Fine Print | Meticulous Ink

To put pen to paper is the very nature of Meticulous Ink, the quality stationers are dedicated to the fine tuning of letter press printing, a technique that dates back to the 15th century. For a company that was founded on a table top in Bath, Charlie Cumming and Athena Cauley-Yu have succeeded in making a name for themselves, collaborating with Anthropology, Heal's and a forthcoming range of Christmas cards in the pipeline for Fortnum and Masons. 

What was the first design you ever printed?

The first design we ever printed was a little motif onto cotton board for our original correspondence card sets - a little vignette of the outdoors, a countryside hill and some trees and a freshly ploughed field. It was very simply printed, in black on our first press we had which was a 1870 Model no.4 letterpress. This was the start of our box sets, and a design that is so popular we still produce it today.

What influences your design work?

I find inspiration can come from very different places a lot of the time, influences vary from being in a different city for a few days, taking a trip to a library or museum, searching through old antique books to try and find something that might spark an idea - or even just trawling through blogs and feeds online. A lot of the time we are trying to create something functional and so the design is really just accompanying the functionality of the product we create - for our notepads we wanted to make something that people would enjoy using and that would work well, with the addition of a letterpress printed cover and a coloured glue binding. It’s these little touches that we hope will enhance the aesthetic of something that might be used for everyday.

Do you have a favourite style of Typography?

For me, I enjoy a lot of the older typefaces, probably Caslon Italic being one of my favourites, but then a lot of new typefaces are also very beautiful. I suppose I prefer serif typefaces mostly, there’s a lot of good stuff coming from Lost Type, such as Klinic Slab. Hoefler Frere Jones (now Hoefler & Co), have consistently produced excellent typefaces, Gotham is a typeface we use within our brand regularly.

How many Printing Presses do you use at Meticulous Ink?

We mainly use our two Heidelberg platen printing presses, one is set up to print in ink only, as it was originally intended - and the other we have converted so it can print with foil using a built in heat process. We started using two table top, hand fed presses which worked well at the time, but as we got on to higher quantities we found that we needed to find machines that were capable of printing larger quantities at higher speeds.

What is your design background?

I personally don’t really have a huge design background, I’m actually trained more in music - but have illustrated all my life. I learned all my skills and techniques through doing, I have worked at screen printers and from other printers. The letterpress world in particular is very close, and if you ask nicely you will usually find someone who is more than happy to teach you the basics for the methods and techniques involved.

Do you both have a similar aesthetic?

Athena tends to design with type in mind, for the majority of the time. She specialises in creating bespoke stationery, so words with type a lot - naturally when she comes do design a product she will approach something with a typeface or look in mind. Personally I tend to approach something with pencil and paper - I love to create characters, scenes and designs in a hand drawn style, even when it comes to type I prefer to design a hand drawn typeface from scratch, perhaps with a little inspiration from an exhausting typeface. I tend to design with a slight edge of humour, something not to specific, something different and sometimes very silly.

Are you keen on running workshops at your store in Bath?

We already do! We started our workshops in Bath last year, and the popularity of these workshops inspired us to take them on the road - it’s lovely to be able to offer these courses to people outside of Bath and the response is always fantastic.

Cloth House | Haberdashers Soho

Founded in 1984, Cloth House sits between two shops located on Berwick street, in London’s Soho. The fabric and haberdashery emporium houses an array of fine lace, buttons and exquisitely made textiles for dressmaking and upholstery.

The company founders, Jay and Niki travel the globe to source the finest threads. Inspired by Gandhi’s philosophy, “There is no beauty in the finest cloth if it makes hunger and unhappiness.” They are committed to maintaining levels of self-sufficiency for the makers and artisans. Firmly taking an environmental standpoint by sustainably sourcing materials, avoiding leather and suede - preferring to promote high quality alternatives.

How did Cloth House begin?

I was a fashion photographer and Niki was in retail working on window displays, so textiles came quite naturally to us. 30 years ago we found an amazing old house in Camden (hence the name Cloth House!), we just started from there, buying and selling textiles. Now we also have two shops on Berwick Street, Soho, but we've still got our old house in Camden, we run our online shop from there.

Sustainability is an important consideration, particularly within the Textile Industry, how do you source the fabrics that are sold within Cloth House?

We have always gone directly to the source of our textile suppliers, this means that we are able to see the set up and work closely with artisans, be they weavers, printers, dyers and producers. We continue to work with them and repeat orders; it is one of the reasons why we have such strong collections. It's important that we know whom we are working with, especially with the handmade fabrics. We want to give something back to the communities, supporting the local economies and improving self-sufficiency.

