Posted: Thursday, November 26, 2009 4:32 pm

 Interior Design Today and Brintons Carpet Specialists rewind time as we take a trip through a stunning archive of designs that reflect many of today’s trends.
This year I was invited to a day over at the Brinton’s Design Studio in Clerkenwell to view, what I was told was a selection of artist drawings from a ‘carpet archive’. After telling my colleagues of my proposed visit, I was greeted with the raised-eyebrow silent question of ‘really?’. Not to be deterred by skepticism and intrigued by what I assumed was a collection of old, fusty, decaying carpets and moth-eaten yarns, I took the trip down to London, hopped off at Barbican and made my way through the Clerkenwell streets to the Brintons studio. What I was met with was a stunning collection of some of the most fascinating artworks, containing the original inked colours, stencils and millimeter detail into the works of history’s finest artists. Not only was I taking a dip in the pool of design history, I was swimming in a mirror of parallels that our designs so often emulate today.
This collection and the further works over at the Kidderminster archive are displayed like an Aladdin’s cave of wonder, only this time you can actually touch the enchanting pieces (albeit carefully). Archivist Yvonne Smith was on hand as a guide for the precious collections and her unrivalled knowledge of each decades design origins was a valuable educational tool as I studied each collection of work.
After my experience with the team at the Brinton’s studio I was keen to know more and so arranged to speak with John Bain, the Global Commercial Design Director at Brinton’s. We talked pattern, history and colour- oh the colour!
What is Brinton’s philosophy for design?
Brinton’s is a design-led company, our core philosophy and motto is that we ‘sell design and make carpets’. We design for both the residential and commercial sector, which includes some of the most high profile design practices in the industry. Design work to meet our client specifications can be very challenging; however our use of Brintons advanced weaving technology allows us to achieve most demanding and imaginative concepts, with fantastic results.
As a company we are passionate about design and in providing the best design solutions to our clients. We produce high quality products and always strive to perform to the highest standard; we are active across many commercial world market sectors such as Marine, Leisure, Corporate etc. Much of our work is in the hospitality sector working with designers and architects to achieve top-end solutions for major hotel projects. Essentially, our philosophy is to deliver the highest quality product with innovative design combined. We invest profit back into development and into global design resource around the world to allow us to offer a world class design service. We now have 85 designers worldwide and continue to invest in design resource and innovation.
As a design led company our aim is to change people’s perceptions of how they can use carpets and our designers are ready to take creative risks to explore the unusual in order to innovate. Variety and flexibility is key for our designers and the work defined by our clients ensures that there is always a new and exciting challenge to allow for creative freedom.  In the global market of today, our clients have high expectations and that is what we work to deliver. A crucial factor in this regard, the Brintons archive is perfect for finding inspiration. It is an essential tool and a truly creative stimulant in our forward-thinking for new concepts.
What has history taught us about design overall?
Art history and traditional drawing skills and techniques are very important. These elements are as important to the root and foundation of surface pattern today, as they were at the time the original works were created.
History can teach us a lot about design innovation and creativity from past decades. It also shows that at any given time, Art influenced design – and – design influenced art and that skill and quality were always a hallmark of design excellence. We see many examples that illustrate this respect for quality of design from the past within the vast collection of design material that we have in our archive.  We have hand painted works from every decade going back to around the Georgian period i.e. 1790. So it is easy to pick out excellent examples of design styles from each decade from this time.  We have art works that cover every style period including Georgian, Arts and Crafts, Art Noveau, Edwardian, Victorian, Art Deco, Abstract Expressionism (which is currently reflected in many of today’s fashion and interior design styles), the 1960’s creative explosion and pop culture and the 1970’s which curiously saw a big trend in fashion and design returning to the Pre Raphaelite era of the 1800’s.
