BETHAN LAURA WOOD

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It’s an understatement to say Bethan Laura Wood likes colour. Looking every inch a modern-day Frida Kahlo, the bright young British designer is wowing the global creative scene – and that’s not just down to her eye-popping clothes. Her work, from furniture and glass to ceramics, lighting, textiles and fashion, is bold, vibrant and wonderfully expressive. This week sees Wood curating Broadgate's Makers Mini Market, where East London designers will showcase cross-disciplinary wares. Expect the unexpected...

BY CLAIRE BINGHAM

Tell us about this week's pop-up Makers Mini Market in London.
I was invited to curate the Makers Mini Market and wanted to see how it could be interesting or different from just another type of makers market. I really liked the idea of bringing together a mix of creative people from East London whose work I follow on Instagram and that crosses over different disciplines. 

What can we expect?
There’s dyed marble from Silo Studio, Fashion East newcomer Harry Evans will be showing smaller accessories, and illustrator and sculptor Saelia Aparicio will be showcasing her pickle jars filled with balloons. There are seven designers in total, each with their own shed and creative world. One shed, devoted to workshops and talks, has my pattern all over it and I will be in and around the market.

ABOVE: Bethan Laura Wood in her studio with a bag from the forthcoming 'Toothpaste' collection for luxury Italian accessories brand Valextra. Wood designed witty handles and clasps for the SS18 range
BELOW: Two worlds collide as colourful patterned sheds nestle among the vast corporate structures of Broadgate for Makers Mini Market

ABOVE: Bethan Laura Wood (centre) with her band of East London creatives from Makers Mini Market. From left: Tino Seubert, Beth PostleAttua Aparicio Torinos of Silo Studio, Ryan Coleman Connolly, Kim Thomé, Saelia Aparicio, Harry Evans; Evans invites you in to see his take on menswear and accessories

You've designed for Nilufar Gallery, Bitossi CeramicheKvadrat, Abet Laminati and Hermès, among others. What are you most known for?
My style is very colourful with lots of layers and texture. My work often focuses on materiality and exploring that through design. I also do a lot of locality-based work and make direct references from places when I have the opportunity to travel. For example, I’ve completed a range of designs based on Mexico City: the colours, patterns and architecture there all resonate with me.

Where's next on your travel wish list?
I went to Japan a year ago and absolutely loved it, so I would really love to go back and work with artisans there. I’m also a big lover of kimonos. I would like to spend time seeing how the fabrics are woven and explore how the shapes could be taken in a furniture direction, while honouring their proportions.

BELOW: Wood's spectacular blown glass lights at Peter Pilotto's 'Townhouse Takeover' during September's London Design Festival 2017

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Your floor lamps for Peter Pilotto were a hit at September's London Design Festival and your work appeared in three of our top LDF17 FizzPicks. What was your highlight?
I love the opportunity to collaborate with others on a project like the Peter Pilotto Townhouse Takeover. Much like the Makers Mini Market, I enjoy everyone working together to create something special. 

How does working in fashion and interiors compare?
In the fashion industry, the speed is crazy fast, whereas furniture production has a much longer lead time. For me, I really enjoy the crossover. I’ve just collaborated on a line of handles and clasps for Valextra in Italy, for a limited-edition range of their bags called the 'Toothpaste' collection. It was great to have access to their production and find a way to incorporate my skills too.

ABOVE: Classics with a twist... Milan brand Valextra's 'Toothpaste' collection of iconic 'Iside' (left) and 'Passepartout' (right) handbags updates the original designs' sleek lines with Wood's cartoon-like, graphic handles and clasps. A new 'It' bag duo is born

Left to your own devices, what’s your interior style?
There’s a lot of stuff in my house! It’s not minimal. A lot of my work is inspired by colours, patterns and things that I find at flea markets, so my home is pretty much filled with stuff like that. All of these things go on to inspire a project.

Is there an era or style that you’re drawn to? 
I have a love of 60s Pop furniture and Memphis. I like the joy and excitement in all of their colours. I also live in an amazing Art Deco building in the middle of Hackney. I love it. The signature colour of the architecture is dusky blue with mint-green staircases and pastel-pink doors. I knew it was the place for me.

