But what’s surprising is that, despite their fascination with organic spirals and fractals, as Winteringham says, “all our designs are very geometric and vector-based”. Murray previously art-directed shoots for brands such as Louis Vuitton, and much of Winteringham’s work was for the rag trade too. It makes sense that their first Patternity products would be in fashion. A monochrome cashmere kimono-like cardigan hangs on the wall – a collaboration with eco-knitwear designer Chinti and Parker. They took over a Selfridges shop window for the launch, “and from there,” says Murray, “more projects rolled in”. The tights were their first product, with designs far from the neat regular patterns people usually wear on their legs.
“Now and again I’ll wear the tights, but we often say all the patterns are all in there,” Murray says, tapping her temple. Sat at a large monochrome marquetry table, that they designed themselves, Murray is wearing head-to-toe black, Winteringham plain jeans and a T-shirt. “We’re not looking very Patternity today,” says Murray, when we meet in their studio. As well as the website, Patternity has grown into a thriving design studio, online community and now a handsome coffee-table book.
They study the history of human uses for patterns, how and why they occur in nature and science, and the reasons everyone enjoys looking at and recognising patterns. Since Patternity’s inception in 2009, what might at first appear to be a purely aesthetic endeavour has evolved into what the pair earnestly call “a philosophy of seeing”.
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