Texprint

Amelia’s Magazine | An interview with the creators of Jessie and Buddug, the Shop

by

JASPER GARVIDA lfw s/s 2011 Rachel Clare Price
A selection of Jessie’s corsarges

Walking around Broadway Market, approved one cold wintery Saturday, feeling hungry and looking at all the delicious food I could ill afford, (oh the joys of being a student!). I came across a treasure trove of a stall run by the delightful Jessie and Buddug and instantly fell in love with their charming designs. Since this initial visit, I have returned time and time again to buy unique necklaces as birthday (incredibly successful!) gifts.

So you can imagine my delight coming across their Columbia Road shop, originally located in the upstairs of one the picturesque houses adorning the street. Jessie and Buddug have recently expanded ‘downstairs’, and in celebration of their success, I had the pleasure of interviewing the talented textile artists for Amelia’s Magazine.

I first noticed your designs at Broadway Market on Saturday, was this your first venture?

Buddug: We started broadway market after we graduated 5 years ago and got the shop 2 years ago.

What was your experience of the market? Do you still have a stall there?

Buddug: We still have a stall at Broadway Market, we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, speaking with our friends and customers.

As friends from home, what has it been like to work together?

Buddug: We met when we were on art foundation and always said we we would like to collaborate together in the future. We find it easier that we both do our own work and then display together because we both have different working hours.

You previously occupied an upstairs room in Columbia Road, how did the opportunity to expand into a downstairs space arise?

Buddug: We got offered a place at ground level by Bev who had the shop before us, she made handmade clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie: I was at Goldsmiths, at a very tricky time, the course was going through a real denial period, as they were finding the debate about what to do with textiles and fine art really hard. Which made it hard for us as students and as someone who is passionate about cloth and textiles and most of all making, I found the course incredibly frustrating!

But I had very supportive parents; Primmy Chorley and I am close friends with Audrey Walker and Eirian and Denys Short. So I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two worlds though and I was lucky enough to come out fighting, determined to set up my own business and to carry on my making process.

Overall I am pleased I went through the Goldsmiths experience, as the academic and written side of it, (for me) has helped me today to think the way I do and pushed me in other ways.

What course did you study Buddug and what was your experiences?

I studied at London Guildhall (now London Metropolitan University)in Jewellery, silversmithing and other crafts. I enjoyed the experimenting with different materials. It was very much a hands on course.

Buddug’s designs for Urban Outfitters.

Buddug, what was it like to work for Urban Outfitters?

It was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

Jessie, what role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Recycled materials has and I believe will always be a huge part of my work, I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.

A detail from Jessie’s seating plan for her Wedding Collection.

And how did the wedding collection develop?

I was asked to create a whole wedding theme for a lady who used to buy my cards at Broadway Market, I handmade her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

An enamel plate by Buddug.

Buddug, how did you start designing the Home Ornaments collection?

I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, I invested in a bigger kiln, which was a challenge to make bigger things!

What materials do you like working with and why?

Jessie: Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

Designs by Jessie Chorley

Buddug: I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

Broach by Buddug

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostly enjoy metal and enamel. I really like the solidness of metal and the duribility of it as a raw material.

What was it like to make the stage set for: the launch of Laura Dockrill’s book Ugly Shy Girl and how did you became involved in this?

Buddug: I can’t remember were we met Laura Dockrill, but she asked if we were interested in doing the stage for her. It was quite a challenge because we didn’t know the size of the stage but the best thing was Jessie’s bunting it was really big and yellow!

Have you made or participated in Set Design before? Is this something you will continue to participate in?

Jessie: Yes for me it is a real passion, I love to create things and watch others create a story with the objects I make. A lot of quite random masks and house like boxes which I display in the shop are often borrowed for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and their response to it!

My degree show was also about staging and the response of the audience and the creator, for this I made a huge seven foot book which you could walk inside.

Buddug: I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie: Story telling, people places and preserving memories creating beautiful things from lost or found objects.

Buddug My inspiration for my work is a collection of things I find and come across, I usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

Design by Buddug

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie: No I run the workshops I have done for quite a few years now. For me I love to go out and meet other people and hopefully change the way they see the world through making, I have worked with a lot of charities, which is both frustrating and very rewarding at the same time, I am always touched by certain characters which can feed directly in to my work.