What qualities do you most like in a room? 
I find lots of objects comforting. A minimal, blank white space may be the dream for some but it is the opposite for me. I love to enter people’s spaces or worlds where there are so many things to look at and explore. I like things busy.

Growing up, what was the dream?
I’ve always been a collector. When I was younger, I wasn’t allowed to paint my walls. I never got my ideas for interior decor past my parents, so I’d change things up with objects instead. 

What part of the design process do you enjoy most?
I love dreaming up concepts and realising the difficult bit of turning ideas and sketches into something amazing. I like model making, so that always makes me happy when I can get off the computer and start building something in 3D. Also, when I go into a workshop and start talking, touching materials, seeing what’s working and what’s not, that's really enjoyable for me.

Who are your design heroes?
My tutors at the RCA, Jurgen Bey (above left) and Martino Gamper (left), have been really influential on my work but there are many, many, many others.

What are you most proud of?
Usually, it’s the last thing I’ve done. I like to keep challenging myself. I have a soft spot for my laminate marquetry. It’s a language and a technique that I love playing with so that’s one of my favourite pieces.

What’s your social media of choice?
I’m aware that I must take part in social media (*sighs*). I’m not really a writer, so I use Instagram the most. It’s fun to see what other people are posting and photographing. 
bethanlaurawood.com  
broadgate.co.uk/makers-mini-market-east-london-where-to-shop
#BroadgateDESIGN

Makers Mini Market, curated by Bethan Laura Wood, runs from 4 to 7 October 2017 at Finsbury Avenue Square, Broadgate, London EC2 (11am–6pm, free admission)

MARTYN THOMPSON

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Australian photographer Martyn Thompson is well known for his enigmatic imagery which has appeared in style bibles including Elle Decoration, Vogue and Architectural Digest. Now a native New Yorker, he has turned his eye to designing esoteric fabrics for the home. We go behind the lens to see what makes him tick...

BY DEE IVA

What prompted you to start designing textiles?
I’ve always loved textiles. Thirty years ago I was painting fabrics, making them into clothes and selling them in a small shop in Sydney. I began taking pictures of them and my photography career was born out of that – it took over. So coming back to fabric isn't a total stretch. I had started exploring new ways to reproduce my photos and discovered the digitised jacquard loom. Although a little suspicious of the first results I soon fell in love – there’s a depth to the tapestry-like weave that speaks to the tactility I search for in my photos. I realised the potential for interior fabrics and began to develop the idea.

Tell us about your new 'Rock Pool' textile collection.
I was in Limeni on the Mani Peninsula of Greece on an editorial assignment. Standing at the end of a jetty staring at the rocks in the water below, I saw all these colours – amazing – like a painter's palette – dancing on the surface. I took a small cart load of photos and these became the basis for the 'Rock Pool' collection.

ABOVE AND ABOVE RIGHT: Martyn Thompson in his Manhattan studio
BELOW FROM TOP: Thompson's watery 'Rock Pool' design can be used to upholster walls as well as furniture. The chair is covered in a mix of 'Whitewash' and 'Painted Galaxy'; A range of Thompson's earlier designs including 'The Accidental Expressionist' and 'Melting' are used to cover these cushions; 'Ripple' from the 'Rock Pool' collection covers the wall, the small sofa is upholstered in 'Blotch' from the 'Accidental Expressionist' collection

Does your photography inform your designs?
It’s very literally an extension of it. Each of the fabrics begins as one of my photographs before we edit and develop the image into a repeat pattern. My photography has always been very much about a certain quality of light and a particular muted colour palette. Happily these qualities translate beautifully to the jacquard loom process.

ABOVE: The 'Green Buterflie' scarf from Martyn Thompson's first accessories collection is printed on silk and uses designs from his interiors collections

We hear you were quite the club kid in the Eighties…
Ahhh... that was the early Eighties. A lifestyle choice that didn't bode well for my university studies! I always loved dressing up and was a real show off on the dance floor. I started making my clothes when I was quite young and was totally enamoured of Vivienne Westwood and Malcolm McLaren. I didn't really think anything could get better than New Romanticism, but when their Buffalo Girls collection came out I thought I’d died and gone to heaven. It’s still my fave fashion moment ever. I guess music was my first great love – and I admired performers like Siouxsie and the Banshees as much for how they looked as for their sound – though the music was fabulous too of course.

