Q. TLT: Why were you interested in the fashion industry coming from a background as a painter and sculpture?
Q. TLT: What is the difference in your thought as describing yourself as an "artist" rather than a "fashion designer”?
Q. TLT: What is your muse for designing your current collection?
Q. TLT: Who gave you the opportunity to sell your goods in their store, how did that open the door for your brand?
Q. TLT: Why ties, scarves and pocket squares? Was it easier? Cheaper? Were you always interested in these types of accessories?
Q. TLT: Why the medium silk, wool, cotton, cashmere? What is it about these textiles that make you creative?
Q. TLT: What makes Rosemary Goodenough different then what else is out there?
Q. TLT: As I read your bio; you spoke on how it was difficult to create the particular tie and knot you wanted, why didn't you stop, what made you continue?
Q. TLT: Lastly, what does it mean to you to have a creative job and get paid for it? What does it mean to you to express yourself using the arts as a platform of expression?
"Artist, sculptor and fashion designer Rosemary Goodenough’s work is the
fruit of remarkable talent, dedication, a love of materials and an obsession with good order. Jonathan Arnold meets her at her (perfectly appointed) Norfolk home..."
Read the lovely Blog by Lupe and Oscar, such fun and this is one of sophisticated Oscar's supermodel woofer friends wearing a Silk Twill Wooferchief by Rosemary Goodenough.
Oli Worlds meets Rosemary Goodenough Man at London Collections: Men SS16
Rosemary Goodenough, fashion accessories designer and artist , shows us the most calming room in her Norfolk home- The Telegraph's Catalina Stogden talks with Rosemary Goodenough.
There is something incredibly calming about this room, a sense of solidity and time and place; it is my thinking space, somewhere I can leave work behind. I don’t answer the phone or have a television or computer in here. I can sit back and contemplate being a person, rather than a driven being, constantly on to the next thing.
I moved here four months ago with my husband. It is an odd place; we think it’s three houses which have been made into one. One is rather grand with a magnificent staircase with sea dragons carved into it, the rest decreasingly so. The oldest part of the building, an old Merchant’s House in Norfolk, dates back 500 years; the most recent to 1715.
There is a blocked-off doorway in this room, incredibly deep cornices and evidence of an old staircase. I thought there was damp behind the walls, but discovered panelling instead covered with wallpaper which, we have been advised, should be analysed by an expert from the Victoria & Albert museum. A far nicer thing to find than rot!
I never use brushes when I paint, only knives, rags or my hands. I like to feel materials, and you can’t get that with a brush. I once heard a fashion insider say about one of my works: “If this painting were a scarf, I would wear it.” And so it began. I now design fabrics based on my art
My mother gave this to me 30 years ago and it was covered in faded old chintz. I had it recovered in denim and she was absolutely furious – although she got used to it. I like to mix styles and periods up. The fan is an anniversary present from my husband – he gives me a different one every year
These were originally covered in woodchip. We took it off to find the most amazing, original wooden planks, which are 500 years old. They were covered in five layers of wallpaper, the most recent of which dates from the 1840s. To preserve it we had it waxed and it seems almost like Spanish leather. Other parts look Etruscan red and arsenic green in colour
I don’t like a neutral palette. These paintings are very subtle; I paired them against the bold background of the walls which is why they work. The watercolour (centre) is by Christine McArthur; the other by Alexander Goudie
You know when Paul Alger, Director of International Affairs at UK Fashion and Textiles, advises to you register your innovative design immediately, you're on to something good. Rosemary Goodenough caused a minor sensation at London Collections: Men with her ingenious woven tie-less ties, becoming the first person brave enough to reinvent the design in 150 years.
'ALONGSIDE THE TIES SITS A COLLECTION OF LUXURIOUS POCKET SQUARES AND SCARVES TO COMPLEMENT THE MOST BASIC OR OSTENTATIOUS ENSEMBLES'
Most people are familiar with her work as an artist, but her designs act merely as an extension of her paintings, reinterpreted through the medium of silk twill. We had the chance to sit down with Rosemary to discuss the origins of her business, her top styling tips and of course, those infamous ties.
