Other articles you might like: Over the years the duo have become truly international, supplying specialist design consultancy services to leading fashion and household names. Period Homes and Interiors, Olympia, London, British Design in the s, London, Sue Timney and Graham Fowler are a design team of international repute who began working together after graduating in textiles from London’s Royal College of Art. Clients included Yohji Yamamoto and Issey Miyake and the Japanese market has remained an important business connection. Although interiors followed fashion’s lead towards purer, simpler lines, by the end of the century texture, embroidery, and metallics played a prominent role.
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Comment about this article, ask questions, or add new information about this topic: British Design in the timey, London, Timney Fowler’s distinctive designs draw on the rich symbolism of European art. Although interiors followed fashion’s lead towards purer, simpler lines, by the end of the century texture, embroidery, and metallics played a prominent role.
The following year timnet the English Accents show in Januarybatik prints with wood-blocked borders and Japanese screen designs were the rage. Over the years the duo have become truly international, supplying specialist design consultancy services to leading fashion and household names.
The company’s design criteria could be said to be embodied in the Neo-Classical Collection, the core of the Timney Fowler fabric range, produced in Neo-classical, architectural and Egyptian images are placed together in unexpected ways to create modern prints. If design hype fowlee to be believed, they virtually invented black and white. Drawing extensively on the history and symbolism timhey European art, the designs were presented in the company’s distinctive graphic style, black on white.
This striking classical modernism was taken up avidly by the style conscious avant-garde in the early s. New products continue to emerge, including umbrellas, jewelery, shoes, furniture, lights, tiimney a collection of black and white clothes.
Other articles you might like: Greek, Roman, and Florentine objects led by the bestselling Emperor’s Heads; twisted columns, sections of architectural buildings plans, elaborate montages of stonework and foliage scrolls, the unexpected and witty juxtapositions of paisley dolphins teamed with acanthus plasterwork. They launched themselves as freelance fashion designers inselling printed fabric on the roll. Design features included images from Greek and Roman works of art, French tapestries, nautical instruments, timneu with tiimney strong architectural theme; Russian maps, mosaic floor plans, and in the scarf range what over the years virtually became the company’s logo—the clock—all used in a thoroughly modern way.
Other designs use hand-drawn symbols to give a softer, more ethnic look. New fabrics included velvet and plastic-coated cotton.
To this end a major development was the expansion of the Interiors Collection in the early s, from the original black and white neoclassical themes into new fabrics and color, including a range of deep dyed cottons and velvets.
There is also a distinct softening of the edges. To complement these classical borrowings was a range of Regency stripes, latticed Victorian ironwork, and small scale heraldic repeats.
Timney Fowler describe its design philosophy as fowwler process of evolution, working through one set of ideas in a kind of natural progression, but without any ups and downs.
Surprisingly, having traded for so long on their black and white signature, Timney Fowler at this stage introduced color for the first time into its fashion range. In they produced their own range of interior furnishings to sell in their first London showroom in Portobello Road. Their position in the forefront of British design has been recognized in the UK and internationally with the prestigious Textile Institute Design Medal for “outstanding contributions to textile design and management.
Animals, leaves and other images from the natural world are also used in unexpected ways. Micro and miniaturized prints were popular, and Fowler noted to Women’s Wear Daily 26 January”Simple geometrics in fresh colors have gotten a great response from buyers,” while dots and horizontal borders gained as well.
Clients included Yohji Yamamoto and Issey Miyake and the Japanese market has remained an important business connection. In the late s, Timney Fowler expanded into fashion, with a range of scarves and shawls in wool and silk, silk shirts, ties and t-shirts, waistcoats, and bags. Period Homes and Interiors, Olympia, London, McDermott, Catherine, Street Style: On a much larger scale yet maintaining the same imagery are the Timney Fowler gun-tufted rugs—manifestly intended to be centerpieces, perennial designs like Coinhead and Timepiece, all resolutely in black and white, which speak for themselves.
Their shirts and fashion accessories sell worldwide through retail outlets, as well from a New York showroom opened in Show my email publicly.
Color has been creeping into the Timney Fowler scheme of things and, as the designers would have it, not before time.