That period was an incredibly creative time, is there anyone who particularly inspired you?
There was a general spirit of getting on with stuff to just do it. For me, a young queer kid, this felt like a time outside of boundaries and prejudice. Boy George, Marilyn, Jimmy Somerville and other 'out' singers were a total inspiration. Homosexuality was still illegal where I grew up and I think these people gave me permission to exist.

What are your favourite design hotspots in the Big Apple?
The Future Perfect design store (below left) – David Alhadeff is a total advocate of what is new and is helping many new designers build their careers. I’ve always really admired Paula Rubinstein for her quirky take on vintage objects and textiles. Other favourites are Federico de Vera on Crosby Street – he has a really beautiful vision – and I love the new Oliver Gustav shop on Howard Street (below right).

Do you have any design heroes?
Yes plenty… to name a few, Gio Ponti, Mariano Fortuny, Vivienne Westwood, Susie Cooper.

Where's on your travel wish list and why?
Well, I'm crazy about Iceland. I love that there is still a sense of the unexplored and the impenetrable. It’s so ancient looking and can get really remote, really fast and you feel like you’re in the middle of nowhere with no one – not a sensation that's commonly achieved where I live in Manhattan!

What's your social media of choice?
I have an Instagram account but I'm disappointed that it has become such a commercial medium. I think that Tumblr can be really beautiful, especially the 'pin up' board format – that's my favourite.
martynthompsonstudio.com 

Pictures: Lauren Coleman (The Future Perfect)

PATRIZIA MOROSO Moroso – Part 1

Italian furniture brand Moroso’s creative director, Patrizia Moroso, is known for curating bold collections that break new ground in interiors. Her collaborations have developed the careers of many of design’s biggest names. Currently touring Australia with Hub furniture to source new talent and launch limited edition upholstery by seven local fashion and accessory designers, Patrizia caught up with the Fizz.

BY SOPHIE DAVIES

What's happening on your current Australian trip with Hub furniture?
I’m here for two weeks for Moroso doing launches and presentations with Hub in Melbourne and Sydney, and also visiting Tasmania's Museum of Old and New Art. Australia is a country I love. The first time I came in 2003 I was with Patricia Urquiola at the beginning of our work relationship, and we became real friends during that trip. We spent an amazing long weekend in the desert centre at Uluru. We also went to Melbourne and Sydney, which were super-fantastic, modern and bright, and everywhere women were managing the museums, galleries and shops. So there is a sort of genius loci [spirit of place] here I think, and now in this modern period it belongs to women. Australia is a very contemporary continent, a little different from the rest of the world, with a lot of potential.
 

ABOVE: Design guru Patrizia Moroso
BELOW: A trio of Alfredo Häberli's iconic 2003 'Take a Line For a Walk' armchairs for Moroso in fabrics by Australian jeans label Nobody Denim, fashion designer Martin Grant and messenger bag brand Crumpler

ABOVE: Four 2005 'Smock' chairs by Patricia Urquiola for Moroso upholstered by Australian fashion talents KuwaiiAkira Isogawa, Lisa Gorman and Steven Khalil

What kind of fresh talent are you hoping to find through the Moroso Design Speed Date project?
The Design Speed Dating was organised by Hub’s team to introduce me to some young Australian designers, with 20 short pitches in Melbourne and 20 in Sydney, to source potential collaborations. It’s an interesting exchange between someone that usually works in furniture design and some young talents that usually work in fashion or other disciplines. If someone is bright when designing a printed fashion fabric that’s not so far from when we are imagining the cover for a chair. It’s like imagining the perfect dress for someone, so when you are changing the skin of the object, you are also changing its personality and attitude. We wanted to mix things up. 

ABOVE: Black-and-white upholstery for Alfredo Häberli's 'Take a Line For a Walk' chair by Melbourne bag and luggage brand Crumpler; Melbourne fashion label Kawaii's fabric on Patricia Urquiola's 'Smock' chair; Detail of 'Smock' chair upholstered by patterntastic Melbourne fashion brand Gorman

How do you identify great collaborators?
Nothing is precise, like everything in life, so I leave things a little up to destiny. I’m interested in people that I like, so in the end you find your friends and companions in life in the same road that you are walking. What makes a synergy between people is that they probably share interests, experiences, ideas or emotions. I’m quite empathetic about who I’d love to work with. It’s like the way you usually know who will be your friends in two minutes. They could already be famous and great designers, or they could be young and having their first design experience with me, it’s a very human response.