The Cloth House blog is a great source of inspiration, do you have a favourite post? 

We are fans of the Instagrammer Sayaka Shigematsu! We love the colours in her photos and the strong feeling of 'handmade' throughout, combined with influences from the natural world.

Cloth House is always brimming with students, do you ever get to see their creations?

Yes, we often get to see what they've been making on our Instagram and Twitter feeds; we love seeing what people do with our fabrics (you can see some of them if you look up #clothhouse).

Can you recommend any other creative find’s within Soho?

Lena Juan the dressmaker at 46 Berwick Street, we're always recommending her to our customers. Astrid the florist at Liberty, she makes the most beautiful bouquets. Also Feel Hairdressers and Sister Ray records on Berwick Street. And Year Zero on Beak Street!

Friday Forage | Utopia & Utility - An interview with co founder Pia Wustenberg

Utopia & Utility was founded by brother and sister duo Pia & Moritz Wustenberg, the industrious pair pooled their talents to create the company, which was founded in 2012. Pia is the Creative Director, her extraordinary designs incorporate paper, wood, ceramics and glass. Pia honed her design skills whilst studying for a Masters in Design Products at the RCA. Moritz uses his business acumen to oversee the finance and logistics of the company. Their goal is to grow a business with integrity and good intentions. Pia recently collaborated with Heal's to create a range of lights.

What initially drew you to glass making and what do you like mostly about this medium?

I enjoy the process from liquid and malleable to something hard and stable. The making of glass is really spectacular, and the material holds some of this story in it, it is very alive and full of narrative.

How long did you study for?

I studied Furniture Design for my BA and Product Design for my MA, so all in all five years.

You founded Utopia and Utility with you brother, do you collaborate on the designs together? 

My brother deals with the finance and business, I am the creative director and designer. I think it is very important to distinguish between the roles and have a clear work separation.

"Everything we consider beautiful, has something familiar in it..." I really like your design manifesto, it seems quite an old fashioned concept to have one! It's reminiscent of William Morris' ethos, of the importance of nature within Arts & Crafts. Is it an important factor that the designs resonate on a deeper level than their sheer aesthetic value? 

I believe this is the only way to create something meaningful, for the object to hold more value than just the function or a fashion. When you make something that speaks to the soul, not just of the person using it, but also the person making it, then you achieve something truly beautiful.

The patinated processed paper forms are interesting, can you describe the making of these? And how did they come about?

Those came about as an experiment, using processed materials and trying to find new applications for traditional crafts. 

The process is simple: the paper sheets are glued and rolled into a raw material that is then left to dry. Once dry it is cut on a saw or on a lathe to expose the layers within.

What has been your design highlight so far?

Difficult question- I guess its the moments when you realise you can do something. Once you have mastered a process or a material, and you really understand how to work with it.

Libby Sellers on her eponymous London Gallery

During last years annual Frieze London, The Interiors Almanac was lucky to attend the Pad Luxury design talk Living with Art & Design, where the panelist Libby Sellers passionately described her eponymous gallery. We interviewed Libby to listen to her very own story of how the gallery on Berners street came to fruition.

How did Gallery Libby Sellers begin? 

Having left my post as Senior Curator at the Design Museum, I wanted to continue supporting designers. Given my background, exhibitions were always going to be the lynchpin of my business, and I believed the best way I could continue offering support outside of a museum environment was through a gallery. However, the main difference between the exhibitions I did for the museum and those I do for the gallery are that now these are commercial, selling exhibitions in which every piece we show should have the ability to be sold through the gallery.

What excites you about the designers you collaborate with and promote through Gallery Libby Sellers?

The relationship we have with the designers and their work changes from one to the next.  It normally takes a couple of collaborations before we really start to understand each other, and not every relationship continues. However there are a small handful with whom I work very closely and are in daily communications with. Helping them develop their work and watching the results of these close collaborations come together is the exciting part. Having these works accepted into major public institutions and private collections is the icing on the cake – it’s a validation on all that effort.

Can you recall the first piece of design that hooked you?

My mother used to drive an early 1970s Alfa Spyder. I think I’ve always been drawn to Italian design ever since.

Many of the pieces you display at the gallery have a functionality to them as well as being works of art, why have you chosen to display the designs in a gallery setting?

