Tactility factory brings textile thinking and technologies to concrete manufacturing

Northern Ireland has a rich textile heritage, embracing both applications for clothing and home textiles, often evocative of the country’s landscape, history and culture. It is primarily this sense of place that inspires local design and craftsmanship in the creation of materials and products. This article looks at unique approaches and techniques in the promotion of interiors textiles from innovative businesses that are flourishing in the province. In particular heritage fabrics, such as tweeds and linens, are being developed for exclusive products where end-consumers have greater concern for ‘slower’, more sustainable design rather than the price.

Longevity of design Mourne Textiles, established in 1954, has been

re-launched by Mario Sierra, grandson of Gerd Hay-Edie, the Norwegian founder. Working with his mother, skilled weaver Karen Hay-Edie, and their four apprentices, the hand-loom weaving workshop is located in the foothills of the Mourne Mountains. Surrounded by shelves of colourful yarns, and inspiring views, they reproduce iconic designs, derived from their archive from

the 1950’s, 60’s and 70’s, that remain timeless. Designs include the ‘Milano Rug’ selected by Robin Day to complement his furniture at ‘La Triennale di Milano 1951’ and the ‘Shaggy Dog’ and ‘Mended Tweed’ hand-woven tweeds adopted by Dublin couturier Sybil Connolly (1956), now re-imagined as contemporary cushions and throws.

Mario values the unique quality found in fabrics produced on machines and looms, now

often found in museums, which complement more modern weaving techniques. Their predominantly plain weave designs happen through combining the different textural qualities found in the yarns, now custom spun to match those used in the 50s and 60s, bringing a unique element to the designs. Mario recognises that knowledge gained through experience is not found in books and should be passed on to the next generation.

“I love how we are able to produce beautiful rich complex woven fabrics using relatively simple looms made of wood and cord - not a computer screen in sight.”

Mario believes that traditional crafts whatever their medium are vital to our culture and, as production methods change over time and economics drive production abroad, we should value keeping these crafts alive closer to home. He is committed to bringing production hand-loom weaving back to the Mournes, retraining a new generation of handloom weavers and encouraging people to see the skill, value and importance of the craft. Brands such as Margaret

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Adding a modern twist to tradition

Howell appreciate Mourne Textiles’ longevity of design enabled and enhanced through cross-generational collaboration.

Novel applications Appropriately located on the original Ulster

Weaver’s site in Belfast, two entrepreneurs have developed unique techniques in creating beautiful tactile surfaces, bringing together two indigenous Northern Ireland Industries; textiles and construction. Tactility Factory is an innovative, award winning company initiated by the collaborative practice of Trish Belford (textiles) and Ruth Morrow (architecture) in 2005.

Tactility Factory brings textile thinking and technologies to concrete manufacturing. It expands the potential of concrete from a cold, grey, acoustically harsh and unappealing substance to create surfaces that are warm, colourful, acoustically soft and appealing. They create ‘skins’ that are as robust yet can be manipulated in colour and pattern. The skins can be used in multiple applications. Tactility Factory’s specially developed textiles are the ‘clever’ part of the process, allowing them to produce articulated, patterned surfaces without the need for complex moulds or post-curing processes.

These skins can be used in luxury high-end interiors delivering unique surfaces with a crafted artisan experience. It’s technology can also be integrated into other precast products or used in a variety of products, reinventing the experience of concrete. The company has been successful in delivering bespoke wall surfaces to Egypt, Dubai and London interior design and architectural

practices. Products range from four ‘infused concrete’ surfaces – Velvet, Crystal, Stitched Linen and Linen – which can be combined with a range of designs to create unique concrete and textile ‘skins’.

New directions The challenge in bringing young people

into the textile industry, to combine the rich cultural heritage of traditional designs in a creative way, is being addressed by brother and sister, Lorcan and Sarah Quinn. They grew up in Banbridge, County Down, a town steeped in linen heritage and recognised worldwide for its weaving excellence preserved from generation to

generation, providing an extraordinary skill-set on their doorstep.

In combining Lorcan’s business skills with Sarah’s creativity they have founded Enrich and Endure for the creation of homeware goods designed to exemplify the craftsmanship and integrity of that prestigious history. Sharing a mutual desire to create something unique, they value the tried-and-tested but with a twist.