What's your role in fostering talent at Moroso?
I just try to find someone interesting and we try to make something together. I give a chance to young people or to people that have interesting ideas. I always hope young designers can one day develop their own super story. After a collaboration what they do is not up to me, of course, but many times they have become pretty famous, like Doshi Levien or Tord Boontje and many others that started their career with Moroso. In many cases they were going to be someone with good ideas and great work anyway, it’s not because of me, I just try to spot them early!

ABOVE FROM LEFT: Regular Moroso collaborators include Spanish superstar Patricia Urquiola and Dutch designer Tord Boontje

What fuels your long creative relationship with Patricia Urquiola?
When I first met Patricia she was a young Spanish girl working in Italy, in a fantastic design firm. She wanted to establish her own studio but it was not easy to find someone who would put faith in a young woman. Back then the world of design was not full of women – now it’s different, fortunately you can find a lot – but at that time it was more difficult, so when we met each other it was like an instant click. For me it was clear she had a great talent, but also it was easy for me to communicate with her because she was a woman, and for her it was the same, throwing her ideas to someone understanding. And so we started collaborating and now she is a huge, important name.

ABOVE: Patricia Urquiola's striking Moroso booth design for the 2016 Milan Furniture Fair eschewed fixed walls for lightness. ‘Patty put together the idea of colour, toile fabric and transparency to divide the space, so it was like a labyrinth of rooms where you could lose yourself a little,' says Patrizia Moroso

How do you like to work with designers?
Many companies have a strict relationship with one designer, like in fashion where you have a brand producing a name. I try to give many designers a chance to do something in our collection. That way you can find a multiplicity of ideas and styles, and that makes me happy. It’s more like real life, where every day you meet very different people, and I love that diversity. I love the inspiration that comes to me through designers, like when Tord Boontje’s romantic idea of nature changed the minimal, functional aesthetic that was everywhere around 2000. He’s a unique man that has a special sensibility like a Romantic late 19th-century artist. For me that was absolutely fascinating, so wow, yes, we had to explore this thing! To give visibility to ideas is fantastic. Sameness, and standardisation, kills everything. I try to do something different from normality or banality. 
moroso.it  hubfurniture.com.au

See Moroso's limited edition chair collaboration with Australian designers at the Hub showrooms at 63 Exhibition Street, CBD, Melbourne and 66-72 Reservoir Street, Surry Hills, Sydney until Christmas 2016. Patrizia will also take part in a free talk in Sydney on 10 October 2016 (book for limited places). For more insights click on Part 2 of our Q&A.

Photos: Limited edition chairs, Jenah Piwanski; Tord Boontje, Angela Moore

THEO WILLIAMS Another Brand

Acclaimed UK designer Theo Williams – formerly creative director of Habitat and head of design for John Lewis Home – has collaborated with manufacturer Qualita to launch his own furniture company Another Brand, the home of beautiful, no-nonsense pieces where quality is king

BY CLAIRE BINGHAM

How did you get into the industry?
I started in graphics at Manchester University before switching to industrial design. There was a competition to design a radio, which I won. I used to live with a bunch of DJs so I took the idea of a wheel that spun through the stations from them. The next thing I was in Milan, needling people and designing products for studios such as Marco Zanuso, Prada and Alessi.

Describe your style in three words
Simple, honest, rational. I hate the phrase ‘form and function’ but it’s true. There should always be a reason for something being there. When I’m coming up with a new design, I start with a list of functions that the product must have before moving on to its finish and colour. That is what gives an object its design edge and transforms it into the thing of the moment. The shape doesn’t.

How did Another Brand come about?
After all these years working with lots of designers and big brands, I wanted to work directly with the manufacturer. We play to our strengths. They hold the stock and take care of distribution, while I come up with the designs. By partnering up with Qualita, we have created a new business for them and an opportunity for us. The idea is to work with a variety of manufacturers to create a cohesive collection of products.

