For our fourth Q&A series, I introduce you to the talented graphic designer, Inca Starzinsky. I met Inca in college in London were we both studied Graphic Design at Central Saint Martins. Inca was my partner in crime in design and we worked on countless school projects together. Inca also holds a masters degree from the Royal College of Art where she focused her studies on textile design. She was also a member of the editorial & design team of Graphic Magazine and has designed for shoe companies Terra Plana & United Nude. Not to mention, she also taught me how to use freehand and photoshop at college. We are especially excited to introduce her latest work of silk scarves which with debut this month at Chariots on Fire's Pop up Shop at Tortoise in Venice, California. I am also convinced that this is just the start of many more collaborations to come. Enjoy! Ritz

Chariots on Fire: Your background is in graphic design and work with silkscreen printing on paper - what made you decide to start working with fabrics?

Inca: I was getting bored with the 2D-ness in graphic design and screen printing and wanted to experiment more with the application of print on 3D objects. This made me apply to the RCA (Royal College of Art) in 2005, and do not regret this move, even if it has been hard at times (as textiles is different to graphics in many ways). But I always wanted to combine the two disciplines. I never wanted to make a total career change - I am a graphic designer at heart.
Chariots on Fire: You've always been a fan of patterns - even at college you were always a master of silk screening combinations of shapes and vivid colors. Where does the fascination come from? 

Inca: Oh, I don't know exactly. Maybe from my family? Who had, and still have, some art from the '60s hanging in their houses, like Victor Vasarely etc, which used geometric shapes, patterns and bright colours. I grew up with this and it never left my brain.

Chariots on Fire: What inspired your "stamps" pattern? 

Inca: At the RCA I got more and more interested in printing digitally onto fabric. Not because it can be an easier and quicker process than screen printing, but I liked the idea of printing with photographic images onto fabric, prints and effects that you can't achieve with screen printing.

I got obsessed with the old, used, vintage, nostalgic, maybe because I got a little tired of the clean and perfect, the "white". I liked the idea of printing something old and worn out onto something high quality and new. Almost to preserve the history and stories behind objects.
Pictured above: Par Avion stamp scarves. Photo by: Joe Gascoigne

I had wanted to make a pattern with used stamps for a while, as stamps have connotations of travel, communication and (again) history, but in particular they represent a more meaningful, or perhaps romantic form of communication in the context of today’s society.

And the idea to separate them painstakingly by colours was born with you together, Ritz, on a very late night in London after a few glasses of wine.
Chariots on Fire: How does digital printing designs on fabric differ from working with print on paper?

Inca: A fair bit, as the ink bleeds a lot more on fabric than on paper, and the colours can be very different too. It drove me mad in the beginning, and I was once told that you can't work like a graphic designer in textiles, you can't make things as precise and perfect. For my final masters project at the RCA I ran tests for 4 months. I managed it in the end, and it was worth it, it was pretty close to what I wanted. I have now worked out a technique to do this much quicker…

Chariots on Fire: Any ideas brewing for your next scarf collection?

Inca: Yes, I have three new collections already. One of them will be exhibited during the London Design Festival 2011 in September.

Chariots on Fire:  Are you influenced by a particular era or style?

Inca: I used to always think the '60s. I like the style in general. When I started studying textiles and looked through the old vintage textile swatch books in the archives, I realised that a lot of prints and designs from the '60s were recycled from a long long time ago, just blown up to be more bold. But I guess this is what I like - big bold shapes.
Chariots on Fire: How do you start your day?

Inca: Putting out email fires (Douglas Coupland called it that on Twitter the other day, and I thought this was a great description), and a cup of coffee.

Chariots on Fire: What other profession other than yours would like to attempt?

Inca: This might sound odd and surprising, but I think I would love to work for a charity, doing some good.

Chariots on Fire: Do you consider yourself a collector? If so, what do you collect and why?

Inca: Several years ago I started to collect wood pieces. If it is the shape, the colour or the structure, it does not matter, as long as it has something intriguing about it. I think this comes from home influences again. My family has a few sculptures by Franz Bucher, who was a sculptor working with wood. As a child I was already very intrigued by these sculptures, and I still very much like his work now. Unfortunately he is not very well known internationally.

Then, I collect a lot of fabrics and haberdashery bits and pieces. There is no particular reason for this, I just always think I will make something nice with them, or it is for research, or I just want to own it.
Chariots on Fire: You live in London, what are some of your favorite "secret" spots?

