New Designers is proud to welcome a selection of leading figures from industry and big bands who support the show, each year presenting an exciting line-up of Awards and prizes to be won. The award winners are not only celebrated at the show, but are regarded as the top picks for industry to look out for among the 3,000 graduating design class of 2018. The most coveted award each year is the New Designer of the Year Award, presented individually in each week. Below our judges reveal their final 6 among their 2018 shortlist.
Our independent panel of judges, listed below, reveal their final 6 designers shortlisted for our much coveted New Designer of the Year Award in Week 1.
• Orla Kiely, Fashion Designer
• Jane Boddy, Colour Director, WGSN
• Dennis Nothdruft, Curator, Fashion & Textile Museum
• Clare Maddison, Director, Contemporary Applied Arts Gallery
• Toby Brundin, Business Manager, Ceramic Review
• Jonathan Burton, Festival Director, London Craft Week
• Urska Sadar, Designer, Lara Bohinc Studio
Our independent panel of judges from relevant industry, reveal their final 6 designers shortlisted for our much coveted New Designer of the Year Award in Week 2.
• Russ Camplin, Senior Property Design Manager, Royal Bank of Scotland
• Peter Cooke, Design Lead, British Airways
• Roger Mann, Founder, Casson Mann
• Matt Wright, Director and Founder, Matter Product Innovation Consultancy
• Ken Kirton, Creative Director and Co-Founder, Hato & Hato Press
• Vicki Leach, Design Director, Deadgood
Charged Vessels, Semi Porcelain
“I use design as a storytelling tool – my winning project is based on Port Talbot, an industry town I have a close connection with. My ceramics reflect the environment around it, in particular the steelworks which the community heavily relies on, and in turn, the steelworks relies on its surrounding natural landscape.”
Ceramics – University of Brighton, Stand JC52
Print Design Collection
‘My collection features the hybradisation of the traditional chinese motif with western architecture; combining geometric patterns with traditional chinese elements’. Merging East and West, Wang’s collection gives a new captiviating approach with clarity in narrative.
Textile Design – Nottingham Trent University, Stand T1
“The first piece of jewellery ever made was early man picking up a shell, putting it on a piece of string and wearing it. This was an act of self-expression. We’ve gradually started seeing jewellery as made by third parties and we now feel as though it’s not a valid piece of jewellery unless it’s made by a jeweller. We’ve lost the self-expression and the connection to our instinctive self so what I decided to do was make jewellery or use objects from our everyday environments to connect us to ourselves.”
Silversmithing & Jewellery – Glasgow School of Art, Stand JC24
“Surface pattern and texture play a key role within the narrative of my work. I use rusted, degraded and occasionally toxic objects collected from beach cleaning efforts to mark and scar the flesh of clay slabs. It is important for me that I take care to express the intrinsic qualities present within vernacular clays, as seen in my collection of the Terrocotta Fertility Jar”.
Glass, Ceramics, Jewellery, Metalwork – UCA Farnham, Stand JC9
PATRICE WATSON - NEW DESIGNER OF THE YEAR
The Slavery Museum
“I am Arawak Indian and so this topic is incredibly personal to me. The materials I have used are traded materials; brass which was melted down and referred to as liquid gold – a material cheap to make but considered rich due to its colour, and glass beads; both of which were traded in Africa in return for slaves. I feel very empowered by design and that I have this tool at my disposal to tell important stories.”
Interior Design – University of the West of England, Stand VC25
“My project aims to empower the homeless and improve their lives whilst responding to our current cashless society through a cashless donation system. I worked with the charity Crisis over Christmas and spent time speaking to the homeless community. I feel the design industry can have a very powerful and positive impact on the current crisis of homelessness but it has to be done in the right way – without alienating them from the process so we’re fully responding to their requirements.”
Industrial/ Product Design – Loughborough University, Stand FP42
“I started my project with research into natural erosion, which then led specifically into looking at wind erosion. This helped inform the processes I took to create my collection of unique objects. I used a sand blaster to shape materials such as polysterene foam, utilising the blasters power to remove the cast – the colour of my objects are also a direct result of the sand blasters affect in the process. The textures on the other hand, were informed by my desire to use sustainable, natural and ethical materials, in this case food i.e. bread, cork, popcorn and rice crispies.
3D Design – University of Plymouth, Stand FP38
“For me my graphic design and zine project isn’t something I want people to just find cool or visually pleasing, but also for it to act as a visual representation they can relate to and critically engage with. Art and design can become a platform to tackle topics of identity, diversity and representation if we let it, and this is something I aim to do with my work. My project not only reflects my own character, but also looks to adding to the current movement of carving a contemporary and accessible space in art, and most critically, nurturing confidence back in it.”
Graphic Design – Nottingham Trent University, Stand VC9
“Energy wastage is an increasingly important issue in the UK today. My LUX light switch project aims to respond to this by creating two different types of switches, one sensory and one traditional. The sensory one has been developed to be used in frequently visited rooms i.e. the living room. Here, a radiation sensor combined with a light sensor detects whether someone is in the room, taking the control from the user. The second switch for less used rooms i.e. bedrooms has a traditional functionality, but designed to respond to symptoms of OCD where when switched on, appears disorderly – giving more reason for the user to switch off when not in use.”
Product Design Engineering – Liverpool John Moores University, Stand FP86
“I work primarily in colour pencils; it’s their precise nature and ability to create such a vast range of textures that have always drawn me to them. My surface pattern work stemmed from an early project in my third year working with Siamese Fighting Fish drawings and experimenting with the application of pattern design. My final major project was inspired by the Orchids Festival held at Kew Gardens, celebrating the colour and vibrancy of Thailand, with the aim to create a series of intense patterns that were full of depth and detail. These patterns have been printed on lengths of satin and have been turned into cushions, dresses, gift wrap and stationery products to demonstrate the versatility of the designs.”
Illustration – Plymouth College of Art, Stand VC15