Berdoulat Bath

Berdoulat shares its name with an 18th-century farmhouse in South-West France- the childhood home of its founder Patrick Williams. Williams spent his childhood helping his parents restore the building and in doing so gained a passion for vintage furniture and interiors. Williams got his Fine Art Degree in Oxford and Berdoulat has been his main occupation since. They featured in the The House & Garden Top 100 Interior Designers list. Neri had a similar childhood experience when her parents moved from Bulgaria to Istanbul, helping with building tasks at their new home. Neri also has an appreciation for details and reclaimed objects from her Fine Art Photography degree at London College of Communication. Over a period of 4 years, they restored the shop building together which opened in 2021 showcasing their unique collection of furniture and homeware.

Bea Baranowska

Baranowska is an illustrator based in her home studio in Somerset. She is passionate about the environment and loves the countryside- living with chickens and her dog- which is reflected in her practice. Baranowska runs her business according to three core values: "we are happier and healthier when we are connected with nature", "buying from a small business should be a fantastic experience from start to finish", and "we need to become a zero-carbon society as quickly as possible."

She believes as do I, that nature has an amazing impact on our health and mental wellbeing allowing us to destress, and we should treat our environment with due respect. Which is why she is constantly working on the environmental impact of her business using recycled and biodegradable materials.

Ruth Thorp

Thorp studied Architecture at the University of Bath and spent 10 years as an international Landscape Architect before forming Ruth Thorp Studio in 2013. She now works as an independent illustrator, designing cards, prints, and books created in collaboration with Raw Mixture. From time to time she takes on commissions from magazines and journals such as Breathe, Ernest Journal, and Simple Things.

Thorp takes inspiration from the natural world- landscapes in particular. Her style is characteristic of clean, bold minimalism.

East End Press

... is a printing and design studio based in the east end of Glasgow, they work with craftspeople from all over the world. They celebrate traditional crafts and their style is defined by folk art, illustration and is all hand-printed/painted or made. They're very ethically conscious in their production with fair-trade printing partners using recycled paper and non-toxic ink. They've partnered with organisations such as the V&A and the National Trust. East End Press produce colourful Risograph prints, screen-prints, wooden prints, cards and paper garlands.

Lydia Hardwick

Hardwick switched from her sculpture degree to specialise in ceramics and went on to complete an MA at the Royal College of Art. She's been working with ceramics for more than 10 years now and spent a long time teaching the practice in London, but recently is focusing more of her energy on her own work. Hardwick takes much inspiration from indigenous craft especially patterns and motifs. Researching their traditional practice informs her own. Some of her pieces have been purchased by the V&A Museum’s permanent collection, she also received acclaim from The Design Museum’s Designs of the Year, and The Turner Prize.

Lucy Strawson & felt

Strawson is a textile artist who prioritises natural materials and dyes in her creative process. She collects flowers and leaves seasonally to dye her fabrics, this process also informs her pattern design of her quilts. She works predominantly in wool and linen, but has also been experimenting with hemp.

Strawson featured in FELT's debut exhibition in October last year, a platform celebrating artists working with traditional methods of craft such as weaving, embroidery etc but in new contemporary ways. There's also an emphasis on tactile work; painters featured included work which was mixed media or exhibited in non-traditional formats such as loose and switched together canvases. A key motive of FELT was to challenge the idea that craft was only practised by women and made objects only to be used in the home. For centuries these practices were devalued due to our ingrained sexist beliefs in society and got no representation in public institutions. But thanks to projects like FELT this has recently been changing, so much so that The Royal Academy’s Summer Exhibition this year featured many woven, patchwork and collage pieces.

British Antique Ceramics and Porcelain

Stoke / Staffordshire is sometimes referred to as the Potteries due to local availability of clay, salt, lead and coal made Stoke especially well-positioned. Slipware dates back to medieval times. "pinnacle came in the 17th century when the Staffordshire potters and others in Wrotham, Kent, depicted human and animal figures, stylised flowers, and more"

Delftware/ Galleryware This is earthenware covered in a tin glaze (which is lead with added tin oxide) which provides a white background for either blue or brightly painted decoration. It was very popular in Britain between about 1550 and the late 18th century, and was predominantly made in London, Bristol, Liverpool, Wincanton, Glasgow and Dublin.

Porcelain it was a very creative moment, and makers were copying the patterns of Eastern ceramics with no real understanding of them and so they were free to interpret them as they wished.

Bone China is a British invention, a type of porcelain with added bone ash, which makes the final product stronger and more resilient, while the colour is snow white.

Creamware is cream-coloured earthenware covered with a transparent lead glaze that was developed by Josiah Wedgwood and Thomas Whieldon in the 1750s at Whieldon’s factory in Staffordshire, to replicate the look of fine Chinese porcelain

Mochaware Mocha decorated pottery is a type of slipware, insofar as the term describes utilitarian earthenware vessels turned on a horizontal lathe and decorated with bands of coloured slip. It is then adorned with a pattern that looks the natural geological markings on the semi-precious gemstone moss agate, which was known in Britain in the late 18th century as ‘mocha stone’. (It also looks like a tree.) The resulting mugs and pitchers were the cheapest decorated pottery of their time and would have been used in pubs and inns. The word ‘mocha’ only applies to the decoration – so you could have a mug which is both creamware and mocha ware

Jasperware was first developed by Wedgwood in the 1770s, unglazed stoneware and comes in a variety of colours, though most famously ‘Wedgwood blue’, with relief decoration in another colour, though most usually white.

Transferware became enormously popular in the 19th century, another British invention and is a way of mass-producing patterned china using an engraved copper or steel plate to press a monochrome print onto ceramics – such as the blue and white Chinoiserie-style Willow pattern, which is probably the most famous.

Lustreware is a type of earthenware or porcelain that is given a metallic glaze and so becomes iridescent. It was developed in Mesopotamia in the 9th century and started being used in England at the very beginning of the 19th century. Spode used it, then Wedgwood used it and introduced pink as a colour, and that colour started being the colour most used by several factories in Sunderland, and that produce became known as Sunderland lustreware.

Cornish-ware Introduced in the 1920s, the blue stripes of Cornish-ware were said to be reminiscent of the sky and sea in Cornwall, and the clay used was initially sourced from the same county. Other colours were introduced, along with lettered jars, and it became hugely popular, to the point where original vintage Cornishware is highly collectible.

Utility china Pottery production was hugely scaled back when the second world war broke out. Many of the pottery workers volunteered, were called up, or left to work at local munition factories. In 1942 a complete ban was placed on decorated pottery for the home market, and anything of the period stamped with ‘GR VI’ indicates that it was government property, ordered to supply both military and civilian canteens. The restrictions on decoration weren’t fully lifted until 1952; when my grandparents were married at the end of the 1940s, their wedding china was completely plain – though, by then, it had been given the more uplifting name of ‘Glamour ware

British Studio Pottery is the name given to the practice by professional or amateur ceramicists working alone or in small groups making pieces that are either unique, or in very limited runs. Its prevalence increased during and after the Second World War, because of the ban on factory-made decorated pottery. Lucie Rie, who came to London in 1938 as a refugee, Hans Coper, who was also a refugee and worked with Rie before setting up his own studio in Hertfordshire, and Bernard Leach, who moved to St. Ives, in Cornwall. All three knew each other. Their simple, functional designs chimed with the ethos of Modernism

print

I created stamps based off motifs in my Jug drawings I have been doing. I picked a colour scheme of tones of red and orange, and created patterns by inverting and rep0eating the stamps as well as combining them.