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01 Dec

It's all in the making . . . of an ottoman

Posted by Matt Sftd

You might have noticed pictures elsewhere on this website of the fabulous ottomans created by the Ministry of Handmade for their recently launched Art Series Ottoman Collection.

They feature two fabric designs which are now available exclusively through our partnership with Materialised and Julie and Maurice at MOH have done a fabulous job of recreating some retro magic with the addition of iconic black hairpin legs.

You might be wondering how to get your hands on one of these uber groovy ottomans. Well, with MOH you have a choice . . . you can buy direct or build your own in one of their amazingly satisfying workshops. So get in contact with Ministry of Handmade asap to add some vintage luxe to your decor!

27 Jun

Lynne Tanner gets Materialised!

Posted by Matt Sftd

Selected Lynne Tanner designs are now available exclusively through industry leading contract textile suppliers, Materialised.

Materialised have been the dependable power behind the designer since 2013; providing the high quality, reliable and vibrant digital printing that has made Lynne and Social Fabric such a respected force in Australian textile design.

As part of the Materialised Premium range, three of Lynne's brightest, boldest designs are now available only through Materialised where they are destined to make their mark on commercial fitouts nationwide.

These influential designs are available on a wide variety of base fabrics, including velvets and sheers. Colourways, of course, can be varied according to client requirements.

Check out Materialised's Lynne Tanner Print Collection

or contact Materialised directly for more information on these beautiful fabrics.

31 Aug

A chat with Lynne Tanner

Posted by Matt Sftd

Lynne is the creative inspiration behind the Social Fabric brand.
To find out what makes her tick we posed a few questions . . . . .


Hi Lynne, what is the driving philosophy behind your designs?

Pattern and shape, they are all around us. I see pattern in almost everything, whether a brick wall, an office building or even a leaf. There is always, in some way patterns in our field of view. In grids, textures and colours. Our world is full of pattern and it's the containment and reproduction of these shapes that interests me.


Do you have a favourite trend or colourway currently?

I don't enjoy trends because, like fads, they come and go. Colour for me is anytime, anywhere. If you enjoy it and it makes you feel good, then use it despite the current trend. Be confident!


Who has been your biggest influence?

For me, the biggest influence during my journey as a textile designer in the early 90s was Tricia Guild. Her lack of fear in using colour in an era of brown and beige was inspirational. She brought together oranges, pinks, aquas - even gold - and showed me how harmony in colour and design was key.


Is there a particular genre that has influenced you?

Growing up I was surrounded by patterned laminex, bubbly, flecked vinyl, “asterisk starburst” patterned upholstery, textured wallpaper and wavy hourglass patterned curtains. Kidney shaped coffee tables with iron V-shaped legs, brightly coloured plastic radios in the shape of bloated rectangles, TV chairs with parabolic arch shaped legs - all of this had an effect on my young, creative mind. To a greater or lesser extent its influence tends to run through all my designs.


How would you describe your design aesthetic?

I am drawn to drama and impact in design. My work often takes small details and reinvents them as large pattern. So large, that sometimes on upholstered pieces the pattern is indiscernible and devolves into abstract shapes, which I find really exciting.


Do you have a design tip you can share?

In general I start with 3 colours. The middle colour links with the other two and forms a “bridge”. When I use just 2 colours they are almost always visually dramatic or contrasting.


How do you feel about mixing designs and patterns and do you have any tips?

I love mixing patterns and colours in interiors. The only way it works is if there is a dominant theme running throughout. It might be a particular colour, shape or texture, but without a unifying factor a mixed scheme quickly becomes cluttered.


What has been your biggest breakthrough?

My biggest breakthrough came when I realised I could use my graphic design training to design patterns and print fabric. I felt I had come home and was free at last to do what I knew I wanted to do from the very beginning.


Do you have a favourite colour combination that works in all seasons?

Olive, or lime, and black work with most colours. I usually include them somewhere in my designs. Olive works well with browns and warm, autumn colours. Lime harmonises well with light, summery colours and black works with everything.


