Heather Shields is a textile designer and weaver based on the west coast of Scotland. Known for bold contemporary woven textiles, we first collaborated with Heather back in 2018 on the Kirn cloth.

Often influenced by her surroundings, Heathers designs are striking in both pattern and colour. With the addition of the Larkfield cloth, we catch up with Heather again to find out more about her design process, biggest influences and the train journeys that have inspired both the cloths in our collaborative collection.

For anyone who missed our first interview back in 2018, can you tell us a little bit about your background and how you found weaving?

Textiles have always been a part of my life since childhood as my mum was a keen seamstress and my dad often took me to auctions with him, where I would browse amongst the vintage fabrics and clothes. I was always a magpie for anything colourful or patterned. I only started learning to weave whilst studying Textile Design at Glasgow School of Art. I felt instantly drawn to the looms themselves and found immense satisfaction in the various slow, methodical processes involved in weaving and the thrill of unravelling the cloth at the end. It felt as though I’d finally found the right fit for me, something to channel my creative ideas into. I still find weaving fascinating, exciting and challenging – it’s an enriching lifelong learning experience.

You have spoken about your initial design process involving collaging and painting to help inform your designs. What is it about the physical process of making that helps you settle into a design?

I think it can often be tempting to skip this stage when you become a working designer who has deadlines and multiple projects to consider, however for me it’s a crucial way of developing and visualising an initial idea. I may not have the time to physically weave every single design idea so collaging these can often help me make decisions on which ideas I’m going to develop further. Does it have the right balance of colour and does the pattern flow well? Additionally, it encourages me to slow down and be playful from the very beginning.

Can you talk us through a typical day in your studio?

Haha – I wish there were a typical day in my studio! As a weaver, designer and educator who works on my own collections as well as commissions, my work can vary from day to day. Often, I’m sewing and finishing blankets and wrapping and posting out orders, other days I’m designing at my desk on paper or using CAD, some days are purely admin and marketing. The days I look forward to the most are weaving days, whether that be setting up the loom for a new collection or sampling – these days are very precious!

Your aesthetic has a strong graphic edge, have you always leaned towards bold patterns, or is this something that has evolved as you have furthered your practise?

Yes, it’s an aesthetic I’ve always been drawn to – back when I was first learning to weave, I was always so disappointed when my patterns would turn out small and nondescript. It was a total revelation to understand how to create bigger and bolder pattern repeats and to use colour to extend these further. Designing in this way feels instinctual, this may change I suppose over time but so far it has been pretty consistent.

My inspiration mainly comes from the everyday, my environment and patterns found in both natural and built landscapes

Who are the designers and/or weavers whose work inspires you?

My inspiration mainly comes from the everyday, my environment and patterns found in both natural and built landscapes, however there are many weavers, designers and artists whom I admire for their brilliant work – among them are; Kukka Design (aka Laura Luchtman), Hella Jongerius, Milou Voorwinden, Susie Taylor, Yuri Himuro, Georgia O’Keefe, Norman Gilbert, David Hockney , Sonia Delaunay and of course Bauhaus weavers Anni Albers & Gunta Stölzl.

The Larkfield cloth has a predominantly monochrome colour palette, how does designing in monochrome effect the design process?

Designing in monochrome was a huge challenge for me as I’m very colour driven and typically always have a colourful highlight or accent in my work. It was difficult to resist reaching for a cobalt blue or a mustard as a familiar aesthetic reflex! The biggest challenge was maintaining balance and ensuring the monochrome ratios were right with regards to the dark, light and mid tones interlacing in multiple sections and stripes. We wanted something graphic that also had an earthy softness and warmth, so I had to ensure that nothing became too muddy or that the shapes didn’t become lost in the background. I’m really glad I persisted as Larkfield is one of my favourite designs I’ve worked on to date. When the final design was fully realised it just felt right and there was absolutely no question of which sample both the Roger Oates team or I preferred which is always a great sign!

The railway journey connecting your home in Scotland to our design studios in Eastnor, Ledbury, has influenced both of our collaborative cloth designs. Back in 2018, it was the colours from 1950’s travel posters that inspired the palette of the cloth. What elements of the Larkfield cloth were inspired by the rail journey this time around?

The graphic lines, chevrons and dots that make up the Larkfield design are inspired by the wood and metal work present in some of the traditional Victorian railway stations I passed on my journey, the bold vintage poster aesthetic and indeed the tracks themselves. I particularly remember Great Malvern Station with its chevron wooden panelled canopy! The linear design also has a sense of rhythm and movement, evoking the journey itself.

We wanted something graphic that also had an earthy softness and warmth

We often speak about investing in pieces for you home that you will cherish and enjoy for a lifetime. What are the most cherished pieces in your home?

I love to collect pieces from fellow makers, designers and craftsmen as I appreciate the work and effort that has gone into making them as well as the meticulous and responsible choice of materials. Some of my most cherished pieces are ceramics from Sian Patterson, Claire Henry Ceramics and Kim Plimley. I also love furniture and cherish my vintage powder blue velvet sofa and coffee table by Danish architect Peter Hvidt.

The Larkfield cloth has been used to create throws, cushions, and upholstered benches; do you have a favourite piece?

I’m so excited about this collection so it’s really difficult to choose a favourite – of course I feel very attached to the throws as my mum and I stitched each one in my home studio together and personally I love the comfort of a beautiful heavy throw! That being said – the design proportions of the cushions and how the bands of pattern sit differently on the rectangular and square cushions make them beautifully versatile, it would be impossible to have just one!

At Roger Oates Design we are synonymous with Stair Runners – do you have a favourite design from our flatweave runner collection?

Another impossible decision! Masai was my original favourite and part of the inspiration for the “Kirn” cloth. It has all the design elements I adore – a bold, graphic aesthetic with a beautiful balance of textures, line and colour. Similarly, I love Morella for its warmth, punchy contemporary colour palettes and strong border. However, if my space called for something slightly more minimal yet graphic I’d choose Ixworth or Kasuri.

We consider our rugs, runners, and home accessories to be ‘simple luxuries, for modern living’, what are your simple luxuries?

A wool throw or blanket definitely – I’m always cold and since Scotland isn’t exactly known for it’s warm climate, there’s nothing I enjoy more than being wrapped up in a throw by the fire. Otherwise, my simple luxuries are a walk in nature, a swim in the sea – or a perfectly made margarita.

Thank you to Heather for speaking with us and providing us with some beautiful behind the scenes images from her studio.  Learn more about Heather and her work by visiting her website.

Explore the Larkfield collection here.