Interior design trend: Decorex 2026: Designer Claudia Dorsch Reimagines the Alpine Chalet for Year-round Everyday Living

An immersive alpine chalet in the heart of London, layered with sumptuous textures, tactile fabrics in rich autumnal hues and the welcoming glow of a cosy fireplace — what’s not to like? Although October’s weather remains relatively mild by seasonal standards, there is something particularly inviting about stepping into this wintery retreat at Decorex 2026. 

Photo: Decorex / Claudia Dorsch

Claudia Dorsch

Created by London-based interior designer and ski chalet specialist Claudia Dorsch, the VIP Lounge, themed ‘Back to the Future, The Chalet Reimagined’, offers a fresh interpretation of alpine living, combining the nostalgic charm of 1970s European ski culture with contemporary design, craftsmanship and understated comfort.

By transforming the VIP Lounge into an immersive alpine retreat, Claudia's installation invites visitors to experience the evolution of chalet design through a considered combination of architectural heritage, contemporary materials and the convivial spirit of European ski culture, says Dorsch.

Running from 11–14 October, Decorex, the premium interiors trade fair at Kensington Olympia, London, provides a platform for Dorsch to challenge conventional perceptions of the mountain home. Moving beyond the familiar association with dark timber, rustic finishes and traditional alpine motifs, her concept presents the chalet as a more architectural, tactile and adaptable living environment, designed for year-round use rather than exclusively for winter holidays.

Photo: Decorex / Claudia Dorsch

Drawing inspiration from the heritage of alpine architecture and the glamour of 1970s skiing in Switzerland, France and Italy, the designer's intention is to offer visitors more than a conventional hospitality space, recreating the atmosphere of a well-established mountain home shaped by time, use and shared experiences.

“I wanted visitors to slow down and experience Alpine rituals,” Dorsch explains. “We have built a home inside an exhibition hall, and my hope is that once you step through the curtain you forget that entirely, and simply feel you are somewhere in the mountains, in a house that has been lived in for years.”

Photo by Lucia Carpio

The project’s title encapsulates Dorsch’s approach to design: revisiting the ideas, lifestyles and craftsmanship of earlier generations while adapting them to contemporary needs. Rather than reproducing a traditional chalet or creating what she describes as a luxury hotel in a mountain setting, she has sought a balance between historical references and modern living.

Photo by Lucia Carpio

The 1970s influence extends beyond aesthetics to the social culture surrounding skiing. For Dorsch, the appeal of the period lies in its emphasis on outdoor pursuits, communal dining, music and time spent with friends, rather than conspicuous displays of wealth. This philosophy informs the lounge’s arrangement and its emphasis on gathering, relaxation and shared experiences.

“I don't begin with style. I begin with behaviour. I don't design rooms. I design rituals,” she says, placing the way people use and experience a space at the centre of the design process.

Photo by Lucia Carpio

The experience begins at the entrance, where a bespoke tapestry by Embroidery by Design incorporates a collection of heritage-inspired badges designed by Dorsch. Visitors pass through a fur-clad threshold and a shimmering silvered-metal curtain supplied by Amron Architectural. Manufactured by Catalan specialist Kriskadecor, the curtain introduces a striking contemporary element while referencing the visual language of 1970s ski culture. Founded in 1926, the company celebrates its centenary in 2026, adding another connection between heritage and innovation.

Photo by Lucia Carpio

At the heart of the chalet, a sculptural suspended fireplace by French manufacturer JC Bordelet, supplied by Caleo, establishes the principal gathering point. Four curved seating areas, inspired by the conversation pits of the 1970s, are arranged around the fire to encourage informal interaction.

Upholstered by Ben Whistler Blue Label, the sofas, armchairs, poufs and bespoke banquettes combine bouclé, sheepskin and leather. Textiles from Romo’s Kirkby Design line, Pierre Frey, Dedar and Misia Paris contribute to the layered material palette, while House of Hackney’s Plantasia wallpaper in tobacco brings a woodland reference into the interior.

Lighting plays an equally important role. Cameron Design House’s sculptural Vetta pendant hangs above the fireplace, while its Pilvi clusters illuminate the bar seating areas. Rechargeable wall and picture lights from Pooky provide softer, more intimate illumination. A bespoke USM room divider introduces structure to the sloping lounge architecture while accommodating books, plants and decorative objects.

The connection with traditional craftsmanship is reinforced by hand-carved mouldings from Ebanisteria Marelli, the Italian family atelier with which Dorsch has collaborated on several award-winning chalet projects. The carved details provide a sense of permanence and continuity, setting the historical foundations against which the contemporary furnishings and lighting are placed.

The chalet is organised into distinct zones that reflect the different rhythms of alpine hospitality. The Bar & Dining Club features a bespoke bar in backlit onyx and burr walnut, created by Orange Tree Joinery, providing a focal point for entertaining and socialising.