The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft became so big and shows like The Knit and Stitch.

I am currently organising my Christmas workshops which will be in November in North London. I will have some day workshops creating simple gift wrap and gifts.

Jess Chorley

Buddug Jess does a lot of workshops, I’m yet to start, but it might be something I would be interested in doing when I’m a bit older.

What’s next for Jess Chorley and Buddug?

Buddug: At the moment we are preparing for christmas, thinking of making stocking filler ideas and promoting our little shop. Nothing too big, taking up projects as they come along…

To find out more please visit: www.jessiechorley.com, www.buddug.com and www.jandbtheshop.com

Written by Sally Mumby-Croft on Tuesday August 24th, 2010 12:35 pm

Categories ,Broadway Market, ,Columbia Road, ,goldsmiths, ,Home Ornaments, ,Laura Dockrill, ,London Metropolitan University, ,textiles, ,wales, ,Weddings

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Amelia’s Magazine | Caitlin Hinshelwood’s natural history

by

Life on earth

Hawks, more about snakes, seek dinosaurs, discount sharks and bears – there isn’t a kitty in sight in Caitlin Hinshelwood’s excellent fauna. We fell in love with the work from the textile designer and artist when she, alongside partner Rose de Borman, put on the Field Work pop-up shop in Spitalfields last month. In gentle earth tones, patterns of vegetables, flowers and arrows are repeated in the fabric, sometimes interspersed with Caitlin’s scratchy handwriting. The result is ever so subtly brilliant, like a cake that’s not too sweet and gets better as you eat it. I don’t want just a cushion with Caitlin’s prints – I want wallpaper. Because as we all know, too much of a good thing is wonderful.

Ghost arguments

There is something quite playful about your work – like you’ve sat down with your pencils and doodled, almost effortlessly. Is that anything close to the reality of making your art?
In some respects yes; I definitely like to get all my books and photos, put on music and just start drawing or painting with it all out in front of me. But more often than not an image is already partially formed in my mind and it’s a case of putting it down on paper, getting it out of my head. Often it is words and colour that inspire the initial ideas and then the drawing comes, that’s especially true of my paintings. The playfulness is an aspect of my work I am happy to be recognised, I know I am making work I am going to be happy with when I laugh to myself whilst I am doing it.

There’s drawing, painting, etching, embroidery and printing, I think … what’s your preferred medium?
Initially, and most recently, I’d say drawing in pen or pencil. I have rediscovered how much I like using a simple pencil of late. However, I love mixing and using colour so then painting or printing always come in. I love the process of screen-printing regardless of how infuriating it can be, I enjoy the skill of it and building up the imagery. It’s like processing photographs yourself, it still feels like magic when the image appears on the screen.

Whale cushion

Your style seems perfect for textiles – like the fantastic ‘par avion’ swallow cushion. Is the choice to use textiles a commercial one, or is this just how you prefer to work?
I studied printed textiles at the University of Brighton so it was natural to continue using it as a medium for my work and, as mentioned before, I do love the technicality and physicality of screen-printing. Making your drawings translate to textiles gives them a new lease of life, a new context. The confines of designing in a square for a cushion or making things repeat can be part of the enjoyment. I like the variety of textiles; you can produce a print design that can be reproduced and used for fashion but you can also treat a cushion like an art piece in itself. Some of my textiles can mean as much as any painting that I do.

Giving up ghosts

I love the animal themes, and the fact that it’s not just the ‘cute’ animals but also whales, dinosaurs and so on – and the vegetables! What inspires these?
Natural history is something I often gravitate towards. It seems like an obvious thing to me as I have always liked this stuff since childhood; I wanted to be zoologist when I was little, my favourite toys were plastic dinosaurs and I have been brought up to love gardening. One of the places I am happiest is in my garden and growing vegetables. The recent animal drawings are part of a collection meant as a homage to David Attenborough and his ‘Life on Earth’ programmes. Hence my new ‘Attenborough Cushions’ which as well as featuring his portrait, complete with Soviet-esque beams, depicts a different series from ‘Life on Earth’. Whale imagery and all things maritime are a personal obsession of mine I find difficult to move away from and even if I do leave it alone for a while I always end up revisiting it.

