Q&A | Catherine Martin

The collection is described as "a contemporary reimagining of a 1970s palette." What guided the delicate balance struck between nostalgic and modern? 

I think when you are inspired by the past but living in the present you can’t help but see the period through a contemporary lens. Whether it's designing for a film or designing a Mokum fabric and wallcovering collection, it’s about taking historical inspiration and interpreting it so a contemporary audience can connect to the story you’re trying to tell.

Textured plains and opulently patterns are juxtaposed in the Moonlight Memphis collection. How do you feel they play off each other?

I love the combination of texture and pattern because the amalgam creates a visual opulence celebrating my nostalgia for the way fabrics were used in the '70s. In this period there was a revival of craft-orientated textiles that had a hand-loomed aspect as well as a resurgence of dramatic and dynamic patterns. We used this combination in our set decoration for 'Elvis' to underline Elvis’ highly decorative personal style and I wanted to explore this in my own collection.

Why do you find tropical motifs and patterns so intruiging and why did you decide to hero them in Moonlight Memphis?

I’ve always admired the way the Art Nouveau movement took organic botanical forms and stylised or formalised them into extraordinary exotic patterns. Art Nouveau really underwent an enormous revival in the '70s, so the fantastical botanic references in Moonlight Memphis speak to my fascination with this historical period.

I’m currently spending a lot of time in Queensland, which is a tropical part of Australia surrounded by palm trees and tropical foliage. This exuberant tropical landscape is enormously inspiring.

What excites you most about the Moonlight Memphis collection?

I think you’re always trying to build on, speak to, and react with your previous collections, because inherently one wants to build a body of individual textiles and wallcoverings that speak to each other and can be used in multiple ways in any given environment. I am always conscious when designing a new collection that there is a dialog with past collections, so we’re building on an previous aesthetic.

We live in a very disposable culture but one of the great things about interior design and interior textiles and wallcoverings is that they have a much longer life cycle. It's lovely to be able to refresh and enhance a space without throwing everything out from the past. I believe combining old and new gives spaces their soul.

With this collection, I hope people enjoy the exuberance of the pattern and the sensual textures of each of the fabrics – it's about being playful and joyful.

Throughout your career you've collaborated with renowned luxury houses like Prada and Tiffany & Co. How does working with Mokum compare?

I love working with Mokum and Stephanie Moffitt because throughout our collaboration it's been a constant journey of exploration and discovery. I am always learning new things about fabrics, design applications, and participating in the creation of things I haven’t ever done before. It’s such a thrill to see this stimulating collaboration come to life!