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An Interview with Sina Pearson Pratt Career Night 2019

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An Interview with Sina Pearson Pratt Career Night 2019 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS An Interview with Sina Pearson Our industry is full of entrepreneurial, ambitious, creative, talented, people. One such example is textile designer Sina Pearson, whose career spans more than 40 years of impactful work, and who is widely acknowledged as one of the most important textile designers in the industry. Last week, officeinsight publisher Bob Beck caught up with Ms. Pearson for a fruitful discussion regarding her life, career and the work she’s contributed to the design community. FULL STORY ON PAGE 3… Pratt Career Night 2019 For the last sixteen years, the Pratt Career Night has been an instrumental and annual event that offers their graduate and undergrad students access to the senior management of the country’s top firms, through a speed-dating arrangement. This year’s event was held at the newly renovated Haworth showroom on Park Avenue in Manhattan. The 2019 edition was full of a new- found sense of empowerment in students of meaningful interaction. FULL STORY ON PAGE 13… Concurrents – Environmental Psychology: Silent Messages Still Prevail The silent messages sent by things in the physical world have an important influence on how people experience a space. CITED: officeinsight columnist Sally Augustin reviews new research that “THEY ALWAYS SAY TIME adds validity to this concept. The research looks at the implications CHANGES THINGS, BUT YOU of conspicuously consuming luxury goods, through clothing worn. ACTUALLY HAVE TO CHANGE THEM YOURSELF.” FULL STORY ON PAGE 19… —LAO TZU. 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 2 OF 35 ADVERTISEMENT 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 3 OF 35 people The Pearson Family at Snoqualmie Pass in 1963 upon return from 5 months abroad; mostly in Sweden. Photography courtesy of Sina Pearson An Interview with Sina Pearson by Bob Beck Our industry is full of entrepreneurial, ambitious, creative, Bob Beck (BB): Tell us about your early life. Where did talented, people. I feel very lucky to know so many of them, you come from? How did you get to be a textile designer? including the textile designer Sina Pearson. Sina Pearson (SP): I’m from Seattle, but I live in New Ms. Pearson’s career spans more than 40 years. She has York City where I’ve lived for about 40 years. Growing up in served as the Director of Textiles at Jens Risom Design and Seattle I feel I was under three big cultural influences: as head of the textile division at Brickell Associates under >I’m the granddaughter of four Swedish immigrants from the tutelage of Ward Bennett, and ultimately became Presi- 1900, so I’ve always felt very Scandinavian. dent and Director of Design at Unika Vaev. In 1985 she co- >We had a summer house on the Swinomish Indian Res- founded the Association for Contract Textiles, ACT, and in ervation, so I always felt very close to the artistic traditions of 1990 she founded Sina Pearson Textiles. In 2016 she sold the Pacific Northwest Native American people. We had a to- her eponymous company to the Momentum Group, where tem pole at our house, and I have a totem pole at my beach she continues to design outstanding fabric collections. She house in Seattle. This was an important part of my life also. is widely acknowledged as one of the most important textile >Japanese vegetation and Japanese culture are very designers in the industry. big in the Pacific Northwest. My mother was a landscape This past week, I had caught up with her for a discus- designer, and she always had the kind of plant material you sion of her life, career and the work she’s contributed to the would find in Japan around our property. We actually had a design community. bamboo forest in our backyard. Now, as I look over my de- 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 4 OF 35 people Typical Swinomish designs on canoes sign career I can see major influences mother always talked plants. They from each of these three things. were very creative and encouraged me In 1963, when I was 15 and my to study textiles. brother was 17, our parents pulled BB: So where did you study? us out of school for five months and SP: I went to the University of Wash- took us on a road trip through Europe. ington where I majored in Art. Luckily That was before there were many I had a professor who was a fabulous Americans traveling there, but my mentor, and he let me do independent parents wanted to meet our relatives study for a couple of years, so I took in Sweden and believed it would be a weaving. We could go into a yarn room life changing experience for us – and and pick out any colors we wanted, it was. When I look at photos of that and I find that the colors I was drawn trip (pictured), I see certain themes – to then still find their way into much of look at the sweaters – that just keep my work, for instance that red/orange I reappearing in my work. In fact, that still use in all the collections I design. sweater I was wearing when I was 15 When I was finishing up at the Uni- is emblematic of how I felt when I was versity of Washington, my mentor sug- growing up. gested I go to Cranbrook. I didn’t even My father was an engineer at Boe- know what Cranbrook was, but when I ing, but he was also an avid photogra- got there I found it to be an incredible pher, so when we traveled as a family opportunity. At that time Cranbrook Sina Pearson, Photo: Linda Jaquez my dad always talked f-stop, and my was an art school, so we were taught 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 5 OF 35 people to be artists, not designers. We were portunity to open when SOM Chicago worlds of architecture and interior de- given a studio, and there were a few called Cranbrook wanting a recent sign that I’d never really thought much students for every teacher. I was there Cranbrook grad to work as their color about before. It was my introduction to from 1970 to 1972, and I graduated and material specialist in the interiors this industry. with an MFA degree in Fiber. department. So I moved to Chicago But after only a year there, I got BB: With your MFA in hand, where and worked at SOM, where my men- a scholarship to study at the Royal did you first find employment? tors were Robert Kleinschmidt and Academy of Arts and Crafts School in SP: Well, I was just sort of hanging Don Powell. My year there was a great Stockholm. I was fluent in Swedish around waiting for another door of op- experience – it introduced me to the since my undergraduate minor was Swedish Language and Culture, so off I went to study in Stockholm. While there I visited museums where I saw traditional textiles and patterns that really spoke to me – like that sweater – the colors and the patterns made a deep impression on me. I loved being there and feeling very Swedish. The Sina Peason Textiles loft in Soho, NYC. Sina and the design process on the floor, the samples and inventory in the racks. This is the first art/design project Sina produced in college. Sina’s design process underway, working with color and stripes That original motif popped up years later in the Crypton 2.0 Collection of 2017. 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 6 OF 35 people I was there for one year and took advantage of the opportunity to travel from a European base. I went to Rus- sia, the Soviet Union at the time, as well as Africa and as many other trips as time and money would allow. BB: So, at some point you settled into the work world for good. SP: Yes, my first job back in the states was working for John Carl Warnecke & Associates. But after a short time there, I decided I wanted to work with textile companies, and I got an offer to work with Jens Risom Design (JRD). I didn’t work with Jens himself, as by then he had sold JRD to Dictaphone. Even though I didn’t know anything about business at the time, they gave me the job of Director The textures of city architecture Colorful houses of Reykjavik, Iceland Architectural patterns as inspiration for the Flicker pattern of the Architectural Textures Collection recently released by Momentum Colors of the Nordic Collection of 2015 inspired in part by Reykjavik. The Flicker pattern in the Architectural Textures Collection 03.25.19 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS PAGE 7 OF 35 people Inspiration for the Plaza pattern Inspiration for the Plaid pattern The Plaza pattern in the Architectural Textures Collection The Plaid pattern in the Architectural Textures Collection of Textiles, and I was in charge of the inspiration from anything and every- from 1980 to 1990. textiles division of JDR. thing. It’s a gift I received from Ward The ‘80s was an exciting time for Then one day I got a call from Ward that I use to this day. I love to travel, textile design. We spent a lot of time Bennett, who wanted me to come and I seek inspiration from shapes and figuring out how to make beautiful work with him at Brickell Associates.
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