Founded in 2014 by Katy Goutefangea, Ola creates traditionally crafted stationery collections, featuring original prints of such zingy energising patterns. ‘Made in the UK’ adorns their wares which is a refreshing statement in a time when we’re often told ‘costs have forced us elsewhere’…
The quality of the cards is something which is immediate to see with heavy thick set card and foil blocked designs – this sits well with the principle behind the designs: ‘each item is a quiet celebration of pattern, influenced by architecture, abstract geometry and artists such as Sol LeWitt, Anni Albers and Donald Judd’. There is a quiet brilliance to this brand and we were lucky enough to sit down with Katy to ask a few questions about the inspirations and design processes behind Ola.
What is it about architecture that you find so inspiring?
I’m often drawn to the ornament found in architecture. There’s an interesting interaction between the size of buildings and their smaller human scale detailing. The period we research will often change depending on the collection we’re working on – at the moment there are lots of postmodern buildings on the pinboard!
These architectural references make for a really refreshing offering. Ola products are crafted in small quantities with a dedication to detail – stitching in place of gluing, inks laid with a roller instead of digitally – traditional craftsmanship which just shines with quality. Take for instance the patterned spine notebooks which are designed so that the spines will match when shelved for display and ease of organisation.
Do you dream in geometry and pattern? What impact do you think colour and pattern plays in our lives?
Pattern is, and always has been, a huge part of human life. Some of the earliest items in known history are decorated – it’s something we’ve been doing since the beginning of time. The prints on each of our notepads have been developed to balance pattern and subtlety. It’s important that the prints enhance the notebooks aesthetically and inspire the user, without distracting from what is essentially a blank space to record thoughts and ideas. The patterns are intended to be almost meditative, somewhere you can rest your gaze while thinking of something else.
Katy, when so many are going digital why have you focused on going ‘analogue’ with paper and traditional craftsmanship / manufacturing?
There is something very different about writing in a notepad to taking notes digitally. They definitely both have their place. Paper can be used to sketch and write simultaneously, it can be rotated and torn. It doesn’t need to be switched on to record a passing thought. It can be carried anywhere, crumpled and dropped without much worry. It can be flicked through at a later date and stored on a shelf. The same cannot be said for any digital device.
This detail matters. Despite the technologically dominated age we’re living in stationery design continues to grow in the UK – we still all feel a connection with writing, with posting, with making. The tactile nature of these beautiful products will only continue to strengthen this bond and play their part in attracting new generations of paper addicts for all the right reasons; to help people tell their own story.
We will be trialling out some origami techniques with paper from the current range ‘Dash Print in Klein Blue’ and ‘Victor Print in Turquoise Blue’ using this lovely book ‘Folding Techniques for Designers’. These pattern papers are traditionally printed in England, using vegetable based inks and soft white uncoated paper stocks and is a lovely quality for craft (or wrapping for that special person). We love the bold geometric inspired patterns so we’re excited to see the results… watch this space on our Instagram feed for progress!
Please note we were sent products to photograph for the purpose of this interview. All photographs ecomodernstudios