An initial aim has been to revive the linen market that had become dated through introducing cheerful colours to a product range that includes aprons, tablecloths and napkins. In addition they have developed merino wool throws and blankets and a collection of linen and wool cushions. The company also collaborates with like-minded creative companies such as artisan coffee roasters, boutique hotels and considerate restaurants throughout Ireland and the UK to create customised linen aprons.

Enrich and Endure’s approach is to sell products to a ‘new’ global audience via their online retail shop. Its key marketing tool is networking

on its ever-growing social media platforms such as Twitter, Facebook and Instagram. As the customer purchasing experience lacks the ability of touch and feel they focus on telling the story through documenting and photographing the processes of production. In Sarah’s words; “As the fresh faced go-getters of the next generation, we are dedicated to respectfully harvesting the Irish linen heritage of our town while simultaneously pushing it in an entirely new direction ensuring a future for this world-quality craft that might otherwise have been forgotten.”

textiles Issue 1, 2015

131-4. ‘Mended Tweed’ and Shaggy Dog’ handwoven tweeds adopted by Dublin couturier Sybil Connolly (1956), now revived for modern interiors. Images © Tara Fisher for Mourne Textiles.

5. Brother and sister, Lorcan and Sarah Quinn with Colin Harman (from 3fe coffee shop) wearing Enrich and Endure aprons.

“ I love how we are able to produce beautiful rich complex woven fabrics using relatively simple looms made of wood and cord…

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1. Revived Damask, a selection of the colours produced to date from McBurney and Black.2. Anna Dumitriu ’Lab Coat Flora’, whitework embroidered lab coat, 200414

Adding a modern twist to tradition

Reuse / re-imagine With past experience in managing sales of

Liberty of London fabrics, Fiona McKelvie, originally from Belfast, has launched an internet based business specialising in antique and vintage Irish Linen (2013). Significantly, her Ireland home is based in the former Andrews Linen Mill in Comber and the company, McBurney and Black, is named after her Irish and Scottish grandmothers.

In discovering that much of the resource of old Irish linen damask is found to be stained and marked, although the cloth itself still offers many years of useful life, Fiona is adamant that these textiles could and should be repurposed. She began experimenting with reactive dyestuffs and was delighted with the results finding that linen accepts the dye easily and the original designs are superbly highlighted by the addition of colour.

Although this technique has often been used on French damask linens with the traditional rembourré embroidered monograms, somehow the distinctive sheen of beetled Irish linen lends itself even more effectively to the dye process. Beautiful damask tablecloths and napkins may be successfully refreshed and, once again, be used and enjoyed. So ‘Revived Damask’ is her way of giving a new lease of life to traditional damask cloth, which otherwise would have been stored away and never used, or worse still, discarded completely.

McBurney and Black began by offering a vibrant colour palette with amethyst, cerise, deep

purple, chartreuse and pumpkin among the first colours produced. Recently a more neutral group of colours has been added to the collection; mushroom grey, Gunmetal and brushed steel. Fiona recognises that nowadays dining is more of a casual affair and all too often the fine white linens stay in the cupboard, looked on as too formal. Revived Damask napkins and cloths on

the other hand bring a more contemporary feel and a splash of colour to a dining table.

Linen futures The practitioners above will contribute to the

‘Linen Futures’ exhibition scheduled at R-Space Gallery, during Northern Ireland’s August Craft Month, 2015. The gallery, situated in a Georgian building in the heart of Lisburn’s historic quarter, is near to the Irish Linen Centre and Lisburn Museum. Director Robert Martin, together with co-director Anthea McWilliams, opened R-Space in August 2011 with Anna Dumitriu’s exhibition, ‘Normal Flora, which included a new commission entitled ‘The Art and Science of Linen’. Since then, they have celebrated local, national and international artists work, often with a focus on textile innovation, with the support of the Arts Council of Northern Ireland through the National Lottery. In 2015, exhibitions include David Littler, Nora Fok and Marion Michell, with anticipation building around ‘Linen Futures’ that will feature new approaches to the use of linen. The designer and researcher, Jane McCann, will bring together makers and practitioners from Northern Ireland and South Wales to collaborate in creating innovative prototypes to celebrate the versatility, value and enduring qualities of linen products. In addition Makers and Practitioners from Wales (MaP Group), in collaboration with Irish partners, will stage workshops during the Ards ‘Creative Peninsula’ week (1-9 August) based on concepts and processes embraced in the exhibition.

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