Post 1970 we started to use Computer design so we have a vast archive of designs from that period to the present day all created in digital formats, in addition to our extensive hand painted artworks
To give an example of past influence inspiring today’s trends,  current trends in fashion and interior surface patterns have been heavily influenced in recent years by design from the1950’s (Abstract Expressionists – Jackson Pollack) and 60’s designs (Pop Culture – Andy Warhol). Some examples of these show typical designs that would be very suitable for today’s market but in fact these are taken directly from our collection of designs created in that era. They haven’t been recoloured and yet they are contemporary and on trend with surface patterns in vogue right now. History clearly shows that contemporary design trends of today are frequently inspired by design from the past. We often implement old metaphors.
These examples of influences from the past in the context of modern interiors of today, shows that archives can be an invaluable inspiration and that many design styles last the ‘test of time’ by being ‘re - born’ in a different era. Like recycling creativity from the past, but in the context of today (sustainability)
Quality of design and respect for the skill of the artist is also an important aspect of historical design. Much of the hand painted sketches and designs we have are artworks in their own right and they are beautifully crafted with a skill that is extremely rare today. Some of our designs are created by famous designers and artists such as William Morris, Voysey, Lewis F. Day, Louis Silas, Christopher Dresser and even Matisse. These are very useful in heritage projects and for research.
But design history is also an invaluable material reference point. We need to keep in mind that design from the past is relative to the available technologies of the day. Emerging technologies such as Synthetic dyestuffs and the invention of power looms in the 1850’s gave designers more scope as the beginning of mass manufacture began. Each decade since has seen new developments in process and materials and this in turn has led to new possibilities for creativity and new product concepts – like moulded plastic furniture in the 60’s, nylon shirts and blouses, the mini skirt (Mary Quant) and the mini car (Alex Issigoniss) - which influenced which? 

How do you utilize historical trends in patterns and translate them into carpet design?
In general terms, design from the past is relative to the style of the day it was created and the processes and technologies that were available then to make things.
Trend cycles constantly evolve, changing with every season, but they will be influenced by what you can do through the material aspects of whatever product you are designing. In our market, we often have to provide design solutions to fit interiors that have architectural design features that reflect, or are inspired by past styles so our archive is the best possible reference point to draw on for this and it is unique to Brintons. For example, when we were asked by a very high profile client to provide some authentic Art Deco designs for The Queen Mary 2, we looked through our archive records of what we had made in the 1930’s and found that we had made carpet for the original Queen Mary in 1935! When we made this known to the design team in charge of the project, they not only gave us the order for the ship, but they also included one of the designs from the original ship into the new one. This is a classic case of translating historical design from the past into carpet design today.
We have also worked on several heritage projects where our archive designs have been used to carpet historical public buildings in many countries, including Kew Palace, Osborne House, The Mansion house in London, Belmont House and The White House and The Kremlin to name but a few.
Several of Brinton’s most successful stock ranges have been developed using design inspiration from Brintons archive and finally we develop new inspirational collections every year for our commercial customer’s world wide. These are very often inspired from our archive as we draw on the creativity available through this fantastic resource.
There are many other examples where the archive opens up new possibilities for creativity – and it’s not just about creating a balanced shape and colouring it in, It’s also about trends, materials, process, texture, form and dimension. Within this we can draw inspiration from the past and use that in today’s world.
We are working on a new exciting design led initiative that will be launched early next year that will give all our key clients through the world, direct access to the digital design archive through the internet. This new concept called “Brintons Design Studio on line”, will allow clients to go into the archive from anywhere in the world, 24 hrs a day to select designs, re colour them to match their project, view them in a commercial interior e.g. corridors, meeting rooms, public spaces etc and do a print out or order a sample thus putting the client directly in touch with a design resource that is second to none in the industry which they can manipulate according to their own individual requirement. 
Take us through the design stages of making a Brinton’s carpet.