ABOVE: Theo in his studio in Queen's Park, London
ABOVE RIGHT: The 'Tavolini Primo' tables are designed to tuck in together, each at varying heights and widths. Available in assorted colourways, the 'Primo' circular tables have a painted solid oak top and base and a natural oak leg, and are sold flat-packed in a kraft box
BELOW: The 'Tavolini Strada' set of three rectangular tables nests together in varying heights, lengths and widths and comes in five finishes, Light Grey, Petrol Blue, Yellow, Flame Red and Latte Oak

What was the idea behind the new Tavolini designs, launched at London Design Festival 2015?
The premise was to have something that you can pick up and walk away with in a lovely box – an impulse buy; the prices also reflect this. All the tables are different. There are oak, glass, metal and fabric tops… We’re a one-stop-shop for small tables.

How are the products made?
When it comes to designing for Another Brand, we consider the manufacturer’s capabilities. It all works backwards from what they can or cannot do. 

What’s coming up next? 
There’s going to be more Tavolini and we’re moving into upholstery and lighting. Theo Williams Studio has also been commissioned to co-design a capsule of accessories for McLaren Honda Formula 1 team in 2016 until further notice.

ABOVE FROM TOP: The circular 'Tavolini Primo' side table trios have a small footprint but are big on impact; In clear or smoked glass with oak legs, the 'Tavolini Ponte' coffee table has retro Italian styling
BELOW: Another Brand's earlier 'Cubo' range by Williams includes tables, storage and seating for dining/living rooms, office, bedroom or hall. Finishes, colours and sizes can be modified to suit you (we love this graphic blue). Qualita produces the furniture in London and Lithuania

What are your influences?
I quite like a grid. I’m drawn to things that are graphic-led and well thought out. I love proportions, posters and packaging books – things like that. A lot of my influences are from Italy. There was a certain formula to working there but it was liberating and instinctive. Also, back in the day there were no computers, so everything was drawn by hand. 

You spent 15 years working in Milan and two years in Amsterdam before moving back to London. How do the cities compare?
Milan was the exception to the rule. Everything was possible back then. The creative energy was enormous. For my first job as design director at NAVA Design, I didn’t speak any Italian and they just said: ‘Invent, think, create and see what we can do.’ They trusted designers to make things better. I remember aesthetics, taste and style being relative. It wasn’t judged on seasons or trends just good ideas and solutions. It was the attention to detail and perfection the Italians taught me; they were simply perfectionists at design, printing and production. I remember them fondly. They were my second family.

In Amsterdam I began working with a corporate structure for a couple of years, which was creatively driven but without the instinctive nature of Italy. Nobody really owned anything. It was inspiring for the first year but I missed the spontaneity and instinctive nature of the Italians.

London for me seems to have all of the above and more. After 17 years away from the UK I can feel an undercurrent entrepreneurial spirit, which I think defines British creativity, with a bit of wit thrown in. There’s a natural impulse where people are just getting on with it and this creates an organic point of view and personality. There is a tradition in the UK where designers are interested in the processes, but we have moved away from traditional manufacturing towards innovative creative solutions. Reacting to the market is one thing but the depth and choice of the colleges and mixed nationalities studying here creates this entrepreneurial spirit; if only they had more opportunity to make and not just design. A few more workshops and manufacturers would be useful. The ideas are plentiful. It’s the making of them that’s hard.

BELOW: We love the slender forms and bright weaves of Theo’s 'Tavolini Lago' occasional tables, which feature an innovative fabric top. Usually used for outdoor parasols, the Sunbrella material is red wine-proof...

Who are your design heroes?
Achille Castiglioni, James Irvine (who was a good friend of mine), Jasper Morrison, Marco Zanuso and companies such as Alessi. When you look at that Philippe Starck lemon squeezer, it’s ridiculous. It’s everything they don’t teach you at school. 

Where’s on your travel wish list?
I’ve got to go to Shanghai but I’m not sure that’s on my wish list as such. I’m taking my son to New York in April, which is exciting. I promised him we would do the Shard, the Eiffel Tower and next it’s the Empire State Building. 

If you weren't a designer, what might you have been?
A storyteller. I have piles of short stories that I have written, all based on my childhood. All of the stories are true.

