Ever wondered why pattern has such an uplifting effect? Take the work of textile designer Sarah Campbell for example. The striking brushstrokes and abstract techniques she so brilliantly applies to scarves, cushions and other everyday canvases is something we’ll never tire of.
If this is your first time meeting Sarah (who's just launched the exhibition 'Painted Treasures' at Anthropologie King's Road), let us introduce you: She formed one half of the eponymous design duo Collier Campbell, which she helmed with her sister Susan for over fifty years. Together they designed prints for Liberty of London, Robert Allan Scarves and other notable names, leaving behind a vibrant (and rather envious) body of work.
Meet the Community:
Sarah Campbell
Founder, Sarah Campbell Designs
“Susan was eight years older than me and had started her career as a textile designer,” she explains of Collier Campbell’s genesis. A burgeoning list of commissions and two young children meant that Sarah’s drawing skills were soon enlisted. “I was still a schoolgirl -- She rang me up and said ‘you can draw, please come and help.' So, I did.”
The two shared a love for colour and shape, something that guided every piece. As different as they were, they had a particular working language, a dedication to design and to each other. In the sixties and seventies, they created the three iconic liberty prints, ‘Bauhaus’, ‘Cottage Garden’ and ‘Kazak’ – proving to their peers just how formidable and season-spanning their style could be.
The two shared a love for colour and shape, something that guided every piece. As different as they were, they had a particular working language, a dedication to design and to each other. In the sixties and seventies, they created the three iconic liberty prints, ‘Bauhaus’, ‘Cottage Garden’ and ‘Kazak’ – proving to their peers just how formidable and season-spanning their style could be.
“Susan lived in Balham, South London – not a very glamorous address back then, but it had the advantage of being near Merton Abbey”, she says. “At the time Liberty had their printworks and archive nearby next to the River Wandle, so she went to meet the fabric manager. He brought six of her paintings that day.”
Since Susan’s death in 2011, Sarah has worked solo, successfully establishing a new chapter in her creative story, whilst keeping her sister’s legacy burning bright.
“I love the physicality of painting, especially gouache”, she explains. “But I enjoy other techniques too such as potato printing, lino cuts, paper-cutting – you name it, I'm always experimenting. I’m Intrigued by the nature of repeat, the comforting reassurance it brings, the cleverness of it.”
Finding pleasure in the view from her windowsill, a book or simply something in the corner of her eye is important soul food for someone who never stops experimenting. As she puts it “all is nourishment for her work.” Perhaps an indicator of why she’s gone on to do so much.
Since Susan’s death in 2011, Sarah has worked solo, successfully establishing a new chapter in her creative story, whilst keeping her sister’s legacy burning bright.
“I love the physicality of painting, especially gouache”, she explains. “But I enjoy other techniques too such as potato printing, lino cuts, paper-cutting – you name it, I'm always experimenting. I’m Intrigued by the nature of repeat, the comforting reassurance it brings, the cleverness of it.”
Finding pleasure in the view from her windowsill, a book or simply something in the corner of her eye is important soul food for someone who never stops experimenting. As she puts it “all is nourishment for her work.” Perhaps an indicator of why she’s gone on to do so much.
In the small spaces between her passion for art, she’s sharing her enviable skillset as a university lecturer – something she takes immense pride in. In 2016, she even published a book ‘The Art of Pattern’, detailing every print, swatch and sketch the duo created for Liberty during their heyday.
“I very much miss her and particularly the intimacies of our shared language of colour and pattern. Luckily our conversations and jokes continue through the ether, and I often hear her stamping about when I know she's getting annoyed with me. I’ve learnt to value mistakes along with failures and that acquiring skill takes time.”
Most recently and in honour of London Craft Week, ‘Painted Treasures’ has opened its doors – a vibrant exhibition here at Anthropologie’s King’s Road. As the name suggests, it’s filled to the brim with decorative paintings and celebrations of by-hand techniques, worked onto everything from calico, linen, hemp, silk and chiffon.
“I very much miss her and particularly the intimacies of our shared language of colour and pattern. Luckily our conversations and jokes continue through the ether, and I often hear her stamping about when I know she's getting annoyed with me. I’ve learnt to value mistakes along with failures and that acquiring skill takes time.”
Most recently and in honour of London Craft Week, ‘Painted Treasures’ has opened its doors – a vibrant exhibition here at Anthropologie’s King’s Road. As the name suggests, it’s filled to the brim with decorative paintings and celebrations of by-hand techniques, worked onto everything from calico, linen, hemp, silk and chiffon.
“I think the skilled work of the hand is to be valued,” she says. “As part of the exhibition, I have initiated some collaborations with craftspeople – Starsmead Books for journals and sketchbooks covered with my hand-painted and printed patterns, and Modflowers for some wonderful handmade dolls, again in both printed and hand-painted outfits – and several expert stitchers have worked on the garments, the cushions and the fabric panels.”
In other words, Sarah isn’t stopping anytime soon. And her hopes for the future of design? “That it continues to be valued. From paperclips to pandemics: good design makes a difference – it needs thought and investment.”
In other words, Sarah isn’t stopping anytime soon. And her hopes for the future of design? “That it continues to be valued. From paperclips to pandemics: good design makes a difference – it needs thought and investment.”