The strength, scale and texture of the Australian landscape, its colour and light influences us to create textiles that feel real, strong and connected to place. Each design has its own story and the stories are grouped loosely into collections.


Gumblossom, Pod and Standard Stripe.

Designed 2014


Gumblossom began as a quick painting in Julie’s sketch book whilst travelling in America in 2013. Whilst walking the streets of San Franciscso she noticed many beautiful trees blossoming profusely. A riot of flaming scarlet red against a cobalt blue sky stopped her in her tracks. She recognised these trees -they were the Red flowering Gums from Western Australia. She thought they would make a lovely
design to remember her trip by.

Pod was designed a little closer to home, in Coogee, Sydney. The image comes from the seed pods of a Bottle brush plant found overgrown and gone to seed in a neighbourhood garden.

And standard stripe was included in the Bloom range for a little bit of neat and tidy. Bringing some natural order to the group.



Ironbark, Twig of Conifer + Wollemi Pine

Designed 2013


Bark and twigs, mountains and trees. Stone, clay and leather. Charocal, tin, linen and hemp.

Inspired by her home in the Blue Mountains, Julie Paterson has incorporated traces of these raw elements into this collection.

The grey ironbark is a eucalyptus tree of eastern NSW. It is a dark trunked forest tree with rough, heavily textured bark. This print is an interpretation of the abstracted patterns the bark makes as it grows through the seasons.

In the garden up in the Mountains there are many conifers and pines. Their seeds are a favourite snack for a local flock of black cockatoos who sit in the tree tops scattering twigs and needles and half eaten cones all over the place.

The wollemi pine was around when dinosaurs were alive, over 110 million years ago. It is one of the rarest plants in the world and it lives only in the Blue Mountains.

 Proceeds raised from the Wollemi design go to The Foundation for National Parks and Wildlife who raise money to help protect endangered native plants and animals throughout Australia.

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Canopy + Thatch

Designed in 2011


Big, bold, clean and fresh these designs are rather more than a nod to the heady summer days of 1970’s Australia.

Canopy was originally commissioned as a series of linoprints for a resort on Lord Howe Island. The kentia palm is native to the island and is also the most commonly grown indoor palm in the world.

Thatch is a textural reference to the ubiquitous rattan chair. It’s job is to sit alongside the boldness of Canopy to form the understated backbone to the collection.

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Big Stripe, Box, Words of Cloth

Designed in 2010


Utility collection comprises three new designs from old.

Box was created over 10 years ago after messing around on the keyboard in the wingdings and dingbats type face but never put into production until 2010.

Big Stripe, a simple one colour stripe was taken from a section of the multi coloured Pickupsticks design.

Words of cloth was designed around all our favourite words that we have used over the years when describing the business.

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Banksia, Currawong, Kangaroo Paw + Wattle

Designed between 2005 + 2007


This group of designs started life as a series of linoprints based on the indigenous plant and bird life seen from the garden of Julie’s studio in the Blue Mountains.

Banksia was designed as a linoprint with a nod to Margaret Preston the Australian printmaker who was also drawn to the strength and resilience of this native plant. Currawongs hang out in abundance with their rivals the magpies in the gum trees of the Blue Mountains.

Kangaroo Paw and Bottlebrush plants were growing together in a rather charmingly haphazard way in the garden forming a perfectly natural layout for a new design.

Wattle was the first design in the collection, appropriately created at the beginning of September on the first weekend of spring.

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In The Shed

Boardwalk, Looking For Water + Spotcheck

Designed in 2006


From noticing the increasing urban sprawl going west, to the changing nature of the countryside and the pleasure of getting her feet wet at the beach, this group of designs by Julie reflect that in-between time of leaving the city but not yet arriving at that holiday destination.

Boardwalk comes from taking a barefoot walk to the ocean when the sand is too hot.

Looking For Water is about the land during drought when waterholes dry up to muddy puddles and the cattle follow the same path to the water to form teardrop shapes in the land.

Spotcheck is based on the interconnected patterns of a city made by roundabouts, cul de sacs and one way streets as they hug the contours of the land.

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From The Land

Scratchy, Stoney + Two Up

Designed 2003


Relaxed, bold and informal, these three designs refer to the irregular shapes and surface scratches of the NSW hinterland as seen from a distance, pared down to their essence.

Julie translated her many sketches of waterholes, dams, tracks and creeks, drawn quickly when looking out the window of a plane whilst flying interstate. The sketches were developed into prototype screen prints which formed the basis for these three designs.

Stoney is the patterns of waterholes and dams that are dotted throughout the Australian land.

The pattern for Scratchy came from printing with a block of wood that had been used as a cutting board for many years and represents the tracks that animals make on the landscape as seen from the air.

The name for Two Up comes from the coin game played in pubs throughout Australia legally only once a year on Anzac Day, 25 April.

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Shop Scratchy

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Off The Table

Pickupsticks + Stuffed Olives

Designed between 1998 + 2000


These designs are the results of early experiments with basic materials such as paper stencils, paint brushes and foam rollers.

The focus was on the interaction between colour, composition, irregularity and chance. It is the simplicity of these designs that formed the backbone of the cloth style.

Pickupsticks is a mismatched stripe more like an artwork that a textile design. We rotate the screens and vary the pressure to allow for changes in texture and tone.

Stuffed Olives was initially made into hats by a visiting New York milliner and has ended up as our most popular design. By considering the scale and negative space this design can be very versatile and ever changing.

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