Photo: Decorex / Claudia Dorsch

Connected in an adjacent space is the Mountain Terrace that evokes the relaxed atmosphere of après-ski. A DJ supplies the soundtrack for leisurely afternoons from a customisable console by Club Kiva, while deckchairs upholstered in a bespoke stripe of rich red, blue and green, designed by Dorsch with British fabric atelier Colours of Arley, establish an outdoor-inspired setting.

Tom Dixon’s Melt pendants hang overhead, their fluid forms referencing molten rock and melting ice. The lighting reinforces the project’s wider approach: drawing on the natural environment and alpine associations without resorting to literal interpretations of mountain scenery.

Photo by Lucia Carpio

Art and collectible objects are integral to the installation. A varied selection of artworks, ceramics, glass and sculpture has been commissioned or selected from McKay Williamson, 99 Concepts and Nadia Waterfield Fine Art, giving the interior the character of an evolving personal collection rather than a staged showroom.

The sensory experience extends beyond visual design and materiality. Birdsongs on the terrace, the sound of a crackling fire, film footage of mountain life and a fragrance evoking alpine air, pine and resin combine to create a more immersive environment.

For more information on Decorex, click HERE.

Art and Culture: Tschabalala Self’s Lady in Blue Brings Colour and Contemporary Womanhood to Trafalgar Square, London

It is a delight to see Tschabalala Self’s sculpture Lady in Blue finally installed and unveiled on the Fourth Plinth in Trafalgar Square, London. A 10-foot-tall bronze depiction of a contemporary metropolitan “everywoman”, she wears a flowing dress patinated in a vibrant lapis lazuli blue, creating an arresting presence against the architecture and historic surroundings of one of London’s most iconic public spaces.

Tschabalala Self’s sculpture: Lady in Blue, taking pride of place in Trafalgar Square, London,
in the company of Nelson's Column.
Photo by Lucia Carpio

Self’s proposal  was voted in the public ballot called by the Mayor of London - Sadiq Khan, so it is particularly satisfying to see the finished work now taking its place in Trafalgar Square.

The Fourth Plinth is regarded as one of the world’s most important public art commissions, bringing new work by internationally renowned artists to the heart of London. Lady in Blue is the 16th commission since the programme began and follows Mil Veces un Instante (A Thousand Times in an Instant) by Mexican artist Teresa Margolles.

Tschabalala Self's Lady in Blue will remain in Trafalgar Square until August 1, 2028. 
Photo by Lucia Carpio

Set against a beautiful blue sky on a warm autumn day, Lady in Blue makes a particularly striking impression. The work pays homage to a young metropolitan woman – a “quotidian figure” reflecting many of today’s Londoners – and was inspired by Self’s desire to bring a contemporary “everywoman” to Trafalgar Square.

Colour plays an important role in the sculpture’s visual identity. Made from bronze, the figure’s dress is painted a vibrant blue, while her jewellery replicates the rich colour of lapis lazuli, a rare rock that has been used as a pigment since antiquity. The intense blue gives the figure an immediate visual presence while also connecting the contemporary work with a much longer history of colour, adornment and artistic representation.

 Tschabalala Self’s Fourth Plinth commission: Lady in Blue in Trafalgar Square, with the National Gallery and St Martin-in-the-Field Anglican Church behind it.
Photo by Lucia Carpio

The work also demonstrates how fashion, art and public sculpture can intersect. The figure’s distinctive silhouette and intensely coloured dress are central to her visual impact, transforming clothing from a simple element of the figure into a powerful statement of identity, presence and self-expression.

Before the final decision was made, maquettes of the seven shortlisted proposals were displayed at the National Gallery, giving the public an opportunity to see the competing designs and cast their votes. More than 10,000 people participated, offering their views and feedback as part of the selection process.

Although the ultimate decision was made by the independent Fourth Plinth Commissioning Group, the public’s votes and comments played an important role in informing its final choice. The result is a monumental bronze “everywoman” whose vibrant blue dress gives the work an unmistakably contemporary visual language.

The New York-based artist is also presenting a concurrent special project in the viewing room at Pilar Corrias Gallery, London, which delves deeper into her concept of the “quotidian figure”. The project runs until 7 November, offering a further opportunity to explore Self’s distinctive approach to representing everyday figures and contemporary identity.

Photos by Lucia Carpio

London Event: The Decorative Fair Returns to Battersea with 130 Dealers and a Rich Mix of Design Periods

The Decorative Fair returns to Evolution London in Battersea Park from 29 September to 4 October 2026, bringing together 130 specialist dealers offering an eclectic mix of antiques, fine art, decorative objects, furniture and 20th-century design.

Image: The Decorative Fair - Battersea London

Now established as a major fixture in London’s interiors and collecting calendar, the Autumn Decorative Fair provides a marketplace for decorators, designers, collectors and private buyers seeking distinctive pieces with the potential to give interiors individuality and character.

For dealers, the Autumn edition represents an opportunity to unveil collections accumulated over the preceding months, while for interior designers and decorators it arrives at a key point in the project cycle, when new schemes are being developed and sourced. Large furniture, seating, mirrors and lighting are traditionally among the strong categories at this time of year, alongside the smaller decorative elements that complete an interior.

