Attire Accessories - Feb/Mar 2019 (Issue 74)

UP AND COMING 105 How was the label started, and what was the inspiration behind it? I launched Firehorse to challenge the status quo. I wanted to engage emerging designers with little or no commercial experience and help give them a much-needed commercial platform. When I commission young designers, they are often overwhelmed. Many have been struggling to get jobs and interviews or to earn enough freelance income. I love working with young designers, as they bring enthusiasm, energy and creativity to the brand. However, I also work with a team of people with years of experience who know how to transform their ideas into fantastic products. I chose scarves as they provide a simple starting point for a brand with a huge vision! I wanted to produce a product of exceptional quality, and by focusing on a simple square, I could really concentrate on executing every fine detail to the highest possible standard. Getting this right has given me a fantastic platform from which to grow into other product areas. On top of that, I guess I have always loved textiles. Growing up, my dad was director of an Irish textiles company that manufactured the finest Irish linen damask, which he promoted and sold worldwide. So I grew up with that love of exquisite quality textiles. How were the initial products developed, and what was the response? In terms of design, we spent months scouring degree shows and researching design awards and painstakingly selected four brilliant up- and-coming British designers for our debut collection: Sheroze Iqbal, Anni Taverner, Emma Kendall and Rachel Parker. Firehorse is all about creative collaboration, and we love meeting designers who enjoy that process, working with us to translate their creativity into the most beautiful products for our customers. We treasure originality, so there is no rule that says that the designers have to be working professionally – they just have to be amazingly talented. We have been thrilled with the response to the scarves. The designs are much admired, and when customers see and touch the product, the luxurious quality speaks for itself. What challenges did you face, and how were they overcome when starting the business? The key challenges for us were securing the design talent and achieving the quality required to meet our extremely high standards. This took the best part of a year and involved a huge amount of research, trailing, learning, remaking and perseverance. We think it was completely worth it, though! What is it that sets you apart from your competitors? Lots of things! Firehorse scarves feature limited-edition designs by up- and-coming British designers, offering a beautiful alternative to what is typically offered. We treasure originality and support young designers working at the very top of their game. You will rarely, if ever, meet someone else wearing your scarf! We offer an authentically luxurious product. Firehorse scarves are printed and hand-finished in Macclesfield, which has a silk heritage of more than four centuries. Many so-called luxury scarves are made very cheaply in China, with noticeably inferior quality. Firehorse works with one of the best specialist silk printers in the country to ensure excellent print quality on both sides of the fabric. Each Firehorse scarf is hand-finished by a team of artisans, who softly roll the edges and painstakingly apply hundreds of fine stitches for the perfect finish. This full process ensures a luxurious structure and drape – one of the hallmarks of a premium-quality silk scarf. Finally, we treat each individual Firehorse product as a work of art, working closely with our designers and full creative team to ensure each product is perfect for both today and the future. For some customers, Firehorse scarves are a beautiful modern-day accessory; for others, they’re perhaps a family heirloom to be passed lovingly from generation to generation. Either way, Firehorse scarves are great investment pieces. How important is the location and history of the company to its success? Prior to setting up Firehorse, I spent around 20 years as a business advisor, supporting creative people and cultural organisations, so I have a good understanding of the issues connected with the creative sector and how to design a strong business model. I also worked in the premium paper sector as brand and marketing manager for market-leading fine paper brands. I worked extensively with graphic designers – the key brand influencers for these premium paper products. There have been a lot of similarities between the fine paper and luxury textiles sectors: both involve working with the best UK manufacturers, both have required great input from the design sector and both target premium consumer markets. There are even some parallels in the manufacturing and printing processes, such as achieving excellent finishes, beautiful print quality and excellent colour/texture.