If design hype were to be believed, they virtually invented black and white. Period Homes and Interiors, Olympia, London, The company’s design criteria could be said to be embodied in the Neo-Classical Collection, the core of the Timney Fowler fabric range, produced in Show my email publicly. Their position in the forefront of British design has been recognized in the UK and internationally with the prestigious Textile Institute Design Medal for “outstanding contributions to textile design and management. Comment about this article, ask questions, or add new information about this topic: Sue Timney and Graham Fowler are a design team of international repute who began working together after graduating in textiles from London’s Royal College of Art.
|License:||For Personal Use Only|
|iPhone 5, 5S resolutions||640×1136|
|iPhone 6, 6S resolutions||750×1334|
|iPhone 7, 7 Plus, 8, 8 Plus resolutions||1080×1920|
|Android Mobiles HD resolutions||360×640, 540×960, 720×1280|
|Android Mobiles Full HD resolutions||1080×1920|
|Mobiles HD resolutions||480×800, 768×1280|
|Mobiles QHD, iPhone X resolutions||1440×2560|
|HD resolutions||1280×720, 1366×768, 1600×900, 1920×1080, 2560×1440, Original|
There is also a distinct softening of the edges. Type the code shown: Design features included images from Greek and Roman works of art, French tapestries, nautical instruments, along with a strong architectural theme; Russian maps, mosaic floor plans, and in the scarf range what over the years virtually became the company’s logo—the clock—all used in a thoroughly modern way. Fowlsr about this article, ask questions, or add new information about this topic: Timney had earlier studied fine art and Fowler, graphics and textiles.
Their position in the forefront of British design has been recognized in the UK and internationally with the prestigious Textile Institute Design Medal for “outstanding contributions to textile design and management.
They launched themselves as freelance fashion designers inselling printed fabric on the roll. Timney Fowler’s distinctive designs draw on the rich symbolism of European art. New products continue to emerge, including umbrellas, jewelery, shoes, furniture, lights, and a collection tiney black and white clothes.
But while the source remains historical, there is also wit and a sense of the surreal. Surprisingly, having traded for so long on their black tminey white timnsy, Timney Fowler at this stage introduced color for the first time into its fashion range. Period Homes and Interiors, Olympia, London, The following year at the English Accents show in Januarybatik prints with wood-blocked borders and Japanese screen designs were the rage.
From the early years strong links were established with Japan, from where their work derived many influences. The company fast outgrew its original premises in Portobello Road and in moved to the highly fashionable Chelsea where they concentrated on fowleer products suited to this more sophisticated mileu—fashion, scarves, ceramics, tableware and interiors.
Wallpapers – Timney Fowler
Timney Fowler describe its design philosophy as “a process of evolution, working through one set of ideas in a kind of natural progression, but without any ups and downs. Other designs use hand-drawn symbols to give a softer, more ethnic look. The dynamic couple of Timney Fowler had created a stunningly unique look; their contrasting approaches of the formal intellectual on the one hand and flamboyant practicality on the other have been the recipe for an ever-evolving success story which has yet to slow down.
Self-confessed “20th-century vultures,” their inspiration has been drawn variously from photography, mythology, classicism, and European history, and from the arts and crafts and aesthetic movements— this eclecticism expressed with bold graphic imagery and in an uncompromising monochrome.
Drawing extensively on the history and symbolism of European art, the designs were presented in the company’s distinctive graphic style, black on white.
The company’s design criteria could be said to be embodied in the Neo-Classical Collection, the core of the Timney Fowler fabric range, produced in This striking classical modernism was taken up avidly by the style conscious avant-garde in the early s. Other articles you might like: Color has been creeping into the Timney Fowler scheme of things and, as the designers would have it, not before time. Clients included Yohji Yamamoto towler Issey Miyake and the Japanese market has remained an important business connection.
Although interiors followed fashion’s lead towards purer, simpler lines, by the end of the century texture, embroidery, and metallics played a prominent role.
Linked to all this was a small group of wallpapers, friezes, and borders. New fabrics included velvet and plastic-coated cotton. Greek, Roman, and Florentine objects led by the bestselling Emperor’s Heads; twisted columns, sections of architectural buildings plans, elaborate montages of stonework and foliage scrolls, the unexpected and witty juxtapositions of paisley dolphins teamed with acanthus plasterwork. Timney has described her earlier work as “clinical and calculated,” and believes the new ecological awareness, lowering of international barriers, and the recession make for less ostentation in the s and again in the early s.
British Design in the s, London, McDermott, Catherine, Street Style: To this end a major development was the expansion of the Interiors Collection in the early s, from the original black and white neoclassical themes into new fabrics and color, including a range of deep dyed cottons and velvets. New themes have emerged based on Rococo and Toiles, 15th-century European fashion portraits and 18th-century Byzantine paintings.
To complement these classical borrowings was a range of Regency stripes, latticed Victorian ironwork, and small scale heraldic repeats. Animals, leaves and other images from the natural world are also used in unexpected ways.