The breadth of the offering means that visitors can source everything from major furniture pieces and works of art to textiles, ceramics, jewellery and decorative accessories, with the Fair spanning design and craftsmanship from antiquity to the present day for works of art, and from the 16th to 20th centuries for furniture and decoration.

New dealers broaden the offering

Five new participants are joining the Fair this autumn, adding further specialist expertise to an already wide-ranging line-up.

Earl & Rymer will present decorative antiques, art and antique country furniture, while Indigo Antiques specialises in Oriental, Chinese and Indian antiques. Stephen Kalms Antiques brings a focus on fine silver, and Textile Antiques will showcase fine European textiles dating from the 16th to 18th centuries. Furniture Odyssey will concentrate on 18th- to early 20th-century furniture, with particular expertise in upholstered pieces.

They join returning specialists whose offerings encompass a remarkably broad spectrum of collecting categories. These include ethnographica, Spanish antiques and art, contemporary sculpture, vintage Chinese indigo textiles, Brutalist artworks, vintage couture jewellery and bags, treen and folk art, antique prints, British studio pottery by Lucie Rie and Hans Coper, Delftware, African modernism, Art Nouveau glass, antique maps, painted European furniture, fine antique silver, antique frames, post-war British and Scandinavian jewellery, English blue-and-white china and vintage watches.

The result is a deliberately eclectic environment in which historical pieces can sit alongside modern and contemporary works, reflecting the increasingly individual and layered approach to interior design.

Fine art across the centuries

Alongside decorative antiques, the Fair features a substantial selection of fine art dealers covering different periods, styles and media. Visitors will find works ranging from Old and Modern Masters, including still lifes and portraits, to sporting, equine and country-house paintings, contemporary pictures, Modern British artists and Scandinavian modernists.

The established dealer community includes names such as Sans Pretention, Nick Jones, Dorian Caffot de Fawes, Macintosh Antiques, Wakelin & Linfield and Rebecca Christie Miller, alongside a younger generation of dealers including Punch the Clock, 1923 Antiques, Gilbert Bannerman and Brillig & Borogrove.

This combination of established expertise and emerging dealers is central to the Fair's character, bringing together traditional collecting disciplines with a more contemporary approach to sourcing and displaying antiques and design.

John Vanbrugh inspires the Autumn Foyer Display

The Autumn Foyer Display will provide a historical focus, exploring furniture and decoration from the period spanning the lifetime of architect, designer and dramatist John Vanbrugh (1664–1726), whose tercentenary is being marked in 2026.

The display will feature pieces dating from the reigns of Charles II, James II, William & Mary, Queen Anne and the first Hanoverian monarch, George I. It will examine the changing influences on British interiors during this period, including Continental styles brought to Britain by a Court that had spent periods in exile in France, the Dutch Republic and the Spanish Netherlands.

It will also highlight the arrival of increasingly exotic imports from the Far East and the subsequent development of a more distinctly English decorative language during Queen Anne's reign in the early 18th century.

Organised by the Fair's press office with contributions from multiple participating dealers, the Foyer Display changes three times a year, using historical themes to highlight the breadth of specialist disciplines represented at the Fair.

Tribal Art London joins the Autumn programme

The Autumn Decorative Fair will also host Tribal Art London on the Mezzanine. The specialist event brings together dealers presenting carefully selected ethnographic works from across the world.

The display will encompass sculptures, masks, textiles and ritual objects, offering visitors an opportunity to explore artistic traditions and cultural heritage from a diverse range of societies.

With its combination of historical furniture, fine art, textiles, decorative objects and contemporary collecting interests, the Autumn Decorative Fair continues to reflect the increasingly eclectic nature of today's interiors market — where period pieces, modern design and art can be brought together to create highly personal spaces.

Fashion News: Mulberry prepares London Fashion Week return as financial recovery gathers pace

Mulberry is set to make a high-profile return to the London Fashion Week runway this month, marking a significant moment for the British luxury fashion house as it combines a new creative direction with signs of a strengthening financial performance.

Mulberry - Shot by Federico Radaelli

The return to the runway is central to CEO Andrea Baldo’s “Back to the Mulberry Spirit” strategy, which aims to rebuild the ready-to-wear business alongside the brand’s established accessories offering.

The company will return to the London Fashion Week schedule on September 20, following a six-year absence. The show will present the first women's ready-to-wear collection designed by newly appointed Creative Director Christopher Kane, signalling a new chapter for the Somerset-based brand.

Kane's appointment is expected to bring a fresh creative perspective to Mulberry as the company seeks to reinforce its position as a leading British luxury label. His debut will be closely watched as the fashion industry assesses how his design language will translate across Mulberry's established leather-goods heritage and its wider ready-to-wear offer.

The runway return comes against a backdrop of improving financial results. Mulberry reported group revenue of £125.5 million for its latest financial year, representing a 4% increase. Pre-tax losses were reduced substantially to £8.9 million, compared with £32.2 million in the previous year.

