses and start-ups that are invested in natural processes and a circular economy.

I have pulled out some of my favourite examples to share here and links to their website.  

Coccon Crafts loom
This is a business that gives back to the local hard working farmers in east India, re-investing and empowering that community rather than just taking from it, as is so often the case in the textile industry. Their focus is on silk production that doesn't kill the pupae, no pesticides and no chemicals are used in the process.

Cacoon Crafts Loom - Peace silk

Companies using By Products

• Green whisper - create sustainable products with zero impact on the environment. They utilize the residue of agriculture and create products of daily use.
• Malai – a newly developed biocomposite material made from entirely organic and sustainable bacterial cellulose, grown on agricultural waste sourced from the coconut industry in Southern India. 
  Malai is a flexible, durable biocomposite material with a feel comparable to leather or paper. It is water resistant and because it contains absolutely no artificial ‘nasties’ it will not cause any allergies, intolerances or illness. It is a completely vegan product

Companies using Natural Dyes

• Living Colour - is a biodesign research project exploring the possibilities of natural textile dyeing with bacteria that produce pigment.
• Botanical Inks provides contemporary traditional artisan natural dyeing services from our Bristol based studio.​

Companies using Bioculture

• Mycelium, the spores of mushrooms, are used it to make anything from chairs to lamp shades to packaging material. Dutch textile designer Aniela Hoitink decided to create a flexible version of the material: MycoTEX. ​
  

Companies using Circular systems

• Circular systems
• Bristol cloth​

Lastly, just exactly what do you need to have a GOTS certification?
GOTS. (Global organic textile standard) - Covers organic fibres throughout the supply chain. this means, from on farm production, to all the processing steps, to labelling to the final textile product. This includes setting social conditions, worker safety and sets chemical residue limits. This logo can only be used if the entire textile value chain is covered by the certification system.

In other words, a pretty high bar to reach, one to certainly look out for.

To find out more about Environmental Criteria Symbols, you can Click here 

And finally - I thought I'd finish on this rather beautiful piece of Textile Art, that is currently on display at the Te Tuhi Art gallery, in Pakuranga

On Te Tuhi’s Project Wall, Karen Rubado has created this new work called under intense scrutiny.
It is made in reflection of the broken system of soft plastic recycling in New Zealand. 
Single-use packaging solutions, are part of our daily lives, originally introduced as a way of increasing consumption. Now, with so many industries slow to change their reliance on plastic packaging, the responsibility to reverse this culture of hyper-disposability has fallen to the consumer and the government. 
To create under intense scrutiny, Rubado collected soft plastics used over a month by six families. The material was then hand-shredded and assembled through hand-weaving techniques to form a long plastic textile.
In re-presenting these ‘disposable’ plastics, Rubadoinvites scrutiny of manufacturers and their processes and highlights the importance of consumers connecting with and understanding the materials they purchase.

On that note - Imagine if we lived in a world where our desire for instant gratification, vacum packed perfection and retail therapy, no longer existed? 
​

Katie x

A brief snapshot of my visit to the Clothworkers centre, while I was in London, Feb 2019

​The Clothworkers' Centre at Blythe House, Olympia. © Victoria and Albert Museum, London

I felt so lucky to be able to book a tour during my short stint in London, in January this year. 
Also, on a seperate visit to the Clothworkers centre, I was able to get up close and have some one-on-one time with some early textile pieces from the Asian collections which I'll also share.

I learnt that the very dedicated team of curators and assistants are currently working hard at digitally archiving every piece so the entire V&A textile collection will be available online. (so yes, just 95,000 objects, no small feat)
And this is to be done, before the collection is on the move again, as part of the big V&A East project, which will be home to be a brand-new museum at Stratford Waterfront, in London, opening in 2023.  Booking my flights now!

At the beginning of the tour, you are greeted by a number of mannequins cloaked in white protective capes. These rows of mysterious figures, represent some of the loans that have been returned from various exhibitions that they have taken part in from around the world.
​
And I was very happy when our guide decided to reveal a couple of them to us. I'm sure her choice wasn't random. ;-) 

The first reveal:  A Schiaparelli, evening ensemble, of a lush silk purple velvet and with embroidered sequins.