Inca: Not sure if I know many secret spots. I live in Hackney and do really like this part of London. I don't go out and explore London that much anymore, but in this part of town I tend to constantly find new places popping up. The east seems to change weekly. I do sometimes feel by accident like a tourist in my own town. Just the other week I came across two little bakeries, which I have never seen before, under the arches on Mentmore Terrace. One even hosts a bread-making course on Saturdays. I might pop down one Saturday and take part, I like baking.

For our third edition of the Chariots on Fire Q&A series, we introduce you to jewelry designer, Ruth Tomlinson. We discovered Ruth's work on our recent trip to London and it was love at first sight. Ruth's jewelry is precious, magical and other worldly. Read on and discover more about Ruth as she takes us behind the scenes, shedding light on her unique design process and inspirations.

Chariots on Fire: You mainly work in silver, gold and with semi-precious and precious stones - how did you settle on these materials?

Ruth: I really enjoy exploring materials from found glass and porcelain to diamonds and gold.  All these materials are incorporated into my work however silver and gold are often the basis of my work due to their durability and perceived preciousness.

Pictured above: "Knots" - from Ruth's visual diary, photo by Ruth

Chariots on Fire: Stylistically, your pieces have a raw, organic formation almost as if one could trace your process on the piece. Is this a part of your concept? What process allows you to achieve this quality in your work?

Ruth: My work and style is very natural to me and has an organic look.   The making process is very important and I like to show traces of craftsmanship, a human fingerprint.  There is beauty in the imperfect and this is what I try and communicate through my jewellery.


Pictured above Left: Single Tourmaline Encrusted Ring. Pictured above Right: Single Garnet Encrusted Ring.

Chariots on Fire: You are a graduate of the Royal College of Art. How did your time there shape your experience as a Jewelry Designer?

Ruth: It was an amazingly creative time in my life.  Two years to explore, research and indulge in my jewellery fantasies.  Also being surrounded by such highly creative individuals , all so passionate about their subjects, was completely inspirational.

Chariots on Fire: What influences your work? What inspires you?

Ruth: Life, experiences, nature, materials, discovery, magic and travelling through different cultures.  I’m inspired by time, birth, decay and the minutiae in life.


Pictured above: "Textures on barks and rocks" - from Ruth's visual diary from a trip to New Zealand, photo by Ruth

Chariots on Fire: How do you start your day?

Ruth: I cycle into London on my bike and get to the studio early> The morning is not my most productive time.  I read my mail and check my list of things to do , then make a start.


Chariots on Fire: What profession other than yours would you like to attempt?

Ruth: Another possible route for me was ceramics.  I also love photography, printmaking and process mark-making.

Pictured above Left: Encrusted Ring with Silver Barnacles. Pictured above Center: Moonstone Stud Earrings Pictured above Right: Eternity Band

Chariots on Fire: Name one thing you can't live without?

Ruth: Well love is the obvious thing to say, but I would also find it very hard to live without my creativity as it is a huge part of me.


Chariots on Fire: Do you consider yourself a collector? If so, what do you collect and why?

Ruth: I am a bit of a magpie, and also a bit of a closet minimalist.  So the things I collect generally have to fit into a (match) box and be easily hidden away.  I guess I have channelled my passion for collecting into my work rather than my home.  I have to really love something to own it.

Chariots on Fire:  Is there a piece of jewelry you wear everyday or that is very special to you? If so, please tell us about it.

Ruth: As my job is very hands on I don’t wear jewellery every day.  At the moment I have a pair of gold arrows in my ear (inspired by an ancient currency). I like to see the different directions they point on a day to day basis, maybe indicating my mood if they are pointing up or down?

Pictured above: Photo of Ruth buying stones in India

Chariots on Fire: If you could have access to any materials in the world to create a piece or a new collection what would those be?

Ruth: My work is often inspired by a find in everyday life.  From a piece of rusted bent wire in the gutter to an old platinum wedding band.  I like to use what I have in front of me, that is part of the challenge; finding beauty in the everyday.

Pictured above: "Textures on barks and rocks" - from Ruth's visual diary from a trip to New Zealand, photo by Ruth

Chariots on Fire: You live in London, what are some of your favorite "secret places"?