The company also reported an improvement in gross margin to 72%, helped by a reduction in promotional discounting. The figures suggest that the business has been making progress towards improving the quality and profitability of its sales, rather than relying heavily on markdowns to drive demand.

That momentum appears to have continued into the opening quarter of the new financial year. Group revenue rose by 23% year on year, with wholesale and franchise revenue recording a particularly strong 56% increase.

The growth in wholesale and franchise business provides an encouraging indication of demand for the brand beyond its directly operated retail network and could give Mulberry greater scope to expand its international presence without relying solely on investment in company-owned stores.

At the same time, Mulberry is continuing to refine its physical retail footprint in the UK. The company has signed a lease for a new 979 sq ft boutique at Liverpool ONE, with the store scheduled to open in November 2026.

The new boutique will add to Mulberry's existing UK retail presence as the company focuses on what it describes as a more refined brick-and-mortar strategy. The Liverpool location also places the brand within one of the UK's major premium shopping destinations, extending its reach beyond London.

Further changes at board level are also planned. From September 9, Mulberry will appoint Sara Dickinson and Kenny Wilson as non-executive directors. Wilson, the former chief executive of Dr. Martens, brings extensive experience of international brand development and the publicly listed consumer sector, while Dickinson adds further industry expertise to the board.

Taken together, the changes point to a period of significant transition for Mulberry. The arrival of Kane, the return to the London Fashion Week runway, improving margins, a sharp reduction in losses and accelerating first-quarter revenue growth suggest that the company is attempting to establish a stronger platform for its next phase of development.

For the British luxury sector, Kane's September 20 debut is likely to be one of the key moments of the London Fashion Week schedule, providing an early indication of how Mulberry intends to balance its distinctive British heritage with a renewed fashion proposition.

Interior Design Event: Focus/26 puts autumn interiors and international design in the spotlight at Chelsea Harbour, London

As London prepares for another major season of design activity, Focus/26 on Design will bring the international interiors industry together at Design Centre, Chelsea Harbour from 14 to 18 September, putting the spotlight on new autumn collections, emerging creative directions and the latest thinking across the sector.

The timing is significant. Focus/26 opens as London Design Festival - running from 12 to 20 September - gets under way, making Chelsea Harbour a key destination for designers, architects, specifiers and design enthusiasts looking to assess the new season's direction. The five-day event is centred on the Design Centre's network of showrooms, with additional brands and events creating what organisers describe as a creative hub for the industry.

At the heart of Focus/26 is product discovery. The event provides an opportunity to see autumn launches from leading international brands. This gives the event particular relevance for interior designers and specifiers seeking distinctive fabrics, wallcoverings, furniture, lighting and decorative products for forthcoming projects.

The Design Centre currently brings together more than 135 showrooms, while Focus/26 will add more than 30 temporary House Guests along the Design Avenue. The combination of permanent showrooms and temporary installations is designed to broaden the sourcing offer and bring additional designers and specialist brands into the mix for the duration of the event.

Among this year's House Guests are Artfully Sorted, Christy, Iliv, Martin Huxford, Shailand England, The Vale London, Studio Ham and Zoffany X Michael S. Smith.  

(Click here to find out more about the House Guests.)

A focus on knowledge as well as product

The increasingly important role of events such as Focus is not simply about showcasing products. For the professional design community, they have become places to exchange ideas, build relationships and gain insight into the commercial and creative forces shaping the industry.

Designer Stephanie Barba Mendoza will talk to House & Garden's editor Talib Choudhry on her passion for history, art and the play of pattern and colour translated into memorable projects worldwide.

Focus/26 will therefore combine showroom launches with a substantial programme of talks, masterclasses and industry discussions. Its flagship Conversations in Design series will bring leading names from the design world together, while Grow Your Business sessions will address professional development and the practical challenges facing designers. 

There will be 100+ free Free Access All Areas events within individual showrooms, alongside tours, Designer Toolkit sessions and the new Learning Lounge.  Daily Design Discovery Tours will provide another way of navigating the event, directing visitors towards products and launches attracting particular attention.

(Click here for information on the full programme.)

This combination of product, expertise and networking reflects the changing role of design trade events. Rather than functioning solely as traditional buying platforms, leading interiors events are increasingly expected to provide cultural and educational content alongside commercial opportunities.

The international character of Focus/26 is another important element. With brands from different design traditions represented alongside established British names and smaller specialist ateliers, the event offers a snapshot of the increasingly global interiors marketplace.

The event provides a valuable opportunity to encounter new materials, techniques and aesthetics without having to travel overseas.

 Focus/26 brings together international product launches, specialist makers, established showrooms, emerging brands and industry debate, and offers a useful indication of where interior design is heading as the autumn/winter season gets under way.

UK Fashion News: British Fashion Council takes Fashion Britain beyond London with nationwide September programme

The British Fashion Council (BFC) is taking its fashion agenda beyond London this September with the launch of Fashion Britain, a nationwide initiative designed to broaden participation in the UK fashion industry and strengthen regional creative economies. 