Firstly, the client will bring our designers in for a briefing. Usually they will have prepared a storyboard and images of particular interior details. We never work in just one room; it is usually a series of different areas within the interior space. Typically in a hotel this will be meeting rooms, ballrooms, corridors, guest rooms and public spaces, in fact the whole interior floor space. We work directly onto the architect’s floor plans; often in a huge scale.  The design solution must be fluid but still unique to that project. We offer a total bespoke service, linked to Brintons advanced weaving technology which has no repeat or size limitations, so our clients can alter designs to perfectly fit their particular projects at any scale. At the first brief we can provide inspirational design collections, or archive designs that can give clients a starting point to select design ideas from. We then go away and work on initial concepts and ideas, generating a range of options in the form of prints of designs and woven samples. At the second or subsequent stage meetings, we discuss the ideas and edit them down to the final design concepts. Once the solution is chosen, we have all the colour, pattern and materials fixed to begin manufacturing the carpet. All surfaces will have been matched, all details within the concept will be defined and every element tweaked until the client is 100% happy.
We constantly utilise the archive for colour and design inspiration and this plays a big part in the design process. If there is something, which we think fits the brief then it will be used with the client’s agreement. Our designers are based in the market next to where our clients are positioned throughout the world, for example we have a design centre in Clerkenwell, London so for ease it is like having a designer on location to work through all the steps to ensure the project runs smoothly and close to the brief.  If approved, we produce print outs of the concepts and woven samples. An order is then placed based on the approved samples, schedules are set and the carpet is manufactured over the proposed period.
What is your favourite era for design? Which style of pattern and what shades of colour do you most enjoy working with?
It changes all the time although I am as guilty as any designer of giving into style. At the moment I do tend to favour Art Deco, Modernism and the beautiful elegance of Japanese Katagami. But to be totally honest, I love the period we are going through now. There is a lot of mixing old with new; classics with contemporary and being really experimental with it. For instance, the idea of combining pieces like an ornate Rococo mirror frame ‘jazzed’ up with really bright colour and fabrics  in a ‘clean uncluttered modern interior so it becomes an amazing focal point. I also think that quality of materials is intrinsic to the finished effect. Simplicity of form allows us to see and ‘feel’ beautiful materials easily. Having said this I’m a complete ‘sucker’ for well drawn detail and using very large scale and detailed designs in elaborate natural forms in clear, simple elegant  modern rooms. It’s the contrast of using very fine but ‘big’ drawn detail in an uncluttered space
I personally like working with the current colour trend of using neutral palettes across different hues, given drama by primary or pastel highlights.
What trend can you see coming back into interior design for the New Year?
People have definitely got their eye on the environment and this will naturally influence design so sustainability will be a big driver to trend all over the world.  In a recession people often‘re-group’ back into the security and comfort zone of things that are safe and that they are familiar with so there will be some of that, but familiarity breeds contempt so you will definitely see inspiration and risk taking as we strive to set ourselves free from the doom and gloom to create a sense of breaking free. I see experimentation with surface materials which is happening a lot already – some led by sustainability in construction and materials, like building with lime and hemp bricks and some led by the catwalk and fashion. This is influenced by the’ eco drive’ so products, yarns or materials made from hemp, banana, raffia, bamboo and grass will be everywhere. Exploration and exploitation of anything that has an ‘eco’ label will dominate everything we do next year. This is also because many of our clients e.g. the big international hotel groups are specifying LEED and 14001 compliance so as a supplier we have to meet their standards in order to qualify for tenders. Fortunately Brintons has long been a champion of sustainability. Our carpets are made from one of the world’s most sustainable natural materials – Wool. Grown and bred in beautiful natural surroundings and we already fulfil many of the accreditations required such as 14001.. 
In the world of Art, I think we will see a rebirth of painting.  Paintings that are one-off pieces on a very big scale will make a real impact. Quality and ‘value’ will gain in prominence – this is a sustainable positive as products made in high quality materials last a long time. Quality in materials, Wool, Silk, Textures, Cotton, natural fibres and solid woods, marble, stone, and other natural surfaces as it all reflects the ‘nod to nature’ that is symbolic of the sustainable agenda. A sense of playfulness in our use of colour, bright splashes on otherwise natural palette’s bright blue, yellow, green are primaries that are natural colours will give high impact and originality to an interior and the eclectic mix of historical pieces of furniture with modern in colour and pattern will continue to grow as it is doing now.
