SLOW­DOWN STU­DIO

THROW BLAN­KETS WITH A DE­CID­EDLY EX­OTIC FLAVOUR

Computer Arts - - UN­COV­ER­ING LUX­URY BRANDS -

Slow­down Stu­dio is the brain­child of Aus­tralian-born, Los An­ge­les-based de­signer Marc Hen­drick. While study­ing ar­chi­tec­ture he ended up work­ing in graphic de­sign and dab­bling in a num­ber of busi­nesses, mainly in cloth­ing. The idea for Slow­down Stu­dio came when he was at a tex­tile art exhibition. “The art it­self was pretty chal­leng­ing,” he says, “but see­ing how it all worked seam­lessly as a tex­tile made me won­der why tex­tiles in most home goods com­pa­nies were so safe in their de­sign – when it was tech­ni­cally pos­si­ble to push the bound­aries a lit­tle more.”

SOURC­ING SUP­PLI­ERS

Slow­down Stu­dio be­gan its jour­ney with its pop­u­lar, ver­sa­tile and unique blan­kets, cre­ated in col­lab­o­ra­tion with artists from all around the world. Each throw is cre­ated from jacquard woven us­ing Amer­i­can-grown cot­ton.

“We’re some­what lim­ited in terms of de­tail be­cause of the na­ture of weav­ing, but fine de­tail isn’t re­ally our style any­way,” says Hen­drick. “Colour isn’t a huge is­sue, but there are cer­tain com­bi­na­tions of very bright sat­u­rated colours that can’t co-ex­ist on the one blan­ket.” He works with a US-based com­pany which has been deal­ing di­rectly with ar­ti­san rug makers in In­dia for 25 years. “This way we were al­ready as­sured that we were work­ing with weavers un­der eth­i­cal con­di­tions, and were go­ing to get a high-qual­ity prod­uct.”

De­pend­ing on the artist they’re work­ing with, the whole process can take a cou­ple of months or a year. “We have a lot of col­lab­o­ra­tions up our sleeves at all times to en­sure we don’t need to rush any­one. We start with re­ally small num­bers – 24 or 40 – and will con­tinue to re­order as long as they are still sell­ing.”

CASH FLOW

While the stu­dio’s fo­cus has mainly been on tex­tiles – blan­kets, rugs, tow­els and so on – it has been branch­ing out to plenty of other prod­ucts in re­cent months. But Hen­drick ad­vises keep­ing a close eye on the bot­tom line: “Cash flow is key. Bet­ter to spend more on smaller quan­ti­ties and know that you have a vi­able prod­uct, than hav­ing box-loads of slightly cheaper prod­ucts sit­ting in your garage.”

CRE­ATIVE DE­VEL­OP­MENT

For artists and designers in­ter­ested in work­ing with Slow­down, Marc rec­om­mends ded­i­cat­ing as much of your time as pos­si­ble to cre­ative de­vel­op­ment. “A great port­fo­lio speaks louder than a mil­lion cold emails, so spend the time cre­at­ing and hon­ing your style. If you’re tal­ented enough, the dig­i­tal world will no­tice you soon enough.”

In­deed, if you are in­ter­ested in work­ing with Slow­down Stu­dio, it runs an an­nual art com­pe­ti­tion – though sadly en­tries for this year are now closed.

The Perry, throw by Claire Ritchie

The Eno, throw by Span­ish De­peapa

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