Wool Event: Campaign for Wool Celebrates 15 Years with Call to 'Check It's Wool'

The Campaign for Wool is marking its 15th anniversary this October with a renewed push to promote wool as a sustainable alternative to synthetic fibres. The global initiative, originally launched in 2010 by King Charles III—then the Prince of Wales—is using the milestone to urge consumers to “Check It’s Wool” when making textile purchases.

The campaign, which has grown to include over 1,000 companies worldwide across sectors such as farming, fashion, interior design and manufacturing, continues to advocate for wool as one of nature’s most versatile and eco-conscious fibres.

“As we mark this milestone, our mission remains more relevant than ever,” said Peter Ackroyd, Chairman of the Campaign for Wool. “Wool is not only natural, renewable and biodegradable—the simple act of choosing wool can help reduce our impact on the planet. It breaks down in soil and water without releasing harmful microplastics.”

Wool’s appeal lies not just in its natural credentials, but also in its remarkable versatility. As a trans-seasonal material, it provides thermal regulation—keeping wearers warm in winter and cool in summer—making it an ideal choice for year-round fashion. In interiors, wool’s insulating properties help regulate indoor temperatures, offering energy-saving benefits while contributing to comfort and wellbeing. Its inherent breathability, durability, and resistance to odours further enhance its value across everyday applications.

From finely spun merino garments to robust upholstery and elegant rugs, wool continues to redefine modern luxury with a conscience. It is entirely renewable, with sheep producing a new fleece every year, and fully biodegradable, returning safely to the earth without leaving behind microplastic waste. As consumer awareness grows around the environmental cost of fast fashion and synthetic materials, wool offers a practical, planet-friendly alternative that supports both sustainable design and responsible consumption.

The anniversary will be marked by a wide-ranging programme of events across the UK and abroad. These include educational showcases, artisan-led workshops, interactive installations, and pop-up retail spaces designed to highlight wool’s role in circular design, marine safety, soil health, and sustainable living.

British brands taking part in the campaign include Vivienne Westwood, Gieves & Hawkes, Brora, Johnstons of Elgin, Amy Powney, and Finisterre, among others. Their involvement reflects the continued relevance of wool in modern fashion and design.

Founded as a not-for-profit initiative, the Campaign for Wool aims to raise awareness about the environmental benefits of wool and its wide-ranging uses. King Charles has long advocated for the fibre’s unique technical and ecological advantages, describing it as a sustainable solution in both fashion and home interiors.

More information about the campaign and its upcoming events can be found on campaignforwool.org and at @campaignforwool.

Images courtesy of Campaign for Wool

Textile Fair: Première Vision Paris Returns This September with a Focus on Innovation and Technology, Expanding Horizons with Beauty and Strategic Insight

The global textile and fashion industry will once again turn its attention to the French capital this September as Première Vision Paris returns to its historical autumn slot with a forward-looking edition centered on Innovation and Technology, and Beauty,  in response to the industry's rapidly shifting landscape. Taking place from September 16 to 18 at the Parc des Expositions, Paris Nord Villepinte, the event will welcome more than 1,000 exhibitors, including over 100 (12%) first-time participants, marking a significant milestone in the trade show’s evolution, underscoring the event’s growing international reach and relevance.

Première Vision Paris - September 16 - 18 2025

“Première Vision Paris’ return to its historical calendar and the ambitious programming of this edition reflect the ongoing changes aimed at better meeting the strong expectations of brands and manufacturers,” said Florence Rousson, Chairwoman of the Executive Board of Première Vision and CEO of the Fashion Division of GL events. “This event supports the future of fashion — resolutely innovative and responsible — while welcoming over a hundred new leading players in search of opportunities and development.”

This year’s seasonal theme, “Synesthesia”, invites visitors to explore multisensory creativity, with a particular emphasis on the interplay between fashion and beauty. For the first time, the beauty sector will be featured across key activations and in the immersive Prospective Area — an inspiring central space designed to showcase future-facing concepts and industry intersections. With the theme of “Connections”, the space reflects relationships between materials and beauty, technology and emotion, and innovation and industry.

Complementing the trend-led environments, the show introduces a new Talks Stage devoted to Fashion and Beauty, and a broader, more strategic conference programme. This includes four critical themes designed to help industry players anticipate market shifts:

• Innovation & Technology for Creativity and Product Design

• Innovation & Technology for Strategic Sourcing and Production

• Innovation & Technology for Positive Impact

• Innovation & Technology for 2030

To enhance business engagement, Première Vision Paris will host 150 selected guests, guiding them through bespoke, curated journeys tailored to unlock growth opportunities. In addition, pre-arranged business meetings will be held throughout the three-day event, fostering commercial partnerships and creative collaborations.