Ruth: Secret places in London are hard to come by however I have a fantastic local bar called Bistroteque.  It is hidden in an old industrial building but ultra warm, sparkly and glam on the inside.  They do a fantastic rum ginger and lime cocktail! I  also love visiting the John Soane Museum, around the corner from my studio.  The museum is in Sir John Soane’s old house which he designed to live in but also used to house his life’s collection of artifacts.  When he died he wished for it to be maintained as a museum for ‘amateurs and students’.

Q&A SERIES II / ON ZA LINE

For our second edition of the Chariots on Fire Q&A series, we introduce you to Ai and Kiyomi, the designers behind ON ZA LINE. Their ceramic jewelry is made entirely by hand and only in limited, numbered, editions. Their first collection "She needs a treasure", continues to inspire us; we adore their magical and playful
aesthetic that translates into powerful, memorable and wearable pieces.

ON ZA LINE is run by Kiyomi and me (Ai). Kiyomi learnt ceramics at university and she is mainly taking
care of making ceramics. So, these answers are mixing mine and Kiyomi’s.

Chariots on Fire: Porcelain is the main medium of your work, what attracts you to this material?

Kiyomi: Beauty of the porcelain itself. And also I can form directly by hand without tools. That fits me.

Chariots on Fire: What time periods have influenced your work?

On Za Line: Kiyomi and me are totally not nostalgic types.

Chariots on Fire: Is there a reason why you create your work in editions?

On Za Line: Yes, there is. We are making the molds by using an original model. For each piece made,
the mold is worn down by each new casting. So we can make only 30-50 pieces from one mold. And
we love to work for new ideas more than copying a mold and keep making the same stuff.

Chariots on Fire: How do you start your day?

Kiyomi: Spend 30mins doing nothing.

Ai: Start making some coffee.

Chariots on Fire: What profession other than yours would you like to attempt?

Kiyomi: Could be cooking. That sounds good.

Chariots on Fire: 1 thing you can't live without?

Ai: If I don’t have any inspiration, I don’t know how to live...

Chariots on Fire: Diamonds or rubies?

Ai: Both! But don’t need so much.

Chariots on Fire: Do you consider yourself a collector? If so, what do you collect and why?

Ai: We both are also not a kind of the people who collect something. Even I long for collector sometimes.

Chariots on Fire: Is there a piece of jewelry you wear everyday or that is very special to you? If so,
tell us about it.

Kiyomi: Usually I don’t wear any jewelry. But “Necklace Queen” is still very special for me. Because
the necklace was exactly the first piece, we made it together as ON ZA LINE.

Chariots on Fire: If you could have access to any materials in the world to create a piece or a
new collection what would those be?

Kiyomi: I don’t know any more fascinating material than porcelain.

Chariots on Fire: You live in Tokyo, what are some of your favorite "secret places"?

Ai: I haven’t been yet, but there is secret place in Nakameguro. It is bookshop only open on Saturday
on a rooftop... secretly...I will tell you exactly where it is, when you visit to Tokyo next time.

Get inspired!

Q&A SERIES I / JACQUELINE CULLEN

Welcome to The Chariots on Fire Q&A Series hosted at the Chariots on Fire blog. The Q&A series postings offer a chance to get to know some of the designers we stock and the process behind their creations in addition to other inspiring people who get our creative juices flowing. Enjoy!

For our inaugural Q&A posting, we would like to introduce jewelry designer and maker Jacqueline Cullen, whose stunning pieces you can find in the contemporary jewelry section of our shop site. Jacqueline is a fellow Central St. Martins graduate and we instantly fell in love with her singular style and deft hand in working with jet, a very seductive material that continues to fascinate us. We have always had a weak spot for collecting Victorian jet pieces because of their timeless look and wonderful craftsmanship; Jacqueline's work is a wonderful way to reintroduce and celebrate the lifespan of this distinctive and ancient gemstone.

A little information about jet, the material and its history:

Whitby jet is an extremely rare prehistoric fossilized wood from the araucariaceae or monkey-puzzle tree (pictured below). Jet is intensely black in appearance hence the the term "jet black". It is lighter than it appears, feels warm to the touch and may contain pyrite inclusions,  adding brown tones or metallic luster. Most often, jet is associated with Victorian mourning jewelry, popularized by Queen Victoria who wore Whitby jet as part of her mourning dress. It was mined during its heyday and rough samples are now found washed up by the tide or encased in the cliff face in the coastal area surrounding Whitby in north Yorkshire, England.