The Route I Took

Someone asked me a question this week which I couldn’t answer. Well, I could but it would have taken too long. It was a good question and the answer might be useful to some.

So I was telling her about a travel grant I was awarded last month by Cultural Enterprise Office  (CEO) to visit three Paris Trade Shows. It was a modest grant, just enough for a budget air fair, metro ticket and the entry cost for the shows. The question she asked was, ‘how did you get this grant?’

img_2507

Premiere Classe and Who’s Next Trade Shows

img_2508

Tranoi Trade Show, Paris.

Warning…it’s a long answer… it’s taken 51 years i.e my lifetime (!) My career has grown organically because I’ve squished it, dropped it and reformed it to wrap around my own circumstances. So this post outlines my long way round route to the grant. I hope it doesn’t read like a cv, that’s not the intention, but it may be helpful to see the steps I took as I know a lot of people are either having or wanting to have a refreshing late career.

I’ve always been (and have written previous posts about this) of the belief that the very early years are extremely influential in later life. I think the toys we constantly handled as toddlers, the prints our parents wore, the textures of wall coverings, blankets and textiles that surrounded us all seep into our souls. I’m also certain the obsession British childrens TV had in the late ’60’s early ’70’s on visiting the insides of factories (remember the milk bottling one….) laid the foundations of my utter fascination with manufacturing…and to my absolute joy took me to a paint factory, Tikkurila in Helsinki with my job decades later.

1960s

Mum in a bold print and our house mid 1960’s

Mum had been working in The Denmark Room, a place in central Edinburgh which served smørrebrøds, Carlsberg and sold Danish homewares while Dad although a genetic scientist, enjoyed making things and the copper light (top right) is something I still love decades later. Their friends mainly consisted of Edinburgh College of Art graduates so the house always had pictures hanging. Looking at the photos now I can say firstly that Mum still has, and uses virtually everything in them and secondly, I know the things so intimately I could describe them in great detail with my eyes shut. I would like to say my current designs have been influenced by this environment and believe that is Part One of the long journey towards the travel grant.

Part Two, fast track to university. I studied geography. Whats that got to do with design you may ask? Quite a lot in an odd way. Geography is observation, people, process and  pattern and that’s exactly what I’m doing now, making patterns from observations.

Part Three – jobs. For many years I worked for Inhouse, a company with inspiring showrooms in Edinburgh and Glasgow displaying contemporary furniture, lighting and accessories – this was the 1980’s before modern design became mainstream and I was trained under the watchful eye of the late architect Bill Potter and his wife Sylvia. They taught me everything I know about contemporary designers and it’s where my obsession with Italian designer Achille Castiglioni’s started (and continues). I was also working for The Open Eye Gallery, which specialises in contemporary Scottish art so I was absorbing design and colour every day at work. Fast track several more years and I was working for a paint company designing colour palettes for their interior range…by this time, colour was the ‘thing’ that motivated me.

Part Four, I set up on my own. At this point, my story may become useful to you as its tells you who helped me on my way. However, I have written about this part in previous posts so I will be very brief.

In 2015, I launched my first mens ties after being encouraged to print textiles by Solii Brodie of BeFab Be Creative. Gordon Miller of Scot Street Style was very supportive and took the collection over to New York to officially launch in Brooklyn during Tartan Week – he did this for no financial gain to himself, he just believed in the product and was proud to show America contemporary Scottish design.

Then I was introduced to Creative Edinburgh ,‘a network of creatives in Edinburgh, committed to advancing the value and impact of creativity, both locally and internationally’. They helped me connect to others working in similar fields. They encouraged me to take part in The Fruitmarket Gallery Design Market which helped me reach out to a very receptive local audience and is also where I met  an executive from Scottish Enterprise who gave me lots of useful links. After that Craft Scotland invited me to take part in their 2016 Edinburgh Festival Summer Show, again, widening my reach. Scotland Re:Designed then invited me to design a new print celebrating the iconic Paisley Pattern and exhibit at their Paisley Make event. At Paisley Make I was told about Cultural Enterprise Office and I enrolled to receive free mentoring. They strongly suggested I improve my social media (arg, still working on that), build a better website – I’ve done that, it’s now branded Niki Fulton rather than my company name ‘unifiedspace’ and to prepare my range for export – which finally gets me to the point…this is why they gave me the travel grant. The reasoning is that if my brand does well, I shall eventually employ people and if I start to export, well that’s obviously good too. When they awarded the grant, they knew I had been invited by Charlotte Abrahams to exhibit in the Spotted area of Top Drawer, a London Trade Show in January 2017 (something Craft Scotland had encouraged me to do). So what I’m keen to explain is that in this time of austerity, it may seem a little feckless to be sent over to Paris on a grant. But, the award is very carefully thought through and CEO have calculated that it might be worthwhile not just for me but for others too if I can get the brand to take off.