The move comes against the backdrop of a wider political push to rebalance economic and cultural activity beyond the capital, following the Prime Minister's announcement earlier this summer of plans to establish a new government base in Manchester, dubbed “No10 North”. In this context, the BFC's decision to take fashion into cities and creative communities across the UK reflects a growing recognition that the country's creative and economic potential extends well beyond London.

UK long-standing retailer Marks & Spencer will unveil its debut London Fashion Week (LFW) collection to a global audience in September 2026, as it celebrates 100 years in the fashion industry. Image: Marks and Spencer Inc.

The Fashion Britain programme will bring more than 1,000 cultural events and experiences to cities across the UK, including London, Liverpool, Manchester, Newcastle, Bristol, as well as Edinburgh and Dundee in Scotland. The initiative forms part of the BFC's new BFC 2030: Access, Creativity and Growth strategy and is intended to decentralise fashion by creating greater opportunities for designers, creatives, businesses, educators and audiences outside London.

Rather than positioning London and the capital's established fashion infrastructure as the sole centre of British fashion, Fashion Britain seeks to connect the country's different creative communities and highlight the contribution of regional talent to the industry's cultural and commercial landscape.

The September programme will combine public designer conversations, exhibitions, cultural collaborations, retail activations, live performances and other fashion-related experiences. More than 100 BFC designer members are involved alongside cultural institutions, retailers and other partners, underlining the Council's intention to make fashion a more accessible and geographically representative industry.

A central element will be the National Designer Panel Series, developed in partnership with ELLE UK. The series will bring designers and industry figures into direct conversation with audiences in different cities, providing insights into creative careers, regional identity and the development of fashion businesses.

Among the announced panels are a conversation between Nicholas Daley and Charles Jeffrey at V&A Dundee, an appearance by Aitor Throup at Manchester Art Gallery, and a London panel featuring Saul Nash, Clio Peppiatt and Luke Derrick at the National Gallery. In Liverpool, designers Patrick McDowell and Talia Byre will discuss their connections to the region and their creative journeys at the Walker Art Gallery.

The initiative represents a significant shift in the BFC's role. Announcing Fashion Britain in July, BFC Chief Executive Laura Weir said that participation in British fashion had for too long been concentrated in too few places. She described the initiative as a move towards recognising British creativity as a national asset and creating opportunities "wherever it exists" across the country.

Building the industry's regional infrastructure

For the fashion industry, the significance of Fashion Britain extends beyond a month of public events. The BFC says the longer-term objective is to strengthen local creative economies, develop the next generation of talent and establish pathways through which designers and creatives can build sustainable careers in their own cities.

This approach also reflects a broader effort by the Council to combine talent development with commercial resilience. Its recent programme of financial and business support has included the BFC/Vogue Designer Fashion Fund, which awarded London-based designer Bianca Saunders £150,000 in June, alongside bespoke business mentoring and professional services. Saunders' label, launched after her graduation from the Royal College of Art in 2017, is recognised for its reinterpretation of menswear through a diasporic perspective rooted in her British-Caribbean heritage.

In June, the BFC also announced the 2026 recipients of its Fashion Trust programme: Clio Peppiatt, Conner Ives, Nicholas Daley, Paolo Carzana, Patrick McDowell and Tolu Coker. The grant-giving programme is designed to support designers at pivotal stages of business growth through financial investment and tailored industry guidance. Since its launch, Fashion Trust has supported 59 designer businesses with more than £3 million in funding.

The Council is simultaneously pursuing a stronger international commercial platform for British designers. In May it announced a four-year commitment to expand LONDON show ROOMS in Paris, with the programme designed to give British designers greater access to international buyers, press and markets during the Paris fashion calendar. Confirmed dates extend through 2026 and 2027, covering both menswear and womenswear periods.

Taken together, these initiatives point to a two-track strategy: widening the domestic foundations of British fashion while strengthening its international commercial reach.

Fashion Britain therefore arrives at an important moment for the UK industry. As London Fashion Week prepares to take place from 17–21 September 2026, the BFC is simultaneously seeking to broaden the definition of where British fashion happens and who gets to participate in it.

For regional designers and creative businesses, the test will be whether the September programme can translate visibility and cultural engagement into longer-term opportunities — including education, networks, investment, retail access and sustainable business growth. If it succeeds, Fashion Britain could become more than a nationwide celebration around London Fashion Week: it could represent a structural shift in how the UK's fashion ecosystem is developed and connected.

For Fashion Britain full programme, click HERE.

Design Graduates: TEX+ winners secure Première Vision Paris showcase as charity celebrates UK's emerging textile talent

Three of the UK's promising emerging textile designers will exhibit at Première Vision Paris this Autumn, from 1 - 3 September, after being awarded the TEX+ International Exhibition Prize during the TEX+ Showcase at Chelsea College of Arts in London on 15 July 2026.