When I think of Schiaparelli, I think of her shoe hat and her love for pink. I have always been a little in awe of her, sleek and modern, bordering surrealist art with her fashion in the 1930's. Wonderful to see this evening ensemble of hers.
Schiparelli was quite a character, and it has prompted me to look her up again! In the meantime to find out more about this particular design here is the link - collections.vam.ac.uk/item/O88472/evening-ensemble-elsa-schiaparelli/

The next reveal, a Bloomsbury group waistcoat, from the Omega Workshop. This textile design was jacquard woven and block printed. I am very fond of Vanessa Bells textiles, who was part of the Bloomsbury group and so happy to have seen this classic up close. 

As the tour proceeded, we are guided down a corridor with huge storage systems to the left and right, some are open for us to peek into, only to find each the collection of pieces meticulously under wraps and carefully labelled. 

So staying close to the tour guide, we excitedly huddle around her, as she pulls open one of the large drawers and lifts away the sheets of tissue. 
Next reveal: A lavish gold and white beaded ivory evening dress worn by Queen Elizabeth II on a state visit to Paris in 1957.
The dress was designed by Sir Norman Hartnell, and is called 'The flowers of the fields of France' and features some rather special Napoleonic bees. Designed to compliment the French nation and draw attention to the Queen.

And the last, but not least, main highlight of the tour, and after much conversation with my fellow textile enthused tourists, we are shown this incredible gown. A 1740's embroidered Court gown. Unpicked to lay flat in storage. 

Photo taken from the website - The V&A collection

So that is a little snap shot of the tour, and guess what, this is the best part, myself and the 5 other people who were on the same tour as me decided to take ourselves to the pub for some lunch. As you do.
But what was really fabulous was we were all textile enthusiasts on one level or another, all from far flung parts of the globe. And all made conversation and connections about textiles that had personal meanings to us.  Chats over a pint are the best. Great to make new friends indeed!

And that's about it! It was certainly nice to sit with these textiles for an hour and contemplate the craft and skill involved.

I hope you enjoyed this little glimpse, of a couple of mornings spent at the Clothworkers Collective in London.

Next blog will be about the 'Sustainable Angle' - a textile trade show I visited while in London. Lots to un pack there! Stay tuned.

Anni Albers, Tate Modern, 11th October to 27th January
 
I felt very lucky to have caught the retrospective of Anni Albers work during my trip to London. I have been a big fan of her work for decades. To follow is some of the highlights abstracted from the show and the accompanying texts.
 
The show was a huge celebration of Albers' dedication and pioneering work as an Artist, within the history of abstract modernism, and within a story of textile art.  It also coincides with the 100th anniversary of the Bauhaus.

​For me, this exhibition highlighted Albers' compassion and concerns between commercial design and craftsmanship. It showed me some powerful links between creativity and production, and the exploration of innovative materials and her consistent development of new techniques.

I want to do my best to simply walk you through each room in the show (11 in total). This is by no means an essay on my part, but just an overview,  a bit of background of what I loved and learnt.
​
​Hope you enjoy.

https://www.franklintill.com/journal/colour-may-vary

I was in Wellington during the April school holidays so took a bus up to the Dowse to check out From Pressure to Vibration – The Event of a Thread, curated and featuring work by Emma Fitts. It was a multi-layered celebration of textile themes including history, conceptual art, archival studies, traditional craft and architecture. In other words, a Big Deal. I was so lucky to catch this!
 
The concept is this. Fitts has unearthed a spectacular archive of textile art held by the Dowse, and what an archive it is. She’s organised these works according to some of the guiding principles used at the Bauhaus school of design:  pressure, pricking, rubbing, pain, temperature and vibration.
Then, combining the role of artist and curator, Fitts has woven her own large scale, newly created architectural panels throughout the older works, also based on these principles.
 
She’s given us a heady brew of history, craft and industry. I’ll break it down by the same Bauhaus categories Fitts has used to categorise her archical selections.

1. Pressure: architecture
​Judy Patience’s impressive large-scale weaving was the winning entry in the 1974 design competition for the Dowse’s entrance foyer. Now, personally, I often find the 1970s slightly hard work, with a recurring tendency of too much of everything. But I can see in Patience’s piece the perfect antidote, then as now, to the overwhelming architectural environment of concrete, steel and glass. Its textured lines and angular pattern-pockets reflect and enrich the space it was designed to inhabit. The vibrant pops of colour woven three dimensionally over an olive background sings the very best of the decade which brought me up. I find it an unbridled joy.