I did warn you it’s a long answer, you may have even forgotten the question by now, (how did I qualify for a CEO grant)  but I felt it was maybe useful for others to see the huge list of people and organisations that have really helped me get to this point. As I said it has been a slow organic build and the more conventional way would be by doing a related degree, textiles for instance, and building your business up much quicker. However my design knowledge has been the 10,000 hour route rather than the Art College route so it has taken a lot longer. I hope I can prove CEO right and do well abroad, I will certain try my hardest. And on that positive note, there is an exciting project opening tomorrow, more on that next time and thank you, if you have, for reaching the end of this post!

 

Thank you, Huldufólk

Finding the right hole for your peg may take a while. Kids are asked to make ‘career choices’ when selecting their subjects at school. Do they really know what they want to be at that age? Great if they do but I think it’s important for people to know that it’s alright to make career changes throughout life.

Letterpress Christmas Cards

Letterpress Christmas Cards

Perhaps I’m just trying to justify my own wandering career path but I bet I’m not the only one who has discovered what they want to be later in life. I think every job you have is important whether you like it or not because you always learn something – it’s like walking through life wearing a sticky cape – some experiences stick  and others just tumble off until finally the cape feels complete and you feel ready and informed to make the right decisions.

I’ve always worked for small family organisations because I like seeing processes from the start to the finish and enjoy floating from menial tasks to important pitches and although my jobs have all been quite varied, one fact remains absolutely constant – there are always visible people in an organisation and a whole team of ‘hidden people’ supporting them. They often go unnoticed to the end user but they are an integral part of every company.

I work for myself now and that constant layer of hidden people are more important than ever. You may look at my products all finished and ready to buy but other people have helped me reach that finishing line. I always create all of the design work and decide what I want to make but there is of course a process. Take the mugs for instance. I don’t have a kiln to fire the design onto the china, or the skills to do so. That is done by a skilled craftsman, Graham, in the very heart of Britain’s potteries, Stoke- on -Trent. My textile designs are printed here in Edinburgh by the immensely helpful sisters Solii and Zöe from the print bureau BeFabBeCreative. I have had a beautiful tailored blouse made from my ‘Fennel Tangle’ print by seamstress and poet, Claire from Make Me a Frock and no, I don’t have the skills to make bespoke ties – I can design fabric that I want to see as a tie but without Nina and Adam from Kalopsia Collective who constantly encourage and mentor me as well as sew my ties beautifully, I would not have ties in the shops. And in case you wondered, no, I don’t have a Letterpress machine in my studio, but Euginia a superbly helpful and talented Siberian living in Edinburgh does and she presses my cards for me. I’ve talked about Hosanna Yau before, my friend from Hong Kong who is most certainly the best logo designer I have ever come across and she gifted me the ‘niki’ logo. Her mantra is ‘using the least to represent the most’ – perfect.

Linen ties, Made in Edinburgh.

Linen ties, Made in Edinburgh.

 

Letterpress Card Made in Edinburgh.

Letterpress Card Made in Edinburgh.

 

'Tjornin' Mug named after the lake in Reykjavik.

‘Tjornin’ Mug named after the lake in Reykjavik.

 

 

 

Twigs Linen Union Tea towel - fresh new shoots

Twigs Linen Union Tea towel – fresh new shoots

'Toffee Apples' ' printed onto Fife Linen in Edinburgh

‘Toffee Apples’ printed onto Fife Linen in Edinburgh

So, I now have a range of products that are stocked by very supportive independent shops, The Turpentine in London, Persora in Worcester, Concrete Wardrobe and Red Door Gallery in Edinburgh, Kerachers in St.Andrews, Wooly Blue in Newcastle and Teasel and Tweed in Aberdeen and several more which I will tell you about early in 2015.

But back to my title and the Huldufólk. I find my home country of Scotland massively inspiring from the busy colourful urban ports to the utter wilderness of the Western Isles but I have to mention the huge influence Iceland has had on me over the years. I have been several times at varying times of the year and the land, its people and its culture touches me every time and so I hope a little part of Iceland somehow appears in my designs. As this post is about all the people who help me and allow me to work in an area that I very definitely want to stay in, (Surface Design), I think I can borrow the word ‘huldufólk’ from Icelandic folklore – the word for the elves that stay hidden but have such enormous powers and should always be respected.

Thank you Huldufólk, you know who you are.

Happy Christmas everyone.

Thank you!