Graphic Thought Facility (London, above)
While searching for pattern inspiration today on Pinterest, I stumbled across a cool blog post on Maharam’s website about a collection of patterns by a group of graphic designers. I (shockingly) had never heard of Maharam before, and I’m so happy I found them! Maharam was founded in 1902. From small beginnings, Maharam transformed from a source of theatrical textiles for costume and set design in the 1940s to a pioneer of performance-driven textiles for commercial interiors in the ’60s. Today Maharam partners with designers from all disciplines creating conceptual, performance and fashion textiles for countless companies.
In the post Maharam writes,
Patterns are the double helix of the textile industry—the visual DNA that serves to establish the identity of a company. In the pre-digital era, companies like Pucci and Marimekko found a way to create and make distinct visual vocabularies their own. As Maharam moved into the digitized world of the 21st century, we challenged ourselves with a design research initiative that could capture emerging post-analog trends and yield a new pattern language that we could call our own.
In collaboration with Pentagram’s Abbott Miller, Maharam invited an international group of ten entities at the forefront of graphic design to create ten patterns each. The participants included A4 Studio (New York), Marian Bantjes (Canada), cyan (Berlin), Graphic Thought Facility (London), Harmen Liemburg (Amsterdam), Karel Martens (Arnhem), Abbott Miller (New York), Niessen & de Vries (Amsterdam), Post Typography (Baltimore), and Casey Reas (Los Angeles).
As a trained graphic designer that also studied textile design, these two diciplines work so well together. I think all graphic designers should learn about textile and pattern design. The images below are some of my favorites from Maharam’s 1/10 Pattern Stories post. Tomorrow I’m going to share even more patterns and photos from Maharam’s NYC design studio. Get into it!
Niessen & de Vries (above).