Interview with Feathr

Today on the blog, we have an interview with Feathr – a company determined to revolutionise wallpaper by bringing together artists from all over the world to design original and striking artwork for walls. Their mission: ‘to make art and not decoration’

We put together some questions to founders Tom, Anne and Oli about the company…

Dave Towers for Feathr.com

How did your company get started?

We’re three ex-advertising people who’d had enough of selling ideas to make children eat chocolate cereal So we jumped from our day jobs to focus on the things we actually care about – art, big ideas, design, craft, having our socks knocked-off, originality and art (again).

We tested a few different ideas before we hit on wallpaper. The revelation came when Anne and I were out buying wallpaper for our house in London. In shop after shop, we’d be shown the same designs, by the same limited range of ‘designer’ brands. One sales guy even said to us – ‘don’t buy this, everyone has it now.’ This seemed a little odd to us – whether it’s fashion, furniture or food, the world is now full of ways to buy from independent, artisan makers. So we started doing more digging online and found the choice was little better there. That was when hit on idea for a ‘digitally native designer wallpaper brand’.

It was a long way from ‘a-ha!’ to getting the business going. But, luckily, the more we researched the industry the better the opportunity became. The wallpaper industry is very out-dated in its business model and approach digital technology and channels, but on the verge of going through great change.

From there, it all fell into place. We saw the opportunity to be the first to bring independent artists into designing for wallpaper – and supercharge it all using digital business, marketing and production techniques.

Peter Judson for Feathr.com

In the world of Wallpaper design, what sets your company apart from others?

Ultimately, the only difference that matters is the design and nothing else. But for us, that difference comes from who we work with, how we work with them and what we ask them to do.

First up, we’re working with artists from all disciplines including graffiti artists, surf wear designers, illustrators, fine artists, tattooists, typographers, fashion designers, woodcutters, photographers and on and on. If you give these people a brief to make wallpaper, you don’t get wallpaper – you get art.

Secondly, we use crowdsourcing and crowd-curation to discover emerging artists and keep our doors open to all sorted of unexpected talent. Doing this has helped up build up relationships with artists all over the world, including Mexico, India, USA, Pakistan, New Zealand, Australia, Singapore, Morocco, Hong Kong and all around Europe.

And we also ask all our artists to think differently about wallpaper. Our motto is: “More Art. Less Decoration.” We love the opportunity wallpaper has to surprise. When an artist gets a hold of it there’s an immediate juxtaposition and tension in the form before they even start working on ideas.

Finally, underpinning it all is our usage of digital technology, something the wallpaper industry is only just waking up to. Whether it’s digital printing, on-demand printing, direct delivery, online retail, crowd-curation, digital tools etc., we use it to ensure we’re as smart, efficient and connected as possible.

Robin Van Wijk for Feathr.com

Who is your target customer?

They’re design aficionados who seek to express their individuality through their homes, dress and style. What they surround themselves (whether clothes, art or furniture) will come with a story, ideally unique and authentic. They’re very savvy and independent in how they approach design shopping: they’ll have design classics, but also fill their homes with thrift store pieces that are more personal.

Can you talk us through the process of working with a new designer?

It varies massively and it totally depends on what the designer wants. Often, this comes down to their level of confidence and experience.

So, some designers takes the brief from us (either off the site, in person or on Skype), come back with complete designs and we’re done.

Others might need more detailed briefings, guidance on technical issues and potential pitfalls, then two or three of feedback rounds to get the work perfect.

We’re totally flexible and happy to work any way that gets us to great design.

Casper Heijkenskjöld for Feathr.com

Do you need to be trend aware when designing for wallpaper?

Aware, but not obsessed. Trends are a bit of a scam. Every year, the industry descends on Maison D’Objet, everyone runs back shouting PASTELS, or METALLICS or FLORALS, then the whole machine pumps out work to follow that for a year or two. But great design transcends trends. And really great design and art starts trends. And that’s more what we’re interested in.

What do you predict the near future trends will be for wallpaper?

After what I’ve said above, I won’t predict any visual trends. But the big change that’s coming is innovation in design. Digital printing is opening up wallpaper design to all sorts of new players and thinking, so expect wallpaper design to take more risks.

When looking for emerging designers to work with, what qualities are you looking for in their designs?

It’s not that different for emerging and established designers. First of all, we look for people who have made something fresh and uniquely theirs. Secondly, we look for craft – attention detail is vital in wallpaper, as the canvas is so large and stays in homes for so long. Finally, we want to be able to talk about the artists we work with and to tell their stories – so we look for people with stories to tell.

Is personality an important aspect of a working relationship with a designer?

Not really, not for us. Their work matters the most.

What key things would you advise people who submit work to you to consider?

Here are the two big things that trip up most emerging designers. The need to self-edit – the scale of wallpaper makes it a very subtle medium, so less (a lot less) is often more. Then not getting trapped into designing for the screen. Transitioning a design from screen (or canvas) to a full wall often changes it completely, so you need to think about the scale and size of the wall from the first moment.

Are there any motifs or designs you would consider to be ‘evergreen’?

Many designers come back to styles like toile de jouy, damask and geometrics. But what’s interesting about these styles is when people start playing with, and breaking, the traditions. For example, doing a traditional toile de jouy scene, but replacing the bucolic setting with urban decay.

Are there any geographic trends for certain styles of wallpaper?

The UK is definitely one of the more experimental markets. The Nordics tend to lean much more to fresh colour palettes and clean simple designs. The USA is pretty traditional still – stripes, florals and damask rule there. But, from our perspective, the attitude we’re after can be found all over the world.

Are there any key elements to consider when designing for the Feathr customer?

Just one. They want to be challenged, but not freaked out. Art doesn’t mean you should just shock people, but it can also be moving, sexy, playful, charming, beautiful, surprising etc.

Luke Evans for Feathr.com

Which sectors of the market can a designer think about beyond traditional home environments and what should they consider?

Cafes, bars and offices are interesting environments to think about. The buyers for these spaces and often looking for real statement designs with a much more powerful aesthetic than homebuyers.

What gives a design commercial appeal?

Well, that’s the special sauce that everyone wants the recipe for. If you look at the designs (not just in wallpaper, but all designs) that have become the ‘must-haves’ they usually share a few characteristics. They appear right at the start of a trend (so that they often appear to create it). They have challenging elements to them that makes the buyers feel like they’re risk takers. But they are safe enough to appeal to the mainstream.

How has the industry changed in the past few years and how is Feathr adapting to these changes?

The big changes are all around digital. So digital printing means you can do small runs of designs cost-efficiently, whilst also working in a much broader colour palette. And digital channels are also opening up access to new artists and new markets. We’ve started the business around an understanding of the value of digital, so hopefully we don’t have too much adaptation to do right now.

Do you have a dream building or home you would like to provide wallpaper for?

The Turbine Hall at the Tate Modern is one of the greatest, most epic gallery spaces in the world. It would be incredible to think about how you could use wallpaper as an art form in that space.

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