1970’s
Textile Design Presentation Original hand drawn designs
2 | 1970’s Textile Design
3
Table of Contents
04. 08. 09. 13. 16. 18. 20. 21. 23. 24.
Our Story Curating Lost Treasures David K Miles Preservation Donald Bruce Clarke Noel Lyons Unseen for 50 years Originals & Scanned Commissioned Artists Signature Prints
4 | 1970’s Textile Design
Our Story The Australian Museum of Design is home to the most significant collection of more than 7,500 hand-drawn, original designs from Australian artists and designers predominantly from the 60’s, 70’s and 80’s. Mostly have not been seen by the public for more than 50 years. We meticulously scan, reassemble and record each design digitally to make them available for everyone across the world to enjoy. We know in doing so, we are protecting an Australian national treasure for future generations. The design community and Australian institutions acknowledge there isn’t another equivalent of our collection – many from the industry have actually acknowledged both the absence of what we do, and the need to create a ‘safe place’ for digital design recording and development to become part of our nation’s history. The heritage and cultural significance of the AMoD collection has been acknowledged by the Powerhouse Museum. Destination NSW selected AMoD to participate in Vivid Sydney 2023 with designs used to create a dynamic illuminated show that was projected onto Customs House. As a prominent internationally recognised festival, Vivid Sydney raised further global awareness of the collection and iconic designs contained within it to more than 3.5 million people.
AMoD Studio St Peters, NSW Australia
5
6 | 1970’s Textile Design
Designs in the collection are now highly sought after as there is a world-wide resurgence in creating a retro look and feel.
The Australian Museum of Design (AMoD) is a commercial entity formed in March 2022 by Margaux Everett to protect Australian design history, after acquiring the design library from Signature Prints.
Many designers and creatives want to use, and conveniently access, quality designs of significance, and designs with distinct character. Many are preferring to produce hand screen printed wallpaper and fabrics using traditional methods, locally in Australia.
As a business, AMoD aims to keep up our important work by embracing our Profit for Purpose strategy. This involves licensing designs, not just to make money for our company but also to provide a return to the investors who supported us through our initial crowdfunding.
Designs in the collection vary from a design capturing a distinct and identifiable cultural moment in time to a design that is seemingly elegant and timeless.
Our goal is to build a community of individuals and groups who are enthusiastic about preserving and promoting hand-drawn designs, artists, and cultural heritage. We also aim to facilitate the modern-day use of these designs, including forming strategic partnerships with brands.
7
‘Speculum’ 1972 Designed by David K Miles Awarded Good Design Used for wallpaper
8 | 1970’s Textile Design
Curating lost treasures
The advent of accessible computers in the late 1980s marked the decline of hand-drawn designs. Software made it more convenient to create designs quickly, and the production of wallpapers and fabrics shifted overseas. Interestingly, it was technology that ultimately reconnected us with some of the artists or their descendants who originally created the designs now in our collection. As we share these designs through our various platforms, we receive an overwhelming amount of positive feedback from the community. Volunteers step up to assist in safeguarding the designs, and others contribute missing information that helps us construct a comprehensive history of Australian design.
9
David K Miles: Artist, Designer, Architect, Icon
The Wallpaper Revolution of David K Miles Step back in time to the 1970s, where a select group of individuals embarked on a journey that would revolutionise the world of wallpaper design. Among these visionaries, Florence Broadhurst and David K Miles emerged as two of the most prominent figures. The Australian Museum of Design chronicles their creative partnership, innovations, and the enduring legacy they left behind. 1970s: The Birth of a Design Revolution In the 1970s, a small but passionate group of individuals dedicated themselves to the art of wallpaper design. At the forefront of this movement were Florence Broadhurst and David K Miles.
David K Miles: The Artist with a Vision David K Miles, trained as an architectural draughtsperson and possessing exceptional artistic talent, worked under the guidance of the flamboyant and high-society interior decorator, Merle de Boulay. His portfolio included designing murals for private clients and crafting mosaic tables. David’s journey into the world of wallpaper design took a significant turn in 1965 when, at the age of twenty, he was sent by Merle de Boulay to Florence Broadhurst’s studio under commission to design a unique wallpaper design. 1969: The Birth of a Dream In 1969, David K Miles took a bold step by establishing his own business. This venture marked the beginning of his creative journey, where he continued to produce architectural drawings, mosaic tables, and even collaborated on design projects for Florence Broadhurst.