2. Pricking: modernism
Loom weaving increased in popularity in Aotearoa in the 1950’s and 60’s where cottage industries where rife and sophisticated domestic products came out of numerous spinners and weaver’s guilds across the country.
 
For Margery Blackman and Judy Patience the German American textile artist Anni Albers, who headed the Bauhaus weaving workshop (taking over Gunta Stolzl in 1931) had a significant influence. Her books, On Designing (1959) and On Weaving (1965), highlighted weaving as a mode of modern design. Albers was the first designer to have a one person exhibition at the Museum of modern art in New York in 1949, making her one of the most important designers of the day. The exhibition travelled to 26 museums in the US and Canada.

​But it is impossible to talk about New Zealand textile art without also talking about the rich craft, skills and culture of raranga: Maori weaving. Margery Blackman has done a vast amount of work analysing and documenting western European and Maori weaving practices. Fitts’s inclusion of Blackman’s imposingly large work From Aramoana (1981) is a fitting tribute to this research.
 
The work itself was created in protest in the 1980s when Muldoon’s government tried (and failed) to build an aluminium smelter at the tiny, coastal Otago village of Aramoana. But “aramoana” has another meaning, more evident here: it’s one of the names given to the taniko panels that adorn the walls of wharenui. Literally, it means pathway to the ocean.

It’s hard to think of many examples which so artfully and subtly blend the multitudinous voices of tikanga Maori with western art practice. 

3. Rubbing: fibre art
​Joan Calvert and Zena Abbot’s work from the 1960s and 70s is exemplary of the widespread growth of sculpture across all mediums at that time. Whether it was because representational painting had reached the end of its tether, or whether it was some new-found freedom the art world found in the third dimension, who knows? But the work of both these artists is highly sculptural, and very free.
 
Joan Calvert is quoted as saying “I prefer to work in a spontaneous manner, knowing initially the atmosphere or feeling I wish to create but not altogether how I am going to achieve it”. That intuitive approach is clearly evident in 3D Form.

Zena Abbot also pushed the boundaries of textile weaving as an art form. Her work Roving plays on little known etymologies of the word itself. Roving can not only mean to wander, it is also a twisted bundle of fibre, and – as a verb – another word for spinning fabric. 
​Zena Abbot was an influential weaver in New Zealand, inspiring many through her workshops and weaving business. 

4. Pain: story-telling
Anyone who knows me knows that I’m keen on this idea. My interest in the interplay of text and textile goes back to my childhood diaries and doodles. So it’s pretty damn exciting for me to see this idea reflected on a large scale in an exhibition like this. And yes, I like the matching. Story telling can hurt!
 
This part of the show – for me – lay heavily in the hands of Fitts as curator.
​Four traditional woven pieces: a kete, a platter, a bottle and a cylindrical basket sit elegantly pinned to the stark white gallery wall. Their artistry and meticulous crafting much in evidence. In a few deft curatorial strokes, Fitts brings their significance to life:
 
O te wananga, where three baskets of knowledge are brought to Earth
Te kete tuaui (sacred knowledge)
Te kete tuatea (ancestral knowledge of memory, ritual and prayer)
Te kete aronui (life’s knowledge)
 
In a show overflowing with narratives, it seemed fitting that the section devoted to “story-telling” should trace back to the fundamentals of the sacred, the ancestral and the living.

5. Temperature: textile industry
Textile and industry have always had a close relationship. In fact, the industrial scale of textile production is precisely a function of the importance of textiles in human life. It’s all very well to enthuse over beauty, but textiles need industry to do their job. And indeed, it is largely around the use of raw textiles in the industry that has caused this terrible leap into the toxic issues we face today.
 
Fitts has used this paradigm to display the wide range of weaving techniques of Wellingtonian Sheila Reinan, with a large range of samples spanning the years 1980 – 2005. Through her own commentaries, Fitts contextualises Reinan’s artisanal craft with the commercial craft of the Petone Woollen Mill. Closing in 1968 after almost a century, the mill thrived on the skills and knowledge of hundreds of women, a lot of them immigrants who’d learned their skills in the mills of the UK.
 