Attendees can also take part in six thematic walkthroughs, offering structured navigation across key zones — from the Prospective Area to Décor, Citywear, Eco-Innovation, Bags & Shoes, Sport & Lingerie, and a dedicated France-focused route.

The Première Vision mobile app returns as an essential digital companion, allowing users to schedule meetings, create personalised itineraries, track favourites, and follow curated visit routes for an optimised experience.

In its role as a strategic hub, Première Vision Paris aims to help industry professionals detect early signals, anticipate trends, and collectively build a resilient, sustainable, and high-performing fashion ecosystem. With change becoming both constant and imperative, the fair positions itself as a reliable ally for brands ready to embrace innovation and lead transformation.

In support of this vision, Première Vision, in collaboration with ANDAM, will host a dedicated Innovation Prize Showcase at the heart of Hall 5, featuring the 10 finalists of the 2025 Innovation Prize. These pioneers in textile recycling, bio-based materials, artificial intelligence, and responsible production represent the cutting edge of global fashion-tech:

• Losanje, winner of the 2025 Innovation Prize

• Goldeneye Smart Vision, Special Jury Prize recipient

• ER Ocean Recherche, Bioastra, Supercab, Smobya, Rodinia Generation, Petshka, Weffan, and Alphalyr

Adding to this, CLO, a major player in the 3D fashion technology space, will make its debut appearance at Première Vision Paris. Over three days, CLO will present a 250 m² immersive experience adjacent to the Smart Creation area, highlighting 3D simulation, digitalisation, and eco-design. The rarely seen showcase will be staffed by CLO’s international and French teams, offering a unique opportunity for direct engagement with one of the industry’s leading digital innovators.

Across the exhibition, six Focus Areas will provide targeted insight into major sectors of the fashion ecosystem:

• DECORATION Focus

• SMART, YARNS & ECO-INNOVATION Focus

• CITYWEAR & CASUAL WEAR Focus

• MANUFACTURING, SPORT & LINGERIE Focus

• BAGS, SHOES & LEATHERWEAR Focus

• ACCESSORIES INDEX

With a future-facing vision that blends technology, creativity, and sustainability, Première Vision Paris September 2025 is poised to be a pivotal event — offering industry professionals an unmatched platform to network, collaborate, and redefine the future of fashion.

Fashion Exhibition: Schiaparelli: Fashion Becomes Art to be staged at London's Victoria & Albert Museum in 2026

London's Victoria & Albert Museum (V&A) has unveiled a major exhibition to take place in 2026 : Schiaparelli: Fashion Becomes Art, - the first exhibition ever to be staged in the UK devoted entirely to the visionary Italian couturière Elsa Schiaparelli and her eponymous fashion house.

Vogue 1940; Designer Elsa Schiaparelli wearing black silk dress with crocheted collar of her own design and a turban (Photo by Fredrich BakerCondé Nast via Getty Images).

Hosted in the museum’s prestigious Sainsbury Gallery, the retrospective spans more than 200 objects, encompassing garments, accessories, jewellery, perfume bottles, fine art, furniture, archival documents, photography and theatre costume design.

Tristram Hunt, Director of the V&A, noted that the museum houses Britain’s foremost collection of Schiaparelli garments and praised the designer’s collaborations and theatrical approach as making her an ideal subject for a spectacular exhibition.

Founded in 1927 in Paris, Elsa Schiaparelli is known for revolutionising couture with her fearless imagination, irreverent humour and artistic collaborations—prompting Vogue to dub her “the nexus of fashion, art and performance”.  

'Tears' Evening dress and head veil, designed by Elsa Schiaparelli, February 1938 for Circus Collection, summer 1938. Fabric designed by Salvador Dali (c) Victoria and Albert Museum, London

Exhibition highlights will include iconic couture pieces such as the Skeleton Dress and the Tears Dress, both created in collaboration with Salvador Dalí, the surreal shoe‑hat, inspired by Dalí and now a classic of fashion fantasy, as well as accompanying artworks by Pablo Picasso, Jean Cocteau and Man Ray, underscoring Schiaparelli’s deep connections with the Surrealist movement.