Left to right:  Lili Mizuno, Twig Searle and Christie Shannon
Credits: Tex+

The international exhibition awards were presented to Twig Searle,  of Falmouth University, Christie Shannon from Glasgow School of Art and Lili Mizuno of London College of Fashion, UAL.  They are all 2026 graduates.

The trio will exhibit at the influential Paris textile trade fair alongside previous International Exhibition Prize recipients Ruth Kent and Nikki Kewley (2024 cohort) and Freya Booth (2025 cohort), providing them with an opportunity to present their work to an international audience of fashion and textile buyers.

The announcement formed part of the annual TEX+ Prize Awards, which recognise exceptional creativity, technical excellence, innovation and craftsmanship among the UK's graduating textile designers. As well as celebrating emerging talent, the awards provide financial support, professional development opportunities and valuable industry connections designed to help graduates establish careers within the textile and fashion sectors.

Building on the 50-year legacy of Texprint, the TEX+ charity brings together education and industry through exhibitions, mentoring, networking and career development initiatives. Former participants have gone on to work with leading brands including Chanel, Nike and Liberty.

Jeremy Somers, Chair of TEX+, said: "The TEX+ prizes recognise the outstanding creativity, innovation and technical excellence emerging from the UK's textile graduates today. We're incredibly grateful to our sponsors and supporters, whose generosity enables us to celebrate exceptional talent while providing meaningful opportunities that help graduates take the next step in their careers."

2026 TEX+ Prize winners (for details of the winners, click HERE)

Among the principal awards, Maia McLaren received the Pentland Prize, worth £1,000 together with a work placement.

The two Liberty Fabrics Studio Prizes, each worth £500, were presented to Grace Holden and Xavier Theobald.

Lisa Rogerson won the Worshipful Company of Weavers Prize (£1,000), while Roisin Foster received both the Juliet Vogel Colour Prize (£1,000) and the Pattern Cloud Support Award, which includes one year's complimentary access to The Pattern Cloud Plan.

Molly White and her printed textile designs.
Photo: Lucia Carpio

The Bay & Brown Support Award, comprising a Beginners Complete Surface Textiles Print Online Course, an Online Floral Print Course and a portfolio session with Tracey Brown, was presented to Molly White.

Printed textile designs by Harriet Letts.
Photo: Lucia Carpio

Harriet Letts received the Sahara Prize, including £500, a one-month placement at Sahara and a potential design purchase opportunity.

The Inge Cordsen Craftsmanship Prize (£1,000) went to Zoe Noble, while Lili Mizuno also received the TEX+ Industry Prize for Technical Excellence (£1,000).

The TEX+ Sustainability & Ethical Practice Prize (£1,000) was awarded to Ruby Bolt.

The Helga Goldman Legacy Prize, recognising Innovation and Creativity and accompanied by a £1,000 award, went to Belén Fernández, while Twig Searle also collected the John Miles Legacy Prize (£1,000).

Additional industry awards included the Kvadrat Prize, a trip to the company's Wooltex mill in Huddersfield, presented to Lola Bate, and the London Embroidery Studio Prize, a six-month studio residency, awarded to Kate Crilly.

Supporting graduates into industry

Tex+ 2026 Finalists
Credits: Tex+

This year's awards come as many textile graduates continue to face significant barriers when entering the creative industries.

Research commissioned by TEX+ found that 56% of textile graduates are not currently working in a full-time textile role, while 36% are balancing multiple jobs. More than half (51%) have relied on financial support since graduating.

The findings highlight the continuing importance of initiatives such as TEX+, which connect emerging designers with employers, mentors and industry professionals through practical career development opportunities that help bridge the gap between education and employment.

Through its network of designers, educators, industry partners and alumni, TEX+ continues to strengthen pathways into the textile industry, ensuring that the next generation of creative talent gains the experience, confidence and professional connections needed to build successful careers.

Trade Fair Report: Scoop strengthens its international credentials with landmark Italian Trade Agency partnership

As UK retailers continue to look beyond volume sourcing in favour of originality, craftsmanship and premium quality, Italy remains one of Britain's most influential fashion trading partners. Worth an estimated £3–4 billion annually*, UK imports of Italian clothing, footwear, textiles and leather goods continue to perform strongly, driven by sustained demand for luxury womenswear, premium footwear, leather accessories, sustainable textiles and high-quality fabrics.  Against this backdrop, Scoop International's latest collaboration with the Italian Trade Agency (ITA) reflects both the continuing appeal of 'Made in Italy' and the growing appetite among British buyers for distinctive international brands.

From Italy, clockwise from top left: Ripani, Serienumerica, Sayyou
Credits: Scoop International

The partnership marked one of the standout features of Scoop International's Spring/Summer 2027 edition, held at Olympia National, London, from 19–21 July 2026, and completed the show's major trade calendar following its whimsical Autumn/Winter 2026 edition earlier in the year.