Trio of Davids

You have an impressive list of designer names on your client list. How did you build up your customer base?
After university I won a place with Texprint, an organisation that selects 24 textile graduates from across the country and takes them to show at Indigo in Paris. I think this experience really showed me the reality of life after university and what you needed to do if you wanted to work for yourself. And that meant pestering people and slogging my portfolio around Paris, London and New York so people saw my work.

You collaborate a lot with Rose de Borman, both with the homeware range and the recent ‘Field Work’ pop-up shop. Could you tell us a little about how you two work together?
Rosie and I met at Brighton and apart from becoming great friends I think we recognised in each other shared tastes and admirations, and realised our work sits well together. Since we graduated we naturally started collaborating on certain projects, sometimes it’s more enjoyable to work on something with a friend, but we have always maintained working independently of each other. The homeware range is the only truly collaborative design project we have done together and this developed from a commission to go to India and work with a manufacturer in Jaipur to produce the range. Field Work was born in 2009 out of a desire to showcase our work, in all its different forms, in a setting that we could curate and in which we could also celebrate the work of other artists and designers we admire.

Vegetable plot dress

What are you working on these days – any new projects you can tell us about?
I am mainly going to be in the print workshop – I have a load of t-shirt commissions to finish and plenty of production to do. I am going to Mexico later in the year that will hopefully inspire a whole new range of work. It is in its very early stages at the moment but I am going to be doing some work for a Whale Festival in Vancouver, which is exciting and pretty perfect for someone that likes drawing whales. And then there is another Field Work to organise – hopefully before the year is out.

Wittgenstein

Then there’s your printed t-shirt business – will you draw anyone or is it just famous people? By the way I get why you don’t want to draw Paul McCartney, I do. The other three are cool though.
Yeah I don’t have anything against the Beatles; it’s purely McCartney I have reservations about! It doesn’t have to be famous faces; I just want it to be particular to the person that has requested a t-shirt. I’d draw anyone within reason. Obviously some choices are more populist than others and I do prefer the more obscure ones, the faces that people are less likely to recognise. I am slightly dismayed by the serious lack of women though!

Caitlin Hinshelwood

See more of Caitlin Hinshelwood’s work on her website. You can read her blog, visit her shop and look at her t-shirt site too.

Written by Jessica Furseth on Thursday April 14th, 2011 9:33 am

Categories ,animals, ,art, ,Caitlin Hinshelwood, ,cushions, ,David Attenborough, ,drawing, ,Field Work, ,Hinshelwood de Borman, ,Life on Earth, ,natural history, ,painting, ,Paul McCartney, ,print, ,Rose de Borman, ,T-shirts, ,Texprint, ,textiles, ,the beatles, ,University of Brighton, ,Whale Festival

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Amelia’s Magazine | Caitlin Hinshelwood’s natural history

by

Life on earth

Hawks, more about snakes, seek dinosaurs, discount sharks and bears – there isn’t a kitty in sight in Caitlin Hinshelwood’s excellent fauna. We fell in love with the work from the textile designer and artist when she, alongside partner Rose de Borman, put on the Field Work pop-up shop in Spitalfields last month. In gentle earth tones, patterns of vegetables, flowers and arrows are repeated in the fabric, sometimes interspersed with Caitlin’s scratchy handwriting. The result is ever so subtly brilliant, like a cake that’s not too sweet and gets better as you eat it. I don’t want just a cushion with Caitlin’s prints – I want wallpaper. Because as we all know, too much of a good thing is wonderful.

Ghost arguments

There is something quite playful about your work – like you’ve sat down with your pencils and doodled, almost effortlessly. Is that anything close to the reality of making your art?
In some respects yes; I definitely like to get all my books and photos, put on music and just start drawing or painting with it all out in front of me. But more often than not an image is already partially formed in my mind and it’s a case of putting it down on paper, getting it out of my head. Often it is words and colour that inspire the initial ideas and then the drawing comes, that’s especially true of my paintings. The playfulness is an aspect of my work I am happy to be recognised, I know I am making work I am going to be happy with when I laugh to myself whilst I am doing it.

There’s drawing, painting, etching, embroidery and printing, I think … what’s your preferred medium?
Initially, and most recently, I’d say drawing in pen or pencil. I have rediscovered how much I like using a simple pencil of late. However, I love mixing and using colour so then painting or printing always come in. I love the process of screen-printing regardless of how infuriating it can be, I enjoy the skill of it and building up the imagery. It’s like processing photographs yourself, it still feels like magic when the image appears on the screen.