You say you like to contribute to happy homes—what makes a home happy?

A happy home is when you have surrounded yourself with the things you are passionate about or just simply love and everything is in harmony.


Do you have any rules when designing?

Not really. Rules are for breaking. My designs are usually derived from colours and shapes I love and have had some influence in my life. My Contempo range is influenced by the visual stimuli I was surrounded by in the 50s.


What inspires you today?

My surrounds. It depends on where I am living - city, country or overseas - my perception, attention to details and inquiring eye give me inspiration everyday.


How did you figure out that you wanted to do textile design? What determined your passion for design? Tell us about the moment when you decided this was the way to go.

I trained and practised as a graphic designer in advertising and publishing. When I left art college, my first job was designing decals for glasses and ovenware for Crown Corning. (Your Mum probably has some somewhere in her kitchen.)


One of Lynne's Crown Corning glasses


It was my first acquaintance with pattern and surface printing and I liked the fact that I was helping to create a utilitarian product that would be used in homes. I suppose my desire to enhance domestic décor was first ignited by that first job. I have gone down other career paths over the years and they have all added to my knowledge of colour and design in surprisingly different, yet useful ways. One day a friend showed me how to hand print fabric and I was hooked. Fabric is a beautiful medium to work in because it has texture and it takes on the 3D characteristics of whatever it covers - your design just springs to life. Like I said, I was hooked.


The early days. Lynne handprinting fabric.


These days modernist design is in vogue. Clean lines, large spaces with minimalist objects and furniture… it’s a challenge to make it feel cosy. What do you think about this trend?

I get very frustrated with the trend towards minimalist décor. I feel it doesn't show the character or personality of the inhabitants. A home's décor can also influence our emotions and behaviour and I feel a bit bleak and unhappy in such environments. It's like having a conversation with someone who isn't listening.


How would you define your own personal interiors style?

Eclectic. I love pattern, of course, and I'm not afraid to mix patterns together or place antique beside modern or to contrast different colourways. I find the challenge invigorating and rewarding. I like well-considered design and I dislike clutter, so balance is everything to me.


Thanks, Lynne, for sharing with us.


You're welcome. It's always a pleasure to talk about design.




13 Dec

Notes on the durability of our fabric and printing method

Posted by Matt Sftd

At Social Fabric we are proud of the comfort and durability of our fabrics. When considering durability you might have seen that the abrasion rating of our products is quoted in Wyzenbeek double rubs.


What does this mean?


The Wyzenbeek and Martindale rub tests are the two standard methods commonly used to predict the durability of a fabric. Wyzenbeek can be seen as the US standard and Martindale the European one. In Australia we tend to quote one or the other. Although these two tests are conducted quite differently, they both give an indication of the actual performance of a fabric as it is affected by many factors such as fibre content, weaves, finishes, furniture design, maintenance, cleaning, and usage.


double rubs


Light use 6,000 – 9,000 9,000 – 12,000
Medium use 9,000 – 15,000 12,000 – 20,000
Heavy use 15,000 – 30,000 20,000 – 40,000
Extra Heavy use 30,000 + 40,000 +


Light or Medium use means general domestic use, but we would always recommend a minimum of medium use for domestic upholstery.


Heavy use scenarios might include hotel rooms/suites, single shift corporate offices, conference rooms and dining areas.


Extra Heavy use means situations such as 24 hour transport facilities, theatres, restaurants and 24 hour call centres and multi shift corporate offices.


As you can see from the above, you will have no problem using Social Fabric products in many situations as most of our fabrics currently have a 70,000 Wyzenbeek rating (which is roughly equivalent to 90,000 Martindale).


To add to the inherent durability of the polyester base cloth, we use dye sublimation printing (where the pigments are deposited INTO the fibres of the fabric) rather than surface printing (where the ink is usually deposited ONTO the fabric). This means the longevity of the print is also maximised with the addition that it is colourfast and it does not affect the “hand” of the fabric.


All in all, as close as we can get to bullet proof!