As part of London Textile Month 2026, I sat down with Selvedge Magazine to discuss all things textiles & design, from my biggest inspirations to my most treasured pieces...
What is your earliest memory of a textile?
I remember being taken on regular trips to Liberty's in London by my mother when I was a little girl, I must have only been around six years old. She would trawl every floor, trying on all the scarves, buying yards of Tana Lawn cottons, and often pick up a vintage kilim or two. The outings would end with a slap-up lunch at Dicken’s & Jones the department store across the road, which may be the real reason I fell in love with textiles!
How would you describe what draws you to textiles and the world of making?
I think my love of textiles is a visceral thing, and it's hard to put into words how or why art touches you. I love the tactile quality of textiles, the movement, and the luminosity of colour that can only be achieved on fabric. Added to that are the infinite possibilities of pattern that can be created using yarns, dyes and prints. I believe that creating with your hands is one of the things that defines being human, and this is something people connect with when they appreciate textiles.
If you create textiles, where do you feel most inspired to work?
I am very lucky to have a big studio in London with heaps of natural daylight. From the first time I tried screen printing, I fell in love with it. I find it is a very similar process to cooking - you can follow the same recipe again and again, and it will always come out a little different. I also love how once you understand the key components; you can improvise. There are a million possibilities when cooking with colour.
What is your most treasured textile, and what story does it carry?
I had a stunning silk kimono that belonged to my great aunt from the 1930s, but I stupidly cut it up when I was a student and made a top rather badly. At least I still have it, albeit not in it’s original shape, and I often use it as colour inspiration for my work.
Where did you first learn your craft, and who shaped your early approach to making?
When I was 14, I went on a French exchange, and the family I was staying with all went skiing, leaving me completely alone for the day (I could not ski!). The thought seems unimaginable now! As I was bored, I rummaged around in some drawers and found a silk-painting kit. I spent the day playing around with it and was immediately mesmerised. The liquid colours flowing together captivated me, and I found I had a natural ability to paint freely, creating patterns.
I went on to study textiles at university some years later, and after graduating, set up my own screen-printing studio at Cockpit Arts, as I knew my passion lay with printing fabrics and the alchemy of dyeing. The first pieces I made were scarves which I sold Barneys in New York and Liberty’s in London (much to my mother’s delight!) I went on to create hand printed clothes which was real labour of love and made me no money at all!
What material or technique are you currently experimenting with or curious to explore further?
The commercial world of textiles has now moved towards digital printing — for better or worse — which does have many benefits. But there is no doubt that something is lost in this process. One of the things I really enjoy doing is combining digital prints with hand screen prints. I often like to print randomly using my silk screens onto digital prints on paper and fabric and just allow the serendipitous process to take its course.
If you could collaborate with any maker—past or present—who would it be, and why?
I recently went on a mind-boggling, inspiring trip to Gujarat in India, visiting artisan communities. The extraordinary craftsmanship, combined with the colours and stories left me incredibly inspired. I picked up a few stunning vintage pieces while I was there, including this piece from Eastern Kutch, embroidered by the Ahir community made by the. It is around 65 years old. I have started some collaborations with some of the communities there, and I really hope I can make some pieces to sell with these artisans, but it is early days.
What does a perfect day of making look like for you?
There is no better feeling than being in the flow of creative work. For me the day would start with a long walk in the countryside collecting and photographing plants and landscapes. I would then use these pictures as inspiration for designs that I would put onto silk screens. The rest of the day would be spent screen printing and experimenting with colour combinations- trying to let the process lead me and not overthink things. This always results in the best designs. The ones that just happen by themselves…