Reimann started on a small table loom in 1980, ultimately graduating to a 48 inch Sunflower floor loom, specializing in scarves, shawls and throw rugs, working with colour structure and texture and often dyeing her own yarn.
 
The hand loomed pieces on display in this exhibition are exquisite examples of a range of techniques. Reimann’s later works incorporated unwoven areas with woven, and by using differential shrinkage from washing she developed the corrugated and bubble effects that became her signature style.
 
Fitts quotes Reimann:
“It seems to me that the history of the world can be seen through cloth. In today’s ‘throw-away’ society, with so much mass-produced cloth available, I feel that handmade cloth provides a link with that past… and its unique blend of mathematics and art.”

6. Vibration: Raranga
From the pressure of architecture to the vibration of Raranga. While it’s impossible to talk about Aotearoan textiles without talking about raranga, it’s equally meaningless to consider raranga – or any textiles – outside of the context of applied arts. Some people get a bit sniffy about crafts. But within tikanga Maori, the traditions of raranga are awe-inspiring in their holistic approach.

​The woven hieke (rain capes) of Whiona Epiha and Philpa Devonshire are high examples of a traditional practice which has been passed down orally by generations of women for many centuries.
 
And since the very word “curate” means “to preserve”, Fitts has done well to let these traditional works speak for themselves.

7. Pressure to vibration: Emma Fitts
Fitts’s works were the only ones in the show that were not archival (whether or not they are now, I don’t know). Extraordinarily large, even by textile art standards, giant panels of felted wool, some with overlaid patterns of fabric taken from Bauhaus designer Lilly Reich’s dresses, they hung from the ceiling and curved their way through the galleries, both connecting and dividing the six Bauhaus-inspired zones.

Fitts replicated the layout of the two Bauhaus designers Ludwig Mies van der Rohe  and Lilly Reich’s installation for a fashion industry exhibition in 1927, which doubled as a café called Cafe Samt & Seide.

Why Bauhaus? The German art school of the 1930s still has much to offer textile design, art and business. The reason why  - again – is precisely because textiles and business are inextricably linked.
 
Fitt’s exhibition provided a welcome moment of brilliant illumination amid an industrialised reality where brands carry more value than quality, and the cheaper the better.

I hope I do this show justice it deserves. I have had to leave a few textile pieces out of this blog, as the need for some brutal editing was required!  This exhibition has certainly pushed a few buttons in me.......so watch this space for the next blog.

Also, thanks to my bestie, JL, for all his help with editing my ramblings.
​

Maddie Gifford and I recently co-curated an exhibition called Embedded, which opened last week and runs until the 28th May at Corbans Estate Art Centre.
This blog is a bit of a rundown on what's in it, and why. I wanted to archive the show, and our thinking around it. So I've also borrowed some of Maddie's texts from the gallery notes.
​
We invited a diverse selection of contemporary New Zealand artists whose work in textiles is evocative and nostalgic, reflecting traditional notions in textiles and mixing this with more conceptually charged work.

We were drawn to the way textiles can elucidate the past and our relationship to it. Memories are a big part of it. Yet textiles are often taken for granted in our everyday lives. We wanted to highlight that poignancy.

Textiles play a big part in reflecting our social history. In some cases textiles can be read like books or maps guiding us to there authors in specific places and cultures. 

