Having graduated from Middlesex University Linzi joined cutting edge retail design company Crighton. A chance of a lifetime lead her away to join the lone Sir Terence Conran who was embarking on a gastronomic journey with restaurants in Butlers Wharf and the now infamous Quaglinos. Another opportunity ‘too good to refuse’ came in the guise of co-founding United Designers for seven years producing some highly regarded design projects within the hospitality industry. In 2008, Linzi joined Forme UK to assist in establishing the leisure and lifestyle sector.
Natasha Marshall Interiors Ltd
Natasha Marshall Interior Designer & Textile Artist.
Her use of pattern and colour is renowned worldwide. Including over 22 years creating beautiful fabric and wallpaper collections for interiors.
Natasha’s interiors work covers both bespoke residential and commercial projects. She loves to collaborate to ensure the right skills, materials and design imagination are brought to each project, underpinned by excellent financial and project management.
Natasha excels in translating a client’s brief reflecting their personality to their unique interior. Her interior style has a beautiful simplicity and elegance, along with practicalities so that you know you will enjoy being in it everyday for years to come.
Daniel Hopwood is a past president of the British Institute of Interior Design, a Liveryman of the Furniture Makers Company and a judge on the BBC’s amateur design programme The Great Interior Design Challenge. Daniel graduated with a degree in Architecture and is alumni of the Prince of Wales Institute of Architecture. He has run his own company ‘Studio Hopwood’ for the past 26 years based in Marylebone, with both residential and commercial projects in London and the Far East.
Corinne has been in the industry for 35 years, qualifying as an interior designer. She joined the interiors division of tp bennett, as a Director in 2014. Having joined MCM architecture in 1997, appointed Managing Director in 2003. Here she worked on a variety of award-winning projects including Norton Rose and Ernst & Young.
She has a keen interest and expertise in analysing changing corporate culture and using the design process to drive through appropriate change. She also has extensive experience working alongside clients through the building selection and due diligence process, ensuring a thorough interrogation of the base building offer in order to maximise the client’s aspirations and expectations.
More recently, Corinne has worked on the Schroders HQ at 1LWP, Royal Academy of Arts and various healthcare projects.
Corinne is a member of the British Council for Offices and has sat on the judging panel for The British Council of Offices Corporate Awards for four years. Additionally Corinne is on the committee of Real Estate Balance.
Professor Clare Johnston
Royal College of Art
Clare Johnston is a Textile Designer and Colour consultant for Fashion and Interiors. She is Professor Emeritus of Textiles, and Senior Research Felllow at the RCA. Prior to her appointment at RCA from 2000-2015, Clare was Head of Design at Liberty of London and Senior Designer at Marks and Spencer. Clare works with International Institutions such as Swedish School of Textiles and Hong Kong Design Institute as a Visiting academic and advisor. She is a contributing member of the British Textile Colour Group and a member of the TexSelect Committee. She launched an exclusive Kimono Collection in 2018.
Rapture & Wright
After training as an illustrator, Peter worked for interior designers around the world before founding the fabric and wallpaper design studio Rapture & Wright with Rebecca Aird in 2004. Rapture & Wright adapt age old techniques in clever ways to make fabrics and wallpapers for contemporary and classical tastes alike.
Based in Rural Gloucestershire, Rapture & Wright have developed an award winning, innovative ecological print works as part of a blue print for manufacturing businesses to work within the highest ecological parameters.
Emma Sewell is a textile designer and in 1992, established Wallace Sewell, a UK-based design studio, with Harriet Wallace-Jones, after graduating from the Royal College of Art.
Combining innovation with practical solutions, Wallace Sewell are known for their use of colour and woven structure in surprising geometric formats, creating individual contemporary fabrics, which are sold as products, to over 400 stockists in 25 countries.
Wallace Sewell strive to unite craft and manufacturing, embracing traditional techniques and are proud to have always made in the UK, embracing the British Textile Industry for its wealth of expertise and production excellence.
Over the years they have built up a diverse portfolio of client projects, designing and producing for international brands, boutique hotels, museums and stadiums, along with creating the many of the recent upholstery designs for Transport For London. Working from London and Dorset, the progressive studio pioneers excellence and originality within their woven products.
What the judges say
A thoroughly enjoyable morning shared with a team of challenging and enthusiastic judges. We were presented with a diverse and interesting range of 2D submissions, demonstrating that imagination and commercial suitability can cohabit and create really useful, elegant and pleasing products.
— Professor Clare Johnson
Royal College of Art
It was wonderful to be part of the first year’s 2D judging panel and so exciting to see a variety of world-class British products presented. The winners of the prestigious mark are all highly deserving and set a benchmark for the years ahead.
— Fiona Knight
With so many products coming to market, design can often be regarded as a time consuming inconvenience. The entries that really stood out were those where design and designers were integral to the process and the judges could follow the route from original concept through to final solution and production.
— Peter Thwaites
Rapture & Wright
The inaugural 2D judging took place this year. I wasn’t sure what to expect!
However, it soon became apparent that when design integrity is at the heart of any product development, quality and completeness of thought is expressed ensuring a well considered product suitable for market.
— Corinne Pringle
The enduring quality of good design demands careful consideration of materials, process and form. While the panel doesn’t agree on all submissions, the debate and final consensus ensures the pedigree for the Design Guild Mark is one of respected quality.
— Simon Alderson
It’s always a pleasure to be asked to join the judging panel for Design Guild Mark Award.
The 2018 entries were all of an exceptionally high standard, showing quality craftsmanship as expected, but also originality and some elegant problem solving design solutions.
— Joanna Biggs
As a first time judge of the Guild Mark I was impressed by the quantity and quality of the submissions. I was also impressed by the diversity of the judging panel.
— Rodney Kinsman RDI
The standard in design, thinking and making of this year’s Design Guild Mark was not only hugely inspiring, but left me feeling proud of our British furniture industry. The critique of the submissions by the panel was tough, so the awards are well deserved and highlight that the level of ‘design excellence’ is getting higher each year.
— Tom Pearce
Farrah & Pearce
A wide spectrum of furniture items submitted this year which ranged from commercial to crafty but all of an exceptionally high standard and meeting our expectations. Innovation in commercial workplace was evident this year which was a pleasure to see.
— Pernille Stafford
The judging process allows applicants to present and talk about submissions with the objects right in front of them, this allows all the production processes and details to be fully explained and demonstrated which makes judging a lot easier.
— Campbell Thompson
The Conran Shop
The designs were a pleasure to judge with the work presented being diverse in form and function. There were some exceptional designs, well considered and executed. Design for me is a mix of art & technology and we certainly experienced designs at both ends of the spectrum.
— Terence Woodgate