The Rhythm of Repeat with Rapture & Wright
Hand-printing is, by its nature, resistant to haste. At Rapture & Wright, that resistance becomes something more expressive—an approach shaped by precision, repetition and a distinctly human rhythm. Each pull of the screen builds the pattern colour by colour, but rather than feeling mechanical, the process has a kind of movement to it: a steady, almost choreographed exchange between hand, ink and cloth. Subtle shifts in pressure and pigment create variation across the surface, giving each length its own energy. That same measured thinking informs the studio’s sustainability, where printing to order, natural fibres and low-waste production are integral rather than incidental.
Inside the Rapture & Wright Studio Barn.
Founded in 2004 by Rebecca Aird and Peter Thwaites, the studio grew from a shared desire to turn a portfolio of patterns into fabric. What began in a leaky barn is now one of the UK’s few remaining hand-print workshops, with production still taking place in-house.
Designs are separated by colour and transferred onto individual screens; pigments are mixed by hand; cloth is carefully aligned before printing. Two people might produce just 30 metres in a day. Within that constraint lies the quality of the work: a gentle, tonal rhythm across the surface that reflects both control and spontaneity. Central to this is the repeat, typically set between 65 and 70 centimetres and engineered to remain invisible. This balance between structure and flow is explored further in Selvedge Issue 129, Repeat, where Rapture & Wright feature in ‘Rhythm & Blues’.
Rapture & Wright, Webbs Wonder. Hand-printed on linen, this design depicts an Arts & Crafts house in Sussex set within its gardens and landscape, and is named after its architect, Philip Webb.
Rapture & Wright, Tabriz. A large floral block print of scrolling tulips, inspired by 17th Century Ottoman textiles and antique Venetian velvets. Hand screen-printed on Linen.
We’re delighted to offer Selvedge readers the chance to experience this craftsmanship firsthand, with thanks to Rapture & Wright. In this issue’s prize draw, one lucky winner will receive three metres of their hand-printed fabric, worth £500—choosing any design and colourway from the collection. Whether used for curtains or upholstery, it’s an opportunity to bring a piece of this thoughtfully made textile work into your own interior.
In the interview that follows, Rebecca Aird reflects on the textile influences that shape the studio’s work in our 5 Minutes With a Friend series.
Rebecca Aird, co-founder, Rapture & Wright
Portrait of Peter Thwaites and Rebecca Aird
Rebecca, what is your earliest memory of a textile?
There are so many. I remember the floral curtains in my childhood bedroom, and the large, colourful Spanish bed-hanging in my parents’ room. I loved sculpting starched white napkins into shapes for the table on Christmas Day. I’ve always been in awe of how fabrics can transform a space and take on so many different roles.
How would you describe what draws you to textiles and the world of making?
I always knew I wanted to be a designer. I began in graphic design, but over time I missed the physical act of making as computers became the dominant tool. Textiles offered the perfect balance — time spent developing ideas, followed by the hands-on process of bringing them to life. It satisfies both the creative and the tactile.
Ideas in process in the studio of Rapture and Wright.
If you create textiles, where do you feel most inspired to work?
I love working in the studio, especially when I have it to myself. Everything I need is there — books we’ve collected over the years and all the tools that turn ideas into reality: pencils, lino, cutting mats, paint, as well as the computer and the internet. It’s a space filled with reference, possibility and focus.
What has sparked your imagination or inspired you recently?
A recent trip to Paris during Déco Off was incredibly inspiring. It was wonderful to explore a city full of small, independent shops, each with its own distinct character. The energy was busy and exciting — creatively invigorating.
Above and below: colour sampling in preparation for print production.
What is your most treasured textile, and what story does it carry?
It’s difficult to choose just one. Often, the most treasured pieces are those tied to memory — textiles that hold stories, mark occasions, or carry a sense of time and place. I have a beautiful dress of my mothers from the 60’s which I wore for a while but it is now quite delicate so I only catch a glimpse of it every time I open the wardrobe, and it reminds me of her.
Where did you first learn your craft, and who shaped your early approach to making?
As a child, I was given a Japanese RISO manual postcard printing kit — and that was the beginning of my love of screen printing. I spent hours printing thank-you cards and invitations for friends and family. I recently discovered one listed on eBay, which brought it all back.
At secondary school, I designed and printed posters for plays and events. Later at art school, although I was intrigued by the arrival of computers, I always found myself drawn back to the print room — it felt far more exciting.
Passing the squeegee across a Rapture & Wright design.
What material or technique are you currently experimenting with or curious to explore further?
Screen printing has existed for over a thousand years. When we started Rapture & Wright, many people predicted digital printing would replace it entirely. Yet twenty years later, more people are screen printing than ever before. We continue to develop new designs and refine our processes. Screen printing has a depth and character that digital simply cannot replicate and I love seeing each layer going down and how it changes the design.
Working in tandem across the print table, hand-printing designs to order.
What does a perfect day of making look like for you?
Once the design phase is complete, it’s all about precision and process. The table must be clean and glued. The cloth carefully ironed and secured. Stops aligned. Colours mixed perfectly. Screens maintained. The correct squeegee selected — and that’s before printing even begins.
When we start printing, it becomes a rhythm: passing the squeegee back and forth with the same pressure, speed and angle, drying the cloth as we go. It’s collaborative and focused work.
At the end of the day, the real satisfaction is seeing rolls of beautifully printed fabric, ready to be sent out into the world.
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Further Information:
Click here for a chance to win three metres of hand-printed fabric from Rapture & Wright
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Image Credits:
Lead: Rapture & Wright, Cybele's Reverie.
All further images as credited in captions and courtesy of Rapture and Wright.