Jewellery from Angela Caputi Giuggiù of Italy at SCOOP International
Photo: Lucia Carpio

Making its Scoop debut, the Italian Trade Agency presented an exclusive collective of 32 contemporary Italian designers and brands spanning womenswear, knitwear, accessories and lifestyle collections. With the majority of the exhibitors not yet represented in the UK, the showcase provided buyers with a rare opportunity to discover a new generation of Italian labels seeking distribution within one of Europe's most influential fashion markets.

Scoop International July 2026 edition featured a vintage circus theme for the Spring/Summer 2027 showcase.
Featured were fun-house mirrors, mannequins on rope swings, and a red-and-white striped Big Top Café.  Entertainment was provided by live piano music and an onsite tarot card reader.
Photo: Lucia Carpio

The initiative also demonstrated Scoop's growing role as a gateway for emerging and family-owned Italian manufacturers looking to expand internationally. Many of these businesses produce collections distinguished by exceptional design, craftsmanship and manufacturing expertise, yet often lack the commercial infrastructure and distribution networks needed to establish themselves overseas.

The collaboration represents a natural evolution for Scoop according to Scoop founder and Creative Director Karen Radley. Throughout the show's history she has successfully introduced carefully curated Italian collections to the UK market, and the partnership with the Italian Trade Agency enables Scoop to showcase the depth and diversity of contemporary Italian creativity on a significantly larger scale. It also lays the foundations for an even stronger Italian presence at the show's Autumn/Winter 2027 edition, which returns to London's Olympia National from 7–9 February 2027.

From France, clockwise from left: Vanessa Bruno, Aurège and Zag Studio.
Credits: Scoop International

While the Italian contingent attracted considerable attention, it formed part of an increasingly international exhibitor line-up. French brands including Vanessa Bruno, Aurège, Zag Studio, Ma Petite Capsule, Travaux En Cours, Minuit Douze and Julie Sion exhibited alongside Spanish labels Dr Bloom, Sophie + Lucie and Rita Row, Scandinavian names Masai and A-View, together with British designers and brands from Australia and the United States.   New exhibitors this season included JC Sophie, Resume, MRP Star, Alessandra Salvatore and Kore Collections.

Jewellery made in Paris by Julie Sion.
Photo by Lucia Carpio

The show's international appeal was reflected in the calibre of buyers attending. Retailers including Liberty London, Fenwick, Cream, The Dressing Room, Galeries Lafayette, El Corte Inglés and Printemps were among those searching for fresh collections and new brand discoveries.

 Anna Berkeley hosted daily Style Spotlight presentations at Scoop.
Photo: Lucia Carpio

Alongside the buying opportunities, Scoop's content programme added further value for visitors. Stylist and former fashion buyer Anna Berkeley hosted daily Style Spotlight presentations together with her Behind the Curtain sessions, guiding buyers through key Spring/Summer 2027 trends and helping retailers translate seasonal direction into commercial buying strategies.

With its expanding international exhibitor base, influential retail audience and successful debut partnership with the Italian Trade Agency, Scoop has further strengthened its position as one of the UK's leading contemporary fashion trade events. The collaboration not only showcased the enduring strength of Italian creativity but also highlighted the growing importance of international partnerships in connecting emerging brands with new markets. Those relationships are expected to continue developing when Scoop returns to Olympia National for its Autumn/Winter 2027 edition from 7–9 February 2027.

*HMRC commodity data

Home and Lifestyle Design Showcase: Wow!house 2026 at Design Centre Chelsea Harbour, London - from June 2 - July 2

WOW!house 2026, now in its fifth year, is deemed the ultimate design barometer.  The month-long exhibition runs from 2 June to 2 July 2026 at Design Centre, Chelsea Harbour, featuring 22 full-scale rooms and outdoor installations created by 22 internationally renowned interior designers and architects in collaboration with leading sponsoring design brands and suppliers.

Schumacher Dining Room by Max Rollitt
Photo by Lucia Carpio

Widely regarded as one of the most influential destinations in the luxury interiors sector, the  immersive showhouse is erected within the Design Centre's Design Avenue, offering visitors the opportunity to experience highly detailed interiors as they walk through the connecting rooms as if in a real home.

The Art of Arrival - Entrance Hall by Francis Sultana
Photo by Lucia Carpio

Among the highlights is the Entrance Garden by landscape designers Hay Hwang and Simon Kitchin of The Gardenists. Inspired by the façade’s arched colonnades, the garden incorporates columnar evergreens, clipped bay laurel trees and white digitalis blooms arranged around English limestone and hand-crafted stone detailing supplied by Artorius Faber. A lead lion-mask fountain by Garden Art Plus provides a classical focal point to the space.

Artorius Faber Entrance Garden by The Gardenists
Photo by James McDonald

Another debut installation comes from Studio Enass, whose Garden Folly Room draws on designer Enass Mahmoud’s North African and Arab heritage. Conceived as a secluded island retreat, the room combines gemstone hues, layered textures and ornate decorative details including bronze mirrored ceilings, patterned textiles and handcrafted lighting.