Whale cushion

Your style seems perfect for textiles – like the fantastic ‘par avion’ swallow cushion. Is the choice to use textiles a commercial one, or is this just how you prefer to work?
I studied printed textiles at the University of Brighton so it was natural to continue using it as a medium for my work and, as mentioned before, I do love the technicality and physicality of screen-printing. Making your drawings translate to textiles gives them a new lease of life, a new context. The confines of designing in a square for a cushion or making things repeat can be part of the enjoyment. I like the variety of textiles; you can produce a print design that can be reproduced and used for fashion but you can also treat a cushion like an art piece in itself. Some of my textiles can mean as much as any painting that I do.

Giving up ghosts

I love the animal themes, and the fact that it’s not just the ‘cute’ animals but also whales, dinosaurs and so on – and the vegetables! What inspires these?
Natural history is something I often gravitate towards. It seems like an obvious thing to me as I have always liked this stuff since childhood; I wanted to be zoologist when I was little, my favourite toys were plastic dinosaurs and I have been brought up to love gardening. One of the places I am happiest is in my garden and growing vegetables. The recent animal drawings are part of a collection meant as a homage to David Attenborough and his ‘Life on Earth’ programmes. Hence my new ‘Attenborough Cushions’ which as well as featuring his portrait, complete with Soviet-esque beams, depicts a different series from ‘Life on Earth’. Whale imagery and all things maritime are a personal obsession of mine I find difficult to move away from and even if I do leave it alone for a while I always end up revisiting it.

Trio of Davids

You have an impressive list of designer names on your client list. How did you build up your customer base?
After university I won a place with Texprint, an organisation that selects 24 textile graduates from across the country and takes them to show at Indigo in Paris. I think this experience really showed me the reality of life after university and what you needed to do if you wanted to work for yourself. And that meant pestering people and slogging my portfolio around Paris, London and New York so people saw my work.

You collaborate a lot with Rose de Borman, both with the homeware range and the recent ‘Field Work’ pop-up shop. Could you tell us a little about how you two work together?
Rosie and I met at Brighton and apart from becoming great friends I think we recognised in each other shared tastes and admirations, and realised our work sits well together. Since we graduated we naturally started collaborating on certain projects, sometimes it’s more enjoyable to work on something with a friend, but we have always maintained working independently of each other. The homeware range is the only truly collaborative design project we have done together and this developed from a commission to go to India and work with a manufacturer in Jaipur to produce the range. Field Work was born in 2009 out of a desire to showcase our work, in all its different forms, in a setting that we could curate and in which we could also celebrate the work of other artists and designers we admire.

Vegetable plot dress

What are you working on these days – any new projects you can tell us about?
I am mainly going to be in the print workshop – I have a load of t-shirt commissions to finish and plenty of production to do. I am going to Mexico later in the year that will hopefully inspire a whole new range of work. It is in its very early stages at the moment but I am going to be doing some work for a Whale Festival in Vancouver, which is exciting and pretty perfect for someone that likes drawing whales. And then there is another Field Work to organise – hopefully before the year is out.

Wittgenstein

Then there’s your printed t-shirt business – will you draw anyone or is it just famous people? By the way I get why you don’t want to draw Paul McCartney, I do. The other three are cool though.
Yeah I don’t have anything against the Beatles; it’s purely McCartney I have reservations about! It doesn’t have to be famous faces; I just want it to be particular to the person that has requested a t-shirt. I’d draw anyone within reason. Obviously some choices are more populist than others and I do prefer the more obscure ones, the faces that people are less likely to recognise. I am slightly dismayed by the serious lack of women though!

Caitlin Hinshelwood

See more of Caitlin Hinshelwood’s work on her website. You can read her blog, visit her shop and look at her t-shirt site too.

Written by Jessica Furseth on Thursday April 14th, 2011 9:33 am

Categories ,animals, ,art, ,Caitlin Hinshelwood, ,cushions, ,David Attenborough, ,drawing, ,Field Work, ,Hinshelwood de Borman, ,Life on Earth, ,natural history, ,painting, ,Paul McCartney, ,print, ,Rose de Borman, ,T-shirts, ,Texprint, ,textiles, ,the beatles, ,University of Brighton, ,Whale Festival

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