In the third instalment of my series, I'm exploring how to best build a creative business while staying true to yourself. From navigating social media and finding new audiences to embracing change, experimenting with new ideas and learning when to say no, I wanted to share my thoughts on some of the things I've learned over the past 23 years. And why I think a little curiosity, a sense of humour and the freedom to do things your own way are still so important.
How do you build a strong presence without becoming dependent on social media?
I started out 23 years ago, before social media, so I'd already built up a brand identity and knew who I was – a maker of strange, knitted creatures! I wasn't really worried about what people thought of my work, or even whether it would sell. It was personal, and in those early days, I wasn't looking for likes or approval from anyone. As my business grew, I was guided more by what people actually bought, rather than what people liked on social media. Sometimes those are two very different things!
I joined Instagram quite early on, which has really helped us build up a following. But it's funny, because just when you think you've cracked it, Instagram changes its algorithms and suddenly you're not getting as many likes or as much engagement. So, I try not to follow trends too much. I tend to do my own thing and make sure I genuinely like what I'm putting out there. Recently, there's been a trend for putting text over images, and I'm determined not to do this because it just doesn't feel like me! I've always tried to follow my own path and make sure I'm comfortable with how everything looks and feels.
Our Instagram community is amazing and incredibly supportive. I love seeing people posting pictures of our products and showing us how they live with them. We get lots of lovely comments and feedback, which is always fantastic. So, for me, it's about nurturing that community, enjoying what I'm posting and not getting too caught up in the latest trends.
I do think social media is a fantastic selling tool. However, I also think you have to trust and empower the shops and galleries you work with to be your spokespeople, because that's often where customers will first encounter your work in real life. The customer chooses you, but you choose them too. It's a two-way relationship, and usually one built on shared values and ethics.
Are there alternative ways to reach audiences beyond Instagram?
Yes! We send weekly newsletters to our subscribers, and we put a lot of effort into nurturing our wholesale relationships, making sure everyone has the information and support they need.
Wholesale is a big part of our business, so these relationships are really important to us. Experiencing our products in real life, rather than on a screen, is a completely different experience. You get a much better sense of the scale, texture, colour and overall quality.
I also try to do talks and exhibitions, which offer opportunities to engage with our audience in a more personal way. Recent examples include our installation for London Design Festival at our East London studio, and the group show ‘Inner Child’ currently on show in Stockholm, curated by Lidewij Edelkoort and Philip Fimmano. These kinds of experiences are a lovely way for people to connect with the work beyond social media.
How do you expand your reach if you're geographically remote?
I actually think being remote can be an advantage. Having a little distance from all the noise can give you the space to develop your own world and identity. Being based somewhere more remote also usually means lower overheads for studio space compared with being in a big city. And with the internet, you really can be anywhere. As long as you can connect with your customers and build a community around your work, your location doesn't have to be a barrier. That's something we certainly couldn't do in the same way before Instagram.
Collaborating with shops, stockists and other designers is always a good idea too. It allows you to connect with like-minded audiences, explore new product categories and introduce your work to people who might not have discovered it otherwise. Anything that helps your work reach new audiences can lead to greater recognition and, hopefully, more sales. We love partnering with creative brands and people, and we have a few really exciting collaborations coming up over the next year, so watch this space!
How do you define your brand identity while keeping your work expressive and playful?
For me, it's definitely not about standing still. I'm always thinking about ways to evolve, or new categories to design for! But I try not to move too far away from what's at the core of the brand. There are certain elements that always need to be there for me to feel happy with a product: colour, a sense of humour, and a little bit of texture and pattern. Craftsmanship and a sense of character are essential too.
So, whenever we're designing for a new category, I try to make sure those elements are present. That way, I know I'm staying true to myself, and hopefully the work will still speak to the same audience, even if it's something completely new.
How do you stay purposeful about the work you take on?
I think it's about making sure there's a good reason for doing something. We always ask ourselves: Does it feel interesting? Will it help us reach a new audience? Are we genuinely excited about it? If you're not excited about something, you usually know it's probably not right for you.
In the early days, I would say yes to everything. Whereas now, I think we've learned to know our worth a little more and feel comfortable saying no to things that aren't quite right for us. Our margins are tight, so it doesn't make sense to spend a lot of time and energy on a project if it's not the right partner or the right direction.
How do you balance creative exploration with a clear, recognisable aesthetic?
Sometimes the best ideas come from experiments and mistakes. You try something new and it doesn't turn out quite as you expected, but there's something about it that's interesting. Often, that's the beginning of something!
I try to spend a bit of time every week in my home studio, drawing and painting, and just seeing where an idea takes me without any commercial pressure. I think having that freedom to experiment is really important.
How do you grow your practice into new areas?
I'd say our audience is very open-minded and always keen to see something new. It's always fun to show people something they might not expect, and it's important to me to keep that curiosity and desire to try new things.
I do get bored quite quickly, so having variety is what keeps things interesting for me! One of the reasons I find having my own business so fulfilling is that I'm in control of what I choose to do. If I'm getting bored, I can try to move things in a new direction.
How do you prioritise your time and ideas when everything feels important?
Lots of lists! Sometimes I go into the studio and just accept that I'm not going to get any of my own work done that day, because I need to be there to answer questions and help the team.
Before I had kids, I used to work late into the evenings and get more of my own creative work done then. Now, I think it's really important to make sure I spend time on my own, figuring things out and getting a little distance from whatever we're working on in the studio.
It's so easy to get caught up in all the small details and the operational side of running a business, so I try to make space to think about the bigger picture too.
How do you maintain confidence and direction during periods of change?
I'm getting better at embracing change, and I think it definitely gets easier the longer you've been doing something. I've seen the business go through so many changes over the years, and whenever new people join the team, things naturally move in a slightly different direction.
I like that feeling of trying something new and growing. Even when something doesn't work out, and it's not a particularly nice feeling at the time, it's all part of the process. You learn so much from it, and I try not to spend too long dwelling on what hasn't worked. Sometimes you have to try something unfamiliar to move forward, and before you know it, you're somewhere different from where you started.
On occasion, when I've really felt the need for a new direction, I've been a bit like a tormented writer with writer's block! But what I've learned about myself is that when I don't have any ideas, I just have to start drawing. It'll probably be rubbish at first, but eventually something will click, and I'll get there. At least, I hope that's always the case!