10 | 1970’s Textile Design
Late 1960s: A Creative Collaboration During the late 1960s, Florence Broadhurst commissioned David K Miles to create a grand mural for a restaurant in Kings Cross, Sydney. An agreed-upon price was set, but upon completion of the design, David was confronted with Florence’s refusal to pay the agreed amount. David Miles’ Print Factory: The Turning Point Following a road trip across Australia, David returned to Sydney with newfound determination. In opposition to Florence, and in partnership with his spouse (whom he married in 1970), he embarked on a mission to develop a unique range of wallpapers. Their creation entered the market under the name ‘David Miles Handprints.’ Unfortunately, their journey faced a setback when their premises fell victim to a ransacking.
11
Resilience and Encouragement: A Rebirth Despite the challenges, David and his partner persevered. Encouragement from influential figures like Lady Marion Hall Best and Tom Harding from Décor Associates fueled their determination. After months of hard work, they were ready to establish their presence in the market. 1976: The Era of Recognition By 1976, David K Miles had achieved remarkable success, garnering twenty-six design awards and gracing countless front covers of Australia’s interior design magazines. However, changes were on the horizon. 1976: The Transformation In 1976, James Hardie acquired Wilsons, the company that had supported David’s journey. The business was renamed ‘Signature Prints,’ prompting David to contemplate the future. Legacy and Beyond The David K Miles Handprinted Wallcoverings continued its creative journey until 1986 when the business changed hands, being sold to Baresque. Even after the transition, Baresque continued to produce the iconic designs created
by David K Miles until they eventually closed the screen printing side of the business in August 1991. We pay tribute to the creative genius and the enduring legacy of David K Miles in the world of wallpaper design, showcasing his innovative spirit, resilience, and lasting impact on the industry.
12 | 1970’s Textile Design
‘Paradise’ 1975 Designed by David K Miles Used for wallpaper (opposite)
‘Roundabout’ 1970 Designed by David K Miles Awarded Good Design Used for wallpaper
13
Preservation The fragile designs are meticulously scanned to preserve the beautiful flaws only achieved through hand drawing. The process of digitising the original hand drawn designs and matching up the layers takes several days per design. Many of the designs are so intricate, and without knowing what we are looking at, it takes time to match layers together till we are able to finally discover the end story. When an hand drawn design is scanned, we discover the mental engineering of the original design. Imagine knowing the end design will have four perfectly matched layers, and the ink is translucent so it gives the effect of 8 different colours. Simply genius.
14 | 1970’s Textile Design
15
Japanese Ladies Watermark (opposite) 1974 Designed by David K Miles Awarded Good Design Used for wallpaper and screens
Magnolia 1979 Designed by Noel Lyons Used for wallpaper & fabrics
16 | 1970’s Textile Design
Donald Bruce Clarke Artist & Designer Under the direction of founder Donald Clark (1928-2008) and his brother Robert Clark (b1924, retired 1987), Donald Clark Handcrafts (later Donald Clark Associates) expanded from 1954 through to the mid-1980s – continuing to operate when similar firms closed – Annan Fabrics in Sydney ceased production in 1954; Frances Burke in Melbourne ceased production in 1967. In the early years, people like David Lloyd Jones encouraged Clark to expand his product range beyond table mats into tea towels. Donald and Robert Clark’s wives Margaret and Isobel Clark were involved in the business in the early years. Margaret Clark, who had studied interior design at RMIT in Melbourne and worked for Stephenson & Turner architects, before helping with designs and colour at Donald Clark Associates. Margaret was also largely responsible for designing the ‘Marguerite’ fashion label. The most significant changes in Donald Clarks’ business took place in the mid-1960s when Donald Clark Associates extend its range into kitchen accessories. “This consisted of coordinated sets of oven gloves, pot holders, double oven mitts,
aprons, covers for kitchen appliances such as mixers, blenders, toasters, vertical grills, etc. These products immediately took off in the market …”. 1970 Purchase block of land in Hornsby Heights and begin building a factory. 1972 Modern three-storey Hornsby Heights factory opens Mid-late 1970s Changes in the Australian economy, saw competition from overseas and designs pirated and printed overseas (which were then sold in Australia for a cheaper price). Early 1980s Overseas manufacture and import at low cost trend continues. 1985 Sells business to Wilson Fabrics (then a division of James Hardie Industries). Donald Clark becomes part of Wilson’s ‘Signature Handprints’ * branch of the business – concerned with printing fabrics and wallpapers. Donald Clark and his staff moved across to work with staff from Wilson’s ‘Signature Handprints’ division.