Vogue 1936; Two models wearing dresses by Schiaparelli. Right: in a dark crepe with bands of gold braids down the front, over satin pajamas; Left, in a black satin with bands of rippled gold ribbons.   
(Photo by Cecil BeatonCondé Nast via Getty Images) 

Ankle-length coat of black silk jersey with facial profiles forming a rose-filled vase, Elsa Schiaparelli, Jean Cocteau and Lesage, London, 1937 (c) Victoria and Albert Museum, London.

Rare archive materials and pieces from Schiaparelli’s London branch, illuminating her impact on British couture and her personal involvement in UK clientele.  

Schiaparelli by Daniel Roseberry Long sheath gown, Matador Couture collection Haute couture fall-winter 2021–2022 Wool crepe. Gilded brass necklace adorned with rhinestones in the shape of lungs. Patrimoine Schiaparelli, Paris

The exhibition will also feature modern creations from Daniel Roseberry, creative director of Schiaparelli since 2019, whose sculptural gowns and bold aesthetic continue to reflect the founding designer's surrealist spirit.

Delphine Bellini, CEO of the House of Schiaparelli, emphasised that the exhibition celebrates Elsa’s “fearless imagination and radical vision” and highlights her enduring influence through a fusion of creativity and commerce. She commended the V&A for offering the perfect stage to showcase her legacy alongside Roseberry’s contemporary reinterpretations.

All images courtesy of Victoria and Albert Museum.

Fashion Exhibition: From ‘Temple of Love’ in Paris to Frieze London: Rick Owens Explores Brutal Elegance Across Two Cities

Rick Owens - an influential avant‑garde designer from California who has flourished creatively in Paris since 2003 - is the focus of Temple of Love, a bold and immersive retrospective currently on show at the Palais Galliera. 

This production is not only a retrospective of his fashion but a full sensory experience: sculpture, memory, politics, performance, and personal narrative, all woven into one radical vision.

Visual: Michèle Lamy
(C) Rick Owen

This autumn, Rick Owens will extend his creative vision beyond Paris with a special presentation at Frieze London in October, hosted by Carpenters Workshop Gallery. There, Owens will unveil a new series of collectible design pieces exploring the conceptual and aesthetic poetics of rust—a material condition he sees as a symbol of both decay and endurance. Among the centerpiece works is a dramatic reinterpretation of his signature Double Bubble chair, now upholstered in vivid blood-red leather. The exhibition will also feature selections of Owens’s vintage fashion and archival pieces. Complementing his display, Owens’s longtime partner and creative collaborator Michèle Lamy will debut a new sculptural installation, continuing the duo’s shared exploration of prehistoric and natural forms—notably antlers and horns, which they see as primal symbols of brutality and self-protection. 

Together, the London showcase and Temple of Love form a powerful dual reflection on impermanence, intimacy, and radical aesthetics.

The Temple of Love retrospective in Paris, running until January 4, 2026, was conceived as a devotional space rather than a conventional display, bridging fashion, architecture, sculpture and performance.  

Owens serves as artistic director alongside curator Alexandre Samson and honorary director Miren Arzalluz, ensuring every element carries his aesthetic imprint. 

At Galliera, Owens is exalted as not merely a designer, but a myth‑maker and philosopher of form.

The first galleries revisit Owens’s 1990s Los Angeles era: a Catholic upbringing fostered discipline, while 1930s Hollywood, Wagnerian opera, and the decadent novel À rebours informed his rejection of normative beauty. Authentic early pieces were rediscovered with help from collaborators to form the opening room.

Over time Owens moved from raw, black leather draped silhouettes to complex architectural forms —his hallmark "dust" grey, monastic tones and elongated lines combining to create pieces that function as wearable sculpture.

Inside and outside the museum, the exhibition unfolds around you: museum statues are draped in sequined veils; thirty brutalist cement sculptures punctuate the gardens alongside Californian wildflowers recalling Owens’s childhood.

Inside, multimedia—including references to Gustave Moreau, Joseph Beuys, and Steven Parrino—deepens the narrative.

A faithful reconstruction of Owens’s and muse Michèle Lamy’s Hollywood bedroom provides intimate insight into their shared life and creative symbiosis. Personal artefacts—books, perfumes, even Ziggy Stardust vinyl—are integrated as living installation 

The exhibit includes provocative elements: video installations like Owens's famed “Horse” piece—featuring simulated copulation with a black stallion—are housed behind disclaimers in a room with sexual and violent content; this section is not recommended for minors.