Quality in drawing also on a grand scale will be used a lot in public spaces at a very big scale. Sometimes this will be non repeating sections from designs blown up in size. I see some of this coming into guestrooms in hotels to create more interest on the floor. I think there will be a lot of emphasis in public buildings and areas on what ‘clients’ really want and matching their expectations better. It will be more about people and less about traditional space utilisation. For example, I think there will be a move in hotel lobby’s towards creating area spaces that are less about big open entrances and more to do with creating smaller areas that can accommodate diverse uses so you could have one seating area where clients will be having a business meeting and another group in another small area, where a family will be having some time together so more versatile entrance lobbies that can accommodate different users.
Colour:
In terms of colour, there is no one colour that I favour, it is colour combinations that are relevant and catch my eye and are key to successful design. I rarely see colour in isolation it is always about colour stories and mixes. Colour accents are often used to amplify or play down a colour palette to create an atmosphere, an emotion, or a mood. Colour is highly emotive. At the moment, stronger pure colour accents are being used with the many neutral palettes to create a sense of drama and breaking free from the doldrums. The Olive- Purple or grape colour combination is a fantastic one and is very popular now, combining deep olives and navy at the darker end of the palette across a variety of surfaces like wool, leather and more textural materials for a more tactile approach. As stated earlier the sustainability agenda is an influential discussion point. The need for an eco-friendly lifestyle is reflected in our use of natural colours, which reinforces our stance for sustainability. 
Tell us a little bit about what colours symbolize (i.e. Purple, which is now so popular was considered a royal colour) and how they have changed in perception through the decades.
Historically, religiously or culturally colours can mean different things depending on where you are and in what era. Colour, without realising it, is one of THE MOST emotive things in design and in life. It is psychological, emotional and passionate. or calm It creates atmosphere where there is none. It can impact an interior space more significantly than anything else and whether you are a minimalist or a natural eco warrior, most people have a view on it. It is such a powerful tool to use in design and can be so subtle at the same time. Colour associates with many words which can be harmonious or conflicting (like the colour wheel itself), making the possibilities and probabilities endless.
Red- energy, excitement, aggression, danger
Pink- softness, sweetness, passion
Purple- mystery, wisdom, royalty, the meaning of life, wealth, respect
Yellow- hope, sunshine, joy and happiness. Internationally it is known and respected as a sacred colour.
Fuchsia- hot, bright, fun and feminine
Navy- dignity, conservative, corporate, dependability (popular corporate colour with banks!!)
Orange- organic
Green- nature, envy, healing, good luck, hope, growth, safety. Internationally it can have negative connotations used in the wrong context.
Light blue- peace, tranquillity, flight,
Olive- camouflage, the earth
Dark green- money, the dollar bill, safety
Mid blue- natural, depth, stability, cleanliness, masculine
White- light, purity, perfection, success, elegance, formal, angel, mystery
Black- sophistication, classic, death, darkness, knowledge
How useful has the archive been to you as a design and as a whole company?
The archive has truly been a lynch pin to our success in delivering inspiration and exciting design to all our clients world wide and in allowing us to develop into being a design led company  on a global scale. In this regard alone it is a fantastic asset as it allows us to offer a differentiator that few competitors can match. We draw so much inspiration from it and the extraordinary things it holds, that we do not want to be precious about it are now putting it online, so it will be available to our clients directly and on a global scale. The archive will be categorised by historical period and cross-referenced in many ways, by date, by style and so on for a comprehensive design guide. You will be able to download designs, re colour them, place them in situ in a room to visualize how they will look in place and order samples via a link to a designer. This exciting project will be launched early January 2010.
The archive really has been fundamental to our success and will continue to be used in the most respectful and innovative way.
What design revelations have been brought about as a result of using the archive for inspiration?
Essentially, new advancements in technology have allowed us to manipulate design in a way never done before. We can print virtual photographic images onto surface materials and we can now get so close to the original colours and surface texture of the finished product, that it is not just a copy, but an exact match of some of the most prominent historical designs of our time. Some of the very large projects
We have completed throughout the world are a testimony in their own right to the value of this resource.