Being such an established artist, how and when did the segue into Men's accessories occur?
“The whole process has been extraordinary really as at an exhibition of my Paintings and Sculptures in 2011, someone said "If that Painting was a Scarf I would wear it"! As an artist, I thought it would be fascinating to see my work on a different surface. Our research led us to the great Silk Printers at Lake Como and I was thrilled with the results.”
Can you talk me through the process of making scarves and pocket squares?
“I taught myself how to manipulate the colours in Photoshop, but always remained true to the composition of my own original oil paintings. Eventually I started using the same process with my other oil paintings and in two sizes: a classic 90cm square Scarf and a 45cm square Pocket Square. They were printed digitally as there are so many colours in each of the designs that silk screen would be impossible. The skill of the printers was incredible; it was very difficult to print digitally on silk twill which is why most digitally printed silks are made on satin. For me, it added a dimension of interest and luxury that I felt was lacking in satin. The process was also fairly lengthy as my husband, Michael Waller-Bridge photographed my painting, I made the digital colour changes and he sent the technical information to the printers. We then checked the strike-offs so I can ensure that the colours are exactly as I want them to be and of course the quality had to be perfect.”
In a previous interview, you mentioned that you like to maintain the relationship between yourself and the medium. How did you ensure that a product made in Italy still carries your signature input?
“I suppose it was really through [an] obsessive attention to detail. For example all the hems were properly hand-rolled and are black to denote the frame of a painting. Instead of a label describing the care and content, the name of my original oil painting, the colour variation number and care information [were] printed directly onto the silk and each one carried my signature logo. In the end, it was all about immaculate quality and of course I also designed my logo and the boxes so they are presented beautifully.”
Can you give any advice to the man who wants to try a scarf?
“It's a great way to differentiate from other people and it can [either] be done with a scarf that is very close in colour to their suit or a wild contrast if they are feeling flamboyant. I think for the first time wearer to feel relaxed about it, the simplest thing is to fold 2 corners together then keep folding the scarf towards the middle so it is long and quite narrow. Then, tuck it neatly under the collar and lapels with as much or as little showing as they would like. It's great as it can be either a very smart look or extremely relaxed depending upon the styling of the suit or jacket.”
The 'tie-less ties' were such a hit at LC:M. How did you come up with that idea?
“We were at a dinner party and our host asked if I would design a Tie, [but] he wanted something different. I wondered whether it was possible to design a Tie which, when tied, had a knot of contrasting colour to the blades of the tie. That couldn't be done as it is too difficult with neck sizes etc. but I started to get excited when it occurred to me that the 'knot' didn't have to actually be part of the Tie but could be an accessory for a Tie!”
What's next for Rosemary Goodenough?
“I have just completed my new designs for two long scarves in different widths and different weights. Each design will come in 6 colourways and use my original oil paintings. These two new scarf designs are a new adventure for 'Rosemary Goodenough Man' as I am having them woven in England by the weavers who weave the fabric for my Ties. I am very keen to produce as much as I possibly can in Britain. For the future I would like to consider designing bags and would also love to design Shirts, as I have some very particular thoughts about collars and cuffs; then of course there is knitwear to think about: the possibilities are endless!”
Read the whole article at;
First and foremost, Rosemary Goodenough is a talented artist, using charcoals and oils to produce intensely fluid works exploring passion and form. She's also an incredibly talented sculptor, delicately building up her works with clay before having it cast rather than working with more solid form. But when a patron once remarked they would wear one of her oil paintings if it was a scarf, an idea was born, and Rosemary's venture into fashion design began....
Sometime last year Rosemary Goodenough’s brother was dining out in London. As is appropriate at The Ivy, he was dressed formally in a suit, but before leaving his house he had thrown a silk scarf of Rosemary’s design around his neck and tucked it under the lapels. His guest, a previous British Fashion Awards Designer of the Year who now ran his own eponymous line, noticed the scarf.
"The velvet and silk twill scarves of Rosemary Goodenough are printed with her paintings. She advises students to be persistent and believe in themselves: “You need to ask the right people for advice and take their words on board”.