Most people’s assumptions about design is that it must be mass manufactured and uniform. Through the designers, works and exhibitions that we present in the gallery, I enjoy challenging this expectation and highlighting that – like art –  design can be a conduit for story-telling and narrative. It makes little sense to tell the same story over and over – so we celebrate the unique, the individual, the crafted and poetic through a curated selection of works. Just like a commercial art gallery, we support the careers and portfolios of the designers we represent. We are not a furniture show room, but a platform for the development of these people’s work and careers.

It must be very inspiring to work with makers who have dedicated their lives to their craft, have you ever considered becoming a designer?

No. I’m better at contextualising and presenting works – not making them.

What has been your most favourite collection to work on?

I couldn’t possibly… it’s like asking me to chose which is my favourite child. 

Supermarket Sarah

Sarah Bagner founded Supermarket Sarah in 2009, the online boutique started off with humble beginnings - on a market stall in Portoblello. Sarah discovered a gap in the market for a curated online shopping experience. Her eclectic array of displays include a mix of makers from fashion to interior frippery. The walls reflect the creativity of the designers work and are an all round treasure trove! The Interiors Almanac recently joined Supermarket Sarah to set up a pop up market kiosk in East London, where Sarah sold works from designers Crispin Finn and Tom Pigeon which she elaborately displayed around a plethora of Pineapples!Here Supermarket Sarah talks about her beginnings and her collections.

Supermarket Sarah featuring Textile Designer Marie Molterer

How did Supermarket Sarah begin?

Supermarket Sarah is based around the idea of a real wall full of clickable items, each with a unique story. Users simply click and buy. I started creating the walls from my home living room, which then spread into bars, receptions, public spaces and Selfridges, London. 

At the time I was also doing Portobello Market selling vintage and I was interested in re-creating the feel of market shopping online, by bringing personality and stories into shopping. I felt the online world was rather dry and clinical and the fun was stripped from the experience. 

Are the walls curated by the chosen designers?

Initially I started creating the walls in my living room but then I started inviting designers that I admired to compose them using the same template and so the wall canvas has grown into a platform of walls. Each Designer creates their own wall. Of course, I still create the walls and choose the designers and  often work collaboratively with brands and celebrities on their walls as a consultant. 

Supermarket Sarah featuring Designer Russell Barratt of Random Bangle

It is interesting how you combine new and old pieces on the walls, which seem to tell a story of the designers own tastes and inspiration, is this an important aspect of Supermarket Sarah?

Yes definitely I like the mix, I think the walls represent feelings and people and its nice to show that, with an array of pieces which evoke different moods and stories. 

How do you decide upon the themes and select designers which are promoted on the Supermarket Sarah walls?

I look for people with passion, people who clearly seem to love what they do and their work really becomes them. My book is about walls with heart and this is very true also for the walls on the site. I don't dictate one aesthetic but celebrate personal style: whatever that maybe Its all about Loving your stuff!

Supermarket Sarah featuring Illustrator This Is Nick White & Pals

Which installations have you most enjoyed working on?

I loved creating Kirstie Allsopp's home wall with her, there's something lovely about a home wall and really trying to bring something new to a personality that many people have seen on TV. I really wanted to show Kirstie in a more eccentric light as she loves the weird and wonderful!

Do you collect anything in particular?

Lots! I have a button collection which is growing, a 1920's men with moustache collection which I like a lot and cats - of course!

Where did you travel during the making of your book Wonder Walls?

I went to Tokyo which was fantastic and Sweden and the UK.  

Which is your favourite entry and why?

Oh I couldn't say! What I love is that all the walls are so unique!

Happy Christmas

Sir John Soane's Museum by Candlelight

The intrigue that surrounds the home of Sir John Soane is founded upon the sprawling collection of curios which Soane arranged with his distinctive eye for display.

Experiencing this 19th century home by candlelight displays Soane's artfulness in design, the drawing room was modified by installing mirrored panels onto wooden doors and placing convex mirrors up high, in order to reflect the artificial light. He also built light-wells in the ceiling which flood the room by day with natural light. 

As a professor of architecture, Soane opened up the doors of his home to his students at the Royal Academy of Arts. The collection was amassed to illustrate the variety in architectural styles, in doing so, Soane created a mini tour of Europe. The architectural casts appear jewel like under the glow of candlelight, as they hang from Olive green walls. The casts were made from a variety of materials, which include plaster and stone.

On the first Tuesday of each month the museum invites the public to experience Sir John Soane's collection in candlelight, a free exhibition from 6 - 9, you may have to queue for over two hours, but its well worth the wait!