This is the first time Palais Galliera has devoted an entire retrospective to a living designer in Paris—a significant institutional recognition of Owens’s influence 

Over 100 iconic silhouettes are displayed alongside archival objects, installations, personal effects, and architectural interventions—a testament to Owens’s interdisciplinary practice and uncompromising vision 

The show reframes fashion as a spiritual, political, and philosophical discipline, continuing Owens’s three-decade-long questioning of conventional aesthetics and power structures.

Temple of Love is not simply an exhibition—it’s a reckoning. Through Owens’s personal mythology, every garment becomes an altar. Every installation, a provocation. For the fashion‑curious, the conceptually driven, and those who believe in beauty that unsettles—this show is essential viewing.

The exhibition has received critical reception.  

I’M Firenze Digest hails Temple of Love as “the retrospective everyone’s talking about,” calling Owens “a philosopher, architect and prophet” rather than a designer, and urging visitors to see it as “a pilgrimage through 30 years of radical aesthetics” 

nss magazine (via curator Alexandre Samson) underscores the exhibition’s commitment to technical integrity and the designer’s structural vision—setting his work apart as sculptural, cerebral, and politically charged.

A Shaded View on Fashion praises the exhibition as “a monument to radical beauty,” emphasizing its rejection of nostalgia in favor of spiritual staging and sustained confrontation with identity, decay, and transformation.

Textile Talents: TEX+ 2025 Awards Celebrate the UK’s Rising Textile Stars

The TEX+ 2025 Awards were officially announced at the TEX+ Showcase Private View, held at London's Chelsea College of Arts, celebrating exceptional innovation, technical skill, and commercial potential from the UK’s most promising graduating textile designers.

British designers Zandra Rhodes (third from left) and Orla Kiely (second from right) with TEX+ Trustees, from left to right: Katie Greenyer, Joanna Bowring, Clare Johnston, Jeremy Somers (Chair), and Gill Gledhill

Winners were selected from a cohort of 25 finalists, representing institutions including Central Saint Martins, Glasgow School of Art, Manchester School of Art, and more. The evening also featured a keynote address by world-renowned trend forecaster Lidewij Edelkoort, marking her first public appearance in the UK in several years.

Philip Fimano of Trend Union/Studio Edelkoort and Trend Forecaster Lidewij (Li) Edelkoort

Among the standout winners was Beth Lingard of Leeds Arts University, who received multiple honours, including the £500 Sanderson Art in Industry Prize for Commercial & Market Potential, the Sahara Prize—which includes £500, a one-month placement at Sahara, and a design purchase opportunity—and The Pattern Cloud Prize, offering one year’s free access to The Pattern Cloud Graduate Plan.

Beth Lingard

From Central Saint Martins, Amber Fry was awarded the £1,000 TEX+ Trustees’ Prize for Sustainability & Ethical Practice, as well as the Mary Restieaux Prize, which includes a private studio visit, mentorship, and hand-dyed silk yarns.

Amber Fry with TEX+ Trustee Gill Gledhill

The Liberty Studio Prize was awarded to Esme Whitton of UWE Bristol School of Art, including a studio visit and three-month mentorship with access to the Liberty archive. 

 Esme Whitton 

Winnie Sowter of Edinburgh College of Art received the Helga Goldman Prize for Innovation & Creativity, which comes with a £1,000 cash award. 

Winnie Sowter

Severine Seidl of the Royal School of Needlework was named the recipient of the TEX+ Trustees’ Prize for Technical Excellence.

Severine Seidl 

 Yingruo Cao

Aidan Morris 

The Pentland Prize was jointly awarded to Yingruo Cao of London College of Fashion and Aidan Morris of Glasgow School of Art. 

Ashe Vine of Arts University Bournemouth took home the Bay & Brown Prize, which includes an online floral print course and portfolio session with Tracey Brown.

Ashe Vine

Celebrated trend forecaster Lidewij Edelkoort remarked:

“The future is incredibly bright when I see so many students courageously confronting the major challenges of our time—rethinking materials, reshaping systems, and reviving crafts. At TEX+, we witness a new generation not just dreaming of change, but designing it.”

Formerly known as Texprint, TEX+ is the UK’s leading platform for emerging textile talent. With a 50-year legacy of supporting graduates in fashion, interiors, and material innovation, TEX+ offers real opportunities through internships, mentoring, and professional development, while fostering a thriving community of textile specialists.

Finalists were judged across five core pillars: Innovation & Creativity, Technical Excellence, Sustainability & Ethical Practice, Commercial & Market Potential, and Cultural & Social Impact.