Phillip Jeffries Morning Room by Sara Cosgrove
Photo by James McDonald

A recurring theme throughout WOW!house 2026 is the idea of slowing down and creating spaces of retreat from modern life.  In the Morning Room sponsored by Phillip Jeffries, interior designer Sara Cosgrove has created what she describes as “a quiet, uplifting analogue sanctuary”. ‘Aura’ mural with softly glazed surfaces designed to capture and reflect light.

Shepel' Library by Roisin Lafferty
Photo by James McDonald

Similarly, the Shepel’ Library by Dublin-based designer Róisín Lafferty embraces art deco influences through the use of burl timber, parchment and ebony finishes. The room has been designed as a contemplative environment where “the tempo softens” and discovery takes precedence over distraction.

Misia for Casamance Group Bedroom Suite by Henri Fitzwilliam-Lay
Photo by Lucia Carpio

Art deco references continue in the Bedroom Suite by Henri Fitzwilliam-Lay, created in partnership with Misia, part of the Casamance Group. Jazz Age-inspired fabrics, period furniture and hand-carved detailing combine to evoke the glamour of 1930s interiors.

Samuel Heath Primary Bathroom by Rigby & Rigby
Photo by James McDonald

In contrast, the Primary Bathroom by Rigby & Rigby adopts a minimalist Japandi aesthetic, blending Scandinavian simplicity with Japanese-inspired wellness traditions. A circular wooden ofuro bath forms the centrepiece, while integrated technology is used to create a calming sensory experience.

Elsewhere, De Rosee Sa’s Ca’ Pietra Bathroom transports visitors to a Mediterranean hotel of the 1970s, while Samantha Bartlett’s Martin Moore Kitchen celebrates tactile natural materials including fumed oak, bronze and Verde Natura quartzite.

Martin Moore Kitchen with Samantha Bartlett
Photo by James McDonald

“This is a room rooted in the poetry of nature,” says Bartlett. Martin Moore’s Legacy kitchen is the key focus, in a quietly glamorous combination of grained fumed oak teamed with bronze handles paired with Verde Natura quartzite.

Lalique Home Bar by Elicyon
Photo by Lucia Carpio

Luxury craftsmanship also takes centre stage in the Lalique Home Bar by Elicyon, where designer

Lalique Home Bar by Elicyon
Photo by James McDonald

Charu Gandhi has incorporated crystal panels inspired by René Lalique’s celebrated 1928 designs for the Orient Express.  

The iconic French house's art deco heritage is referenced in the many arches and curves.  The ceiling is a showcase for the magnificent "Swallows" chandelier while the walls and bar are inset with a bold, asymmetrical composition of crystal panels inspired by stories of goddesses and mythology.

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

International influences continue in the Benjamin Moore Minhwa Salon by New York-based designer Young Huh, who references Korean folk art alongside the opulent miniature paintings of Vienna’s Schönbrunn Palace.  The Salon is bursting with colours and patterns.  The lacquered walls are inset with 55 boxes painted in joyful high gloss colours often found in fold art, according to the designer.

Technology-driven design features prominently in the Nucleus Immersive Room by Russell Sage Studio. Equipped with a HYRISS immersive sound system by L-Acoustics, Sony display technology and integrated Crestron controls, the installation combines light, sound, scent and texture to create what designer Russell Sage calls “The Momentarium” — an environment intended to redefine shared sensory experiences.

Traditional craftsmanship is also celebrated throughout the exhibition. Max Rollitt’s Schumacher Dining Room juxtaposes 18th-century-inspired architecture with contemporary interpretations of dining culture, while Tiffany Duggan’s Speakeasy Salon combines theatrical interiors with multifunctional living.

Richard Miers’ Courtyard for Munder Skiles
Photo by James McDonald

Outdoor living spaces form another key component of the showhouse. Richard Miers’ Courtyard for Munder Skiles recreates a timeless stone courtyard shaded by London plant trees.

The main focus of the courtyard space is a showstopping "Whispering Water" feature.

Fettle Design’s Garden Terrace for Perennials and Sutherland
Photo by Lucia Carpio

Fettle Design’s Garden Terrace for Perennials and Sutherland evokes the atmosphere of a relaxed romantic Italian holiday setting with Mediterranean-inspired materials, furnishings and textiles, inspired by Perennials’ La Dolce Vita collection and incorporating Sutherland’s skillfully-crafted performance furniture.

Perennials and Sutherland Garden Terrace
Photo by Lucia Carpio

To explore all the Rooms in preparation for your visit to WOW!, click HERE.

In addition to the showhouse itself, more than 130 showrooms across the Design Centre will open to ticketed visitors during the event, showcasing luxury interiors, furnishings and design innovation from across the industry.

A series of more than 20 talks will take place across the month, curated to inspire and inform. For more information and tickets, click HERE.  There are also special guided tours throughout the month where visitors can gain extra insights into the creativity behind the WOW!rooms. 

Now in its fifth year, WOW!house has established itself as one of the UK’s leading cultural and design events, offering visitors immersive interiors intended to inspire, entertain and redefine how design is experienced.