​speak loudly about the environment in which they were created. Their subject matter, style, colour and technique all reveal clues about our social history. New Zealand designers have consistently taken inspiration from our native flora and fauna, and drawn from traditional Māori forms such as kowhaiwhai and tāniko.
Often used and discardedOne the one hand, the marketability of textiles has offered artists - frequently women - the opportunity to make a living from their work. On the other hand, the domestic nature of these objects means that they are often used and then discarded when no longer serviceable or fashionable. Auckland Museum holds a small collection of mid-20th century printed textiles, and a growing collection of contemporary textiles and garments with bespoke prints.
Hand printing in the 20th centuryMay Smith graduated from the Elam School of Art in 1931 and soon turned to textile design and production as a way of profiting from her skills. Her hand-blocked works used motifs from New Zealand flora in an abstract and repetitive style. They sold internationally, as well as in local galleries such as the Helen Hitchings gallery in Wellington. Elam graduate Blanche Wormald frequently adapted Māori kowhaiwhai and rock drawings as her subject. Like Smith, Wormald worked with wood or lino blocks to design, prepare and produce textiles by hand. The linocut printing technique uses blocks created from a layer of linoleum adhered to wood. Areas of the linoleum layer are then cut away by the artist, leaving a raised area which forms the pattern when inked. The resulting blocks are durable and can be used for printing hundreds of times; so much so that in 1992 textile designer Ingrid Dubbelt used Blanche's original blocks to reproduce her designs. Auckland Museum holds several examples of these reprints, as well as 72 print blocks.
Expressions of identityFabric can offer a literal blank canvas for the expression of ideas, and this is particularly evident in the work produced by Adrienne Foote under her Footeprints brand. Established in 1983, Footeprints textiles reflect the vivid colours of the decade and send strong messages about the social and political issues of the time. One anti-nuclear design features humorously grotesque animal hybrids, such as eight-legged cats swimming alongside fish with human arms. In 1994, Foote formed a partnership with fashion designer Doris de Pont and created the high-end womenswear label D.N.A., in one range pairing collaged classical motifs with rich fabrics like silk velvet. For her Winter 2004 collection 'Let’s Gather Here', de Pont used the titular work by Niuean artist John Pule as a textile print, referencing the form of Pacific tatau and barkcloth patterns.
Print in contemporary fashionAlthough the manufacture of most fashion fabrics now occurs offshore, some contemporary New Zealand designers have recognised the value in a custom-printed design. In-house fabrics can give the designer further control over the look of a collection, and guarantee a unique finished garment. Auckland designer Ingrid Starnes creates prints, which are produced in short runs by a local manufacturer. Wellington label twenty-seven names collaborates with illustrator Marta Buda to create quirky patterns that complement the youthful style of their clothing. Ingrid Anderson screen prints furnishing fabrics, taking native flora and fauna as her subject but reinterpreting them as bold, enlarged motifs, evocative of mid-century Scandinavian style.



Cite this articleGroufsky, Jane. Print and pattern in New Zealand textiles. Auckland War Memorial Museum - Tāmaki Paenga Hira. First published: 5 June 2015. Updated: 4 February 2016.

Describe your shop in 3 words 
​Handmade, Local, Eco-Conscious

​Where do you think the future of retail is heading in general? 
We feel that people are moving away from the mass produced low quality products that have flooded into our lives and shops. We are seeing more and more people wanting to buy a few quality items that are beautiful, special and will last, rather than a quantity of low quality pieces that won’t last and have no sentimental value to them. Our customers really value being able to support local artists and artisans and being able to work with us to develop specially designed pieces just for them.

​Is it a challenge to be a maker and shop owner rolled into one? 
Most of the time it’s not. I love chatting with people about what I’m working on, and I think people appreciate being able to see the work in progress. 

The only real difficulty is running errands. I can’t just pop out if I break my last saw blade and grab a new one.
So in that way I need to be more organised than when I was working from home, but generally speaking I find it easier than working from home. Personally having my work and living spaces separate is better all round.
​Otherwise I find it pretty hard to either stop or start working!

Where do you find inspiration? 
​I’ve always really loved the work of jewellers Barry Clarke and Anne Culy. I studied Fine Arts so I have also been influenced by a range of painters, sculptor’s photographers and designers.
​I always jump at the chance to visit the Auckland art galleries for inspiration and particularly enjoy the works of Bill Hammond, Francis Upritchard and Rohan Wealleans. 
​The other fantastic part of working in the shop is the conversations I can have with our customers. We often get people stopping in to talk about our workshop and I get a lot of my inspiration just from these discussions.

I think it’s always really beneficial to talk to other people about your work as everyone brings a different view point which can help you see your practice from a whole new angle.  ​​​
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So, I reckon Coexist is a very worthy place to visit! If you are out of Auckland, you can visit their website online store  www.coexist.co.nz  instead.
​
I was chuffed with Ellas choice of colours for the handprinted cushions and loved making these especially for the shop. They sit so perfectly with the jewellery, leather goods, artworks and hand crafted wooden objects.
You're gonna want it all!
Now, I cant wait to share next months special store/story, keep tuned in.