Jeremy Somers, Chair of TEX+, said:

“Every year we’re amazed by the depth of talent coming through, but the 2025 cohort has truly raised the bar. These designers are not only technically skilled but are also engaging with some of the most urgent conversations in design today—from sustainability to storytelling, identity to innovation. The TEX+ prizes are about celebrating that talent and providing vital recognition and support as these graduates step into the industry.”

Now a registered charity, TEX+ continues to be supported by leading figures in the textile and design world, including British designers Orla Kiely, Emma J Shipley, and Peter Ackroyd MBE, Chairman of the Campaign for Wool. Alumni have gone on to work with global brands such as Chanel, Nike, and Liberty, or have founded acclaimed studios including Wallace & Sewell and Quinton Chadwick.

All images from TEX+

Sport News: Tom Daley Launches Knitting-Inspired Swimwear Collection with Adidas

Tom Daley modeling his new adidas swimming trunks

British Olympic diving star Tom Daley is making waves in fashion following his retirement from the sport after clinching his fifth Olympic medal at Paris 2024. The British icon has turned his post-diving focus to a series of fashion-forward projects — the latest being a bold new swimwear collection with long-time collaborator adidas.

The four-piece collection, which debuted this week, is a vibrant blend of Daley’s distinctive personal style and his passion for knitting — a craft he picked up during the Tokyo 2020 Olympics and has since transformed into a creative movement. The range includes an adjustable thin-strap swimsuit, a two-piece bikini, swimming trunks, and 5-inch swim shorts — each infused with retro, knit-inspired graphic patterns co-designed by Daley and the adidas design team.

Available in a mix of colour palettes — including Lucid Blue and Ruby Red, Lucid Pink and Powder Teal — the line delivers both eye-catching style and high-performance functionality. The swimsuit, bikini, and trunks are crafted using adidas’ Infinitex fabric, engineered for durability against chlorine and salt water, while the swim shorts feature quick-dry technology for all-day comfort.

Tom Daley, champion diver and collection designer, said: “I wanted this collection to be fun, expressive and allow people to celebrate their individuality. Whether it’s competing, training, exercising, or playing - the water is a space for everyone. My love of knitting is well-publicized, but I hope everyone will agree that we have used that design inspiration, to create a unique fashion-forward look, that people will feel equally confident wearing in and out of the water” 

The collection is now available via adidas.co.uk and select retailers.

The collaboration marks the latest in a growing list of fashion ventures for Daley. He recently became an ambassador for Woolmark, launching a pastel-toned knit kit in partnership with UK yarn manufacturer Laxtons. The kit includes exclusive patterns for a jumper, vest, and hat under his brand Made With Love — a knitting and crocheting movement he founded after discovering a supportive community through the craft.

In addition, Daley is set to host The Game of Wool, a televised competition series filmed in rural Scotland, where 10 creatives will battle it out to become the UK’s first TV knitting champion.

Earlier this year, Tom Daley also partnered with London-based fashion retailer Reiss to launch an exclusive unisex capsule collection in celebration of Pride 2025. The limited-edition line blends Daley’s love for knitting and crochet with his Olympic heritage and Reiss’ design aesthetic. Drawing inspiration from themes of love, pride, and water, the collection celebrates identity and self-expression. In a show of solidarity and support, all profits from the collaboration are being donated to LGBTQ+ charity Rainbow Railroad.

From Olympic podiums to the fashion world, Tom Daley continues to redefine what it means to be a modern sporting icon.

All photos from adidas

Paris Fashion Week: Spanish Designer Juana Martín Pays Tribute to Andalusian Heritage at Paris Haute Couture Week

Spanish designer Juana Martín delivered a cultural statement at the Official Paris Haute Couture Fashion Week with the unveiling of Fervor, her seventh Couture collection. The show, staged on July 8th, paid homage to Martín’s Spanish roots, particularly the deep spiritual and cultural traditions of her native Andalusia.

This season, Martín drew inspiration from one of Andalusia’s most emblematic and emotive traditions — religious fervor. Interpreted as a collective act of faith and a deeply ingrained expression of identity, this theme was brought to life on the Parisian runway.

Audiences were transported into the heart of a solemn Holy Week procession through a presentation that blended devotion with bold artistry. Maintaining her signature black and white colour palette, Martín infused the collection with striking jewellery and unexpected couture materials. The designer's vision conjured vivid imagery of petal showers, sacred iconography, and candlelit processions — all key elements in the Andalusian Semana Santa tradition.