ABOVE LEFT: Philippe Starck's iconic 'Juicy Salif' lemon squeezer for Alessi c 1990
BELOW: All of Another Brand's flat-pack 'Tavolini' tables come beautifully packaged in a set of three

Is there anything you wish you had designed?
I’ve always wanted to build a brand from the bottom up, which is what I’m doing now. 

What’s your social media of choice?
I like Instagram the best. I don’t do selfies on the beach but, instead, use it for things I see and love.
anotherbrand.co.uk; theowilliams.com

ERWAN BOUROULLEC Bouroullec Brothers

French design duo Ronan and Erwan Bouroullec – aka the Bouroullec brothers – is best known for pared-down, cutting-edge furniture for brands including Artek, HAY, Iittala and Vitra. Their new I-shaped 'Serif' television for Samsung was a showstopper at this year’s London Design Festival and we predict this life-enhancing piece of tech is set to rock our world, recreating TVs as stylish furniture. Here, Erwan shares his ideas and interests.

BY CLAIRE BINGHAM

Tell us about your new 'Serif TV'. What inspired the design?
The motive was to make an object that sits properly in the world we live in today. We wanted to move away from a flat black screen, while designing something in which the case was as important as the screen inside. Unlike most TVs where the frame is meant to disappear, the serif-shaped surround frames the screen like a picture.

What are your favourite features?
The struggle was to make sure that the TV was good-looking from any angle and can be moved around like any other piece of furniture in the home. The television features a fabric panel on the back to hide all the ports and wires, so it can be moved away from the wall. 

ABOVE: Erwan Bouroullec (left) with brother Ronan
BELOW: The duo's first foray into electronics has resulted in the 'Serif TV', the world's first typographic television; Looks like puss knows a good thing when she sees it...

Sum up your style in three words.
Accessible, poetic, elegant. There is a rational approach to the way that Ronan and I work, so I would say our style is more connected with method. The shape follows from the way in which the product is built. 

What’s influencing your work right now?
More and more, we are striving for a radical approach, reworking things that affect everyday life. The 'Serif' is a good example of this. It is something that people are surprised by and want to discuss, yet they like it and want it too. 

ABOVE: Sketches, fabric samples and maquettes for the 'Serif TV'; A spot of serenity amid the organised chaos of the Bouroullecs' studio

Describe your workspace.
Incredibly messy, which even to me is surprising. I imagined that as I got older I would become more organised but, in fact, I quite like the studio to keep a degree of unprofessionalism. It keeps us off a predetermined track and preserves our creativity. 

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Who are your design heroes?
I don’t have a passionate view on design heroes as such. Of course, in the Fifties, the Americans were fundamental and also the Nordic countries with Jacobsen, Aalto and Wegner. On the dark side, a little later, the Italians were like what Punk was to the music scene. Mario Bellini was a really important figure but most recently I really respect Jasper Morrison (right). His designs from the Eighties have shaped what is happening in design right now. 

Where do you find inspiration?
In making things. I spend most of my time in the studio working on a project. 

Are you always thinking about design?
Always, except when I read each night to reset my mind for a while. I have a couple of science fiction books on the go, Code Source by William Gibson and Grande Jonction by Maurice G. Dantec.

Your biggest must-have in a home is…
A kitchen. It is the most social place of the home. For me, cooking is a time when you connect with the elements – fire, water, flesh, earth and scent. It has the same kind of energy as sculpting, where things are happening and you can’t think twice. 

ABOVE FROM LEFT: The 'Palissade' range of outdoor furniture for Danish brand HAY was a big hit at Maison & Objet in September; The 'Kaari' wall shelf from the Bouroullecs' first collection for Artek, which launched at the Stockholm Furniture Fair in February

Is there anything you wish you had designed? 
Since we designed the TV, I feel our design philosophy is suited to a more technical subject. I would be very happy to design a car. 

If you weren't a designer, what might you have been?
When I was a student I used to look after young kids at summer camp. We were always doing stuff like building kites. It was really amazing.

What’s your social media of choice? 
I don’t post anything myself but I like to go on Instagram, as does Ronan. People often upload shots of our products and it is always pleasing to see their comments on how they are enjoying them at home. If the cat loves it, then so do we.
bouroullec.com  samsung.com

'Serif TV x Samsung' is available in 24", 32" and 40" sizes from 2 November 2015.