17
18 | 1970’s Textile Design
Noel Lyons Artist & Designer Noel Lyons (1936-1995) was an Australian textile and wall coverings designer. Noel’s interest in the art world began with a trip to Canada in 1956. Upon his return he accepted a design / sales position with Bebarfields – at that time a strong retailer in furnishing and apparel. Moving next to a position with AE Hoad, Noel continually furthered his interests in design and began to lean toward designing for the furnishings market. Noel resided in London for 18 months – first accepting a position with designer John Siddeley and then on to Harrods. These experiences certainly increased his interest in the world of design, and he decided that his next move needed to be to design his own range of furnishing textiles. Upon returning to Australia in the late 60’s he immediately enrolled in a silk-screen printing course at East Sydney Tech. His desire to learn and perfect the art was such that he even set up a printing table in his home where he could further explore and experiment.
By 1970 he had joined the Society of Interior Designers of Australia and had set up his own print studio in an old dance hall in Ashfield. From here he produced pattern books of his hand screen-printed designs for both wallpapers and fabrics that were sent to interior designers and decorators across the country. Noel did not create a design studio and employ students and artists – he drew each and every design himself. Whilst he was involved in the whole process from design through to printing, his love and passion stayed very much in the creation of new designs. He produced patterns that he would want for himself – taking direct inspiration from the flora found in many Aussie backyards, including his own. One of his earliest designs, created c.1970, was the iconic Strelitzia – with its stylised yet instantly recognisable floral motifs and distinctive double both wallpapers and furnishing textiles.
19
Stralitzia Circa 1979 Designed by Noel Lyons Used for wallpaper & fabrics
20 | 1970’s Textile Design
Unseen for 50 years
21
Hand Drawn Original
Scanned & Digitised
22 | 1970’s Textile Design
23
Commissioned Artists & Designers During the 1960s, 1970s, and 1980s, textile design houses worked in collaboration with various artists and designers to create patterns for wallpapers and fabrics. This practice was widely accepted within the industry, and it marked an era of innovation and artistic exploration. In these decades, design houses recognised the value of diverse, eclectic, and sometimes unconventional artistic perspectives into their collections. To achieve this, they actively sought out talented individuals who could contribute unique patterns and designs. These artists and designers were often hired as freelancers or on a project basis. What distinguished this period was the prevailing norm that these collaborations didn’t necessarily involve crediting individual artists for their work. Instead, the resulting patterns and designs were considered the intellectual property of the design company itself. This practice allowed
the companies to maintain a cohesive brand identity while benefiting from a diverse range of creative influences. The anonymity of the artists behind these patterns was, in a way, a testament to the primacy of the design house. It underscored the idea that the company’s vision and brand took precedence over individual recognition. Artists and designers were willing participants in this arrangement, often motivated by the opportunity to see their work reach a wide audience through the production and distribution capabilities of these established design houses. As a result, the textile and wallpaper industry flourished with an array of captivating, diverse, and often groundbreaking designs during this period. The collaboration between design houses and the talented artists they employed, even if uncredited, played a vital role in shaping the aesthetic landscape of Australian design history and the world of interior design.
24 | 1970’s Textile Design
Signature Prints Wallpaper & Fabric Printers Using designs from the Florence Broadhurst collection, Signature Prints worked with Zimmermann to select designs for the launch of their first swim wear range in early 2000’s.
A total of 7 designs were selected and multiple colourways created for the printing of swim wear fabrics and other ready to wear garments.
25
CONTACT Margaux Everett Australian Museum of Design P: 0400 492 100 E: margaux@australianmuseumdesign.com.au W: australianmuseumdesign.com.au
28 | 1970’s Textile Design
‘Paradise’ 1975 Designed by David K Miles Used for wallpaper (opposite)
‘Roundabout’ 1970 Designed by David K Miles Awarded Good Design Used for wallpaper
29
Bespoke Printing You’re now on your way to having your very own unique, handcrafted wallpaper or fabric that will add a special touch to your interior design. Through our personalised service, we’ll bring your selected design to life in your preferred colours, giving you the opportunity to create a truly distinctive atmosphere in your living spaces. To get started, share with us the specifics of how you envision using the wallpaper, where it will be displayed, and whether you require assistance with installation. We take pride in using the finest quality inks and paper materials, and you can either choose a design from our collection or collaborate with us to create a completely new and inspiring design. Your creative vision will soon become a reality in your space. Feel free to reach out to us at: 02 9979 3100 to initiate a conversation about your custom wallpaper or fabric printing needs.