The Merchandiser from Mulberry

Laura Heritage, Creative Visual Merchandiser for Mulberry for the last 3.3 years divulges us with her steady journey through fashion and why to persue those 'accidental' opportunities.

" I love developing window ideas, visiting factories, travelling to showrooms and walking around new places with my eyes open in the name of work. I also really like all the Frame Publishers magazines, swimming in the open air and good fresh coffee."


FD: What did you study at University/where? and how has your studies aided you in terms of your career?
LH: Fine Art, at Nottingham Trent Uni. I don’t think the course had a direct impact on my job, but then I always knew that my degree choice wasn’t a vocational one. Instead I opted for doing something I would really enjoy for 3 years, leaving the career decisions to a time when I could slowly work out what I wanted to get into from the safety of my parent’s house.

FD: How did you find yourself working for Mulberry?
LH: By total accident – I managed to get my foot in the fashion door through a tip off from my Petersham Nurseries manager. Stella McCartney had previously launched her care range there, so I used their Press Director contact to worm my way into an internship in the Press department. After a few months of non-stop send-outs to magazines and celebrities I started to feel creatively stifled and pushed for a stint in the more creative Golborne Road office, where I fell into the VM team. When I heard, through a headhunter, about a vacancy at Mulberry I jumped ship and have been here ever since.

FD: Have you always been aware of Visual Merchandising and what it entails?
LH: Not at all – in fact I think it’s something that most of us in VM learn on the job.

FD: Do you look at other brands for inspiration/as competition?
LH: Of course, you’d be naïve not to. I try to take half days here and there to do comp shopping in London, and make a point of wandering the streets of Paris/Milan/NY with my camera when I’m out with work. Super multibrand stores like Barneys, Bergdorf Goodman, Liberty and Selfridges, as well as Super luxe brands like Louis Vuitton, Prada, Stella and Lanvin are usually on my hit list.

FD: What is your favourite season / event to plan/design for?
LH: Autumn Winter is my favourite season to design for – Mulberry always pull out the deepest, autumnal colour palettes and thickest printed knits which I find are the best inspirations for window schemes and fashion shows.

FD: What would be your dream idea? (any location/ unlimited budget / resources...)
LH: This is the hugest question! As I’m always restricted by store window dimensions I’d love to design something for an outside space. I’m massively into craft so there would have to be elements of knitting, paper or ceramics. Although I have developed a keen eye for luxury finishes, I’m a big fan of chipboard and cork…and not adverse to a bit of chickenwire or cardboard either. Anything can look good when used en masse, especially if juxtaposed with something classy to give it an element of style. At the Milan Furniture Fair this year there was a lot of marble and mirror on show which could be fun to throw into the mix! A bit mental but definitely full of impact.■

Images supplied by Laura Heritage; Bond Street Halloween A/W11 Window, Bond Street Halloween Visual, Bond Street 40 days of Christmas A/W11 Window, Christmas Trunk Visual

Contact
A: Mulberry, 30 Kensington Church Street, London W8 4HA

Detailed Designer

Originally from the North East of England, however currently residing in Leeds while she completes her final year studying Visual Communication at Leeds College of Art, Printed Textile Designer and Print Maker, Sarah Renwick of sarahrenwick.co.uk & misc.fox (check it out for previews of her designs and inspirations) shares some of her aspirations, possible future ventures and her love for Eastern art.

"Sarah Renwick is a printed textile designer, particularly inspired by geometric shapes and interested in traditional theories regarding tessellation and repetition.

She uses traditional printmaking methods such a silk screen, mono, block and lino to add texture and depth to her designs."

FD: Your designs have come far, what has been your main influence for your different designs?
SR:I mainly take inspiration from geometric shapes and colours used in Eastern art. As a western designer, I enjoy seeking inspiration from different cultures and allowing this to form an underlying visual language to my work. My most recent collection is a contemporary response to traditional Islamic tapestries and quilts.

FD: What different mediums do you use? / What is your preferred medium?
SR:During my time at Leeds College of Art, I have become aware of the fact that there has been a revival in the use of traditional printmaking techniques. By reconnecting with these craft based skills, such as silkscreen printing and monoprinting, I have discovered a way of creating contemporary prints, which are complemented by the use of traditional printing processes. I have coupled this passion for printmaking with my interest in geometric shapes, natural forms and theories regarding tessellation and repetition, resulting in an exciting and unique approach to image making.

FD: What are your future aspirations?
SR:I hope to work within an environment that promotes and supports traditional printing methods, in an attempt to prolong the existence of craft based skills. I also plan to continue designing and making printed textile homeware products to be sold online and hopefully to be stocked in stores nationwide (a girl can dream, right?). I'm also currently in discussion with a company who are interested in selling my designs as wallpaper which is really exciting for me.

FD: Who's work inspires you? / Who do you look to for inspiration?
SR: This is a tough one, I find inspiration anywhere and everywhere! As I mentioned earlier, I am mainly inspired by traditional Eastern works of art, however, there are a few contemporary designers whose work I particularly admire. I find the simplicity and subtlety of Scandinavian inspiring and I'm often referring to Lotta Jansdotter's Print and Pattern book for ideas and inspiration. I also look to John Robshaw, who like myself, references the East and his cultural experiences in his designs. His eye for colour and use of simple geometric shapes is particularly inspiring.

FD: Where would you see your designs in the future?
SR: I mainly see my designs in interior settings, whether it be in homes, cafes or hotels. I think the main selling point of my work is it's versatility. The colours and shapes that I use in my designs are bold, but they look at home in any environment.

FD:Would you consider moving into a different industry i.e clothing?
SR: Never say never! Interiors is my focus at the minute, I have made t-shirts and bags with my designs in the past, however, I feel that because my patterns are often quite bold and colourful, I think they are better suited to homeware and are more versatile in that environment.■

Images 'sarahrenwick.co.uk'; Hand printed 'hungarian cross' tea towels, Leeds Gallery Pop Up Shop, Cushions

Contact
E: sarahrenwick@hotmail.co.uk
T: +44 (0) 7792018475