Tracing back to trace forwards: What does it mean/take to be a Black textile designer

This chapter discusses the invisibility of the identity of the author as a Black British woman and the politics of craft. The works navigates in discourse between the intersectional spaces of the amateur and profession textiles spaces using a 'Black autoethnographic method. Tracing roots and routes through textiles making and craft spaces

‘Black because it has power in it …’ The Textile Designs of Althea McNish

Althea McNish (1924–2020) is regarded as the first black designer of Caribbean heritage to gain international recognition for her textile designs. Her work in the field of textiles and interior design is remarkable, both for its artistic achievement and its social and cultural significance for British post-war design. Although McNish would go on to have a career spanning nearly 60 years as a designer, there is very little written about her approach to practice and process and use of colour. This article will discuss and highlight McNish’s impact, influence and role in the development of the use of colour in mid twentieth-century textile design, through unpublished archival research and reflections on the recent exhibition of her work. McNish’s work is informed by her dynamic palette and her vibrant use of colour, for which she would become renowned, indeed McNish herself stated, ‘I was born seeing colour from the day of my birth.’

Tracing Back to Trace Forwards: What does it mean/take to be a Black textile designer

Chapter describing the context of the marginalisation of Black women in the design space, in terms of textiles in the 21st century and what it takes to develop as Black Textile Designer

Windrush Arrivals and Settlement Exhibition : Caribbean Front Room, Broadway Theatre

An exhibition reimagining and recreating Windrush passenger landing cards and exploring the textiles of the Caribbean Front Room Across Black History Month 2020, the windows of Catford’s iconic Broadway Theatre will be transformed into an exhibition space telling the compelling story of the passengers who arrived on the MV Empire Windrush and of post-war Caribbean settlement in the UKThe Caribbean front room has become a mythical space; a space remembered for its ornamentation, colour-clash and kitsch. Based on research by Goldsmiths designer, Rose Sinclair, the Caribbean Front Room installation recreates a mid-century Caribbean living room, with a special emphasis on textiles and craft. The exhibition comprised of the window display of the 'Caribbean Front room', with two corresponding interactive digital spaces . In addition online textile based workshops also took place where participants were invited to engage in crafts in their own front room spaces and share their stories of craft called 'Weaving Windrush'. Rose was also invited to share the importance of Black history month in an online presentation in October 2020 with Lewisham Council members and highlight the display

Mapping Textiles: Dorcas Stories and Narratives in the Front Room

Rose Sinclair discusses hidden histories of Dorcas Societies in London and around Haringay, the contribution of Caribbean women and their textiles in the 1950's and 1960's. This is composed of presentation talk and installatio

Black because it has power in it...

Black because it has power in it ......’ “Black because it has power in it” words Althea McNish used in an interview to describe the different colours she applied to her designs and why, red was her favourite, and grey was a ‘none’ colour. The first retrospective of the work of iconic designer Althea McNish, described as the first designer of Caribbean heritage to achieve international recognition, opened to critical acclaim at the William Morris Gallery in April 2022, nearly two years after her passing. Althea from the outset at her arrival at the Central School of Printing in 1951, set out to prove that she could know everything there was to know about ‘serigraphy’ ( silk screen- printing) and therefore use the technical acuity she acquired to push forward with the creative freedom she knew she wanted to apply to her textiles designs. Thus creating a range of textiles, mural and wallpapers and much more that challenged design parameters and would have contemporaries following her approach to colour. Forty years ago Althea presented her work at the NSEAD national conference and it was described as a highlight - 40 years on, I want to re-present her work in a retrospective and reflective space, revisiting her quote ... “Black because it has power in it”

MBE for Services to the Arts

Roselind Sinclair, Lecturer in Design Education , awarded an MBE for Services to the Arts in the Kings 2024, New Years Honours List. Roselind was presented with her award at Windsor Castle by Anne, The Princess Royal on Wednesday March 6th , 202

Althea McNish: Colour is Mine (The Whitworth)

Althea McNish: Colour is Mine is presented at The Whitworth in Manchester and is a major retrospective of Althea McNish (1924 – 2020) on tour from William Morris Gallery, Walthamstow, London, UK. McNish was the first Caribbean designer to achieve international recognition and one of the most influential and innovative textile designers in the UK. Drawing on extensive and continuing research, as part of a three year research project, funded by the Society of Antiquaries this exhibition continues to explore McNish’s extraordinary career and her transformative impact on mid-century design, along with her enduring influence today. The exhibition in Manchester is an opportunity to reveal the Whitworth’s unparalleled collection of fabrics and wallpapers McNish designed and display these together for the first time as well as a number of unseen works from the McNish Trust Family Archive. This show also features a number of works by McNish’s friends and contemporaries including: fellow member of Trinidad Art Society Sybil Atteck, tutors Edward Bawden and Eduardo Paolozzi alongside contemporary designers Shirley Craven, fellow members of the Caribbean Artist Movement Ronald Moody and Winston Branch, Paul Dash, Errol Lloyd, and renowned photographer Vanley Burke, alongside work from and protégé Leslee Wills, creating a display of the very best of post-war British design. Thus extending the work and research already done during the first tour of this major restrospective at The William Morris Gallery ( 2nd April 2022 to 11th Sept 2022

Althea McNish: Colour is Mine: Gallery Guide

The Gallery Guide to accompany the first major retrospective of the Althea McNish, the first Caribbean designer to gain international recognition for her textile design. The gallery guide accompanies the exhibition that was held at the William Morris Gallery from 2nd April -11th Sept 2022. Althea McNish: Colour is Mine is the first retrospective to celebrate and showcase the extraordinary career of the pioneering Trinidadian designer Althea McNish (1924–2020). Her work in the field of textiles and interior design is remarkable, both for its artistic intention as well as being both socially and culturally significant for British post-war design

Dorcas Stories from the Front Room: Caribbean textile narratives then and now

Dorcas Stories from the Front Room celebrates 75 years of Windrush, tracing its history and future legacy through stories of textile crafts and fashion, Dorcas Clubs and the symbolic ‘Caribbean front room’. For many of the Windrush generation their crafting stories decorate the front room but are also made in the front room. This is especially seen through textile networks such as the Dorcas Clubs, which operated in the Black-led churches, many of which have roots in Birmingham. The exhibition was co-curated by Craftspace Director Deirdre Figueiredo MBE.with Rose Sinclair MBE