At the heart of the collection was ruán, a deep black fabric traditionally used in the garments of nazarenos — penitents clad in long robes and tall conical hoods. This textile served as the emotional and aesthetic foundation of the designs, complemented by references to the ornate adornments of Christs and Virgins featured in processions throughout the region.

With Fervor, Martín reinforced her groundbreaking role in fashion history as the only Spanish woman to have been granted membership to the prestigious Fédération de la Haute Couture et de la Mode. She follows in the footsteps of legendary designers Cristóbal Balenciaga and Paco Rabanne. Her achievements were further recognised this year with Spain’s Gold Medal of Merit in the Fine Arts — a landmark moment for Spanish fashion.

The show was supported by a team of creative talents: Rafael Maqueda and Menchu Benítez led the artistic direction of hair and makeup, using premium products from ICON. Málaga de Moda once again lent its support to showcase Andalusian craftsmanship, while Cordoba-based healthcare company Plenitas reaffirmed its commitment to promoting regional talent. Footwear was provided by Italian designer Francesca Bellavita, known for her artisanal creations.

Juana Martín’s Fervor not only captivated the fashion elite in Paris but also reaffirmed the power of cultural heritage in contemporary couture. 

Photos Credit: Juana Martín / Totem Fashion

Art and Culture: British artist Molly Maine’s Exhibition - Nomad - A Narrative Print Series from Travel Experiences

British illustrator and designer Molly Maine's Nomad: Perspectives on Home in a Changing Japan exhibition delves into the shifting notion of ‘home’- juxtaposing modern digital nomad lifestyles with Japan’s centuries‑old sense of rooted place.

"The exhibition explores a new era of digital nomadism in Japan, and questions the meaning of home, inspired by stories collected during my recent residency in Kanazawa (Japan). It’s a project that’s personal, shaped by nearly a decade of living nomadically," explained Maine.

This is Molly Maine's first solo exhibition running from 4–13 July 2025 at London’s 67 York Street Gallery, Marylebone.

Known for her bold, graphic travel illustrations, Maine's Nomad collection draws on interviews with digital nomads, local Japanese residents, and evacuees of the devastating 2024 Noto earthquake. Through digitally illustrated, limited‑edition giclée prints (hand‑finished in Kanazawa‑inspired techniques), Maine explores themes of displacement, adaptation, and cultural dialogue.  

Part of the exhibition’s proceeds supports recovery efforts in the Noto region, with donations channelled through the Ishikawa Prefectural Community Chest. This charitable dimension anchors the show’s emotional depth and social relevance.

Molly Maine's Noto 2025

A poignant highlight of Nomad is the gold‑foil collaboration with Japanese tea‑artisan Yu Yamaguchi (whose Wajima studio and home were destroyed in the Noto quake), co‑creates a piece inspired by the Banksia flower—a plant known to bloom after natural disaster. 

Maine digitally sketched the motif, which Yamaguchi then engraved in gold on a traditional tea container, drawing on the Japanese tradition of Kintsugi. This masterpiece symbolises both fragility and renewal, serving as a visual embodiment of community resilience.  

International Women's Day 2025, commissioned by Lenovo Japan

Maine’s signature style is marked by graphic clarity and vivid colour palettes. The contrast between neon vending‑machine streets and serene tatami‑mat settings is foregrounded through bold lines and atmospheric hues.  Having travelled to more than 50 countries, Maine captures local palettes of the cultures she has visited.  From bright Mexican streets and Thailand's street-food markets to subtle Japanese sky hues, each of Molly's work carries a narrative gathered in person, each print is a visual diary of time and place. 

Molly Maine, based in London, earned a Bachelor of Arts in Illustration from Falmouth University in 2008.  During her illustration degree at Falmouth. Maine studied at Nagoya University of Art on an Erasmus exchange.

She briefly worked in-house (notably at Walker Books) before embracing a life as a freelance creative. In 2016 she pivoted into a full‑time nomadic lifestyle, building a global studio powered by Procreate and Photoshop, and has since travelled to over 50 countries.

Maine has also produced high-profile projects under commercial commissions, including cover illustration for The Tokyoiter ( a lockdown homage to Tokyo); illustrated menu design for Harvey Nichols Brasserie at OXO Tower, London; and collaborations with Sky News, Penguin Random House, ASOS, LUSH, Netflix.

With Nomad, Molly Maine presents a narrative tapestry woven from lived experiences. Between geometric colour contrasts and cultural juxtapositions lies a deeper commentary on displacement, recovery, and belonging, seasoned through years of travel.