The Selvedge Wall Calendar 2026

We are pleased to announce the launch of the Selvedge 2026 calendar.

This calendar features 12 beautiful textile patterns. Printed on white 178 grams matt card, 24 x 48 cm.

JANUARY: “Feather Design,” c.1930, designed by Phyllis Barron (1890–1964) and Dorothy Larcher (1884–1952). Barron and Larcher were influential textile designers whose collaborative practice redefined hand-block printed fabric in 1930s England by rejecting industrial production in favour of hand-carved woodblocks. “Feather Design” exemplifies their mastery of rhythmic repetition, organic form, and natural dyeing. 

FEBRUARY: “Small Medallion,” c. 1955, designed by Peggy Angus (1904–1993). Angus was a British painter, designer, and educator who championed the integration of art into everyday life. “Small Medallion” exemplifies her commitment to accessible, handcrafted design rooted in modernist ideology and forms, vernacular craft traditions, and medieval folk motifs. 

MARCH: “Hyacinter” (Hyacinths), 1948, designed by Arne Jacobsen, screenprint. During the 1940s, Jacobsen, a Danish architect and designer, created lush naturalist patterns inspired by the Swedish landscape in his garden and the surrounding area of his summer cottage at Gudmindrup Lyng. “Hyacinths,” a bold graphic design featuring flowers at various stages of bloom, displays this passion for botany. 

APRIL: From the “Taliesin Line” of fabrics and wallpapers designed in 1955. Created by Frank Lloyd Wright (1867–1959), renowned for his architecture, he also made a significant contribution to textile design by adapting architectural motifs into repeat patterns, characterised by abstraction, symmetry, and an engagement with spatial harmony. This design was featured in Schumacher’s Taliesin Line of Decorative Fabrics and Wallpapers. 

MAY: “Ararat,” 1937, designed by Ashley Havinden (1903–1973). Havinden, best known for his pioneering graphic design, also applied his modernist sensibilities to textile design. Eschewing representational motifs, he prioritised balance, rhythm, and spatial tension, influenced by European avant-garde movements. His contributions mark an important moment in postwar British design, bridging fine art, commercial practice, and modern interiors.

JUNE: “Jagafalke” (Hunting Falcon), 1913, designed by Josef Hoffmann (1870–1956) and printed by the Wiener Werkstätte (designers’ collective). Hoffmann was one of the founders of the Vienna Secession, a turn-of-the-century art and design movement closely related to Art Nouveau. Hoffmann used vegetal elements for “Jagafalke,” as are characteristic of this period of his creative career: highly stylised linden leaves and bellflower-like blossoms embody many of these design sensibilities. 

JULY: “Pink Grapes,” 1932, designed by Duncan Grant (1885–1978), for Allan Walton Textiles. Grant, well known as a member of the Bloomsbury Group, was a Scottish painter, textile designer, and potter. He founded the Omega Workshops with Roger Fry and Vanessa Bell in 1913, a design group aiming to remove the boundaries between the decorative and fine arts, visually inspired by a post-impressionist design vocabulary. 

AUGUST: “Vegetable Tree,” c. 1944, designed by Josef Frank (1885–1967). Inspired by a collection of palampores showcased at the Metropolitan Museum of Art in New York, which Frank saw while living in the city between 1943 and 1945, “Vegetable Tree” illustrates how Frank frequently fused imagination with reality in his patterns. The intertwined stems of flowers and fruits in vivid colours evoke a dreamlike world. 

SEPTEMBER: “Harlekin” (Harlequin), 1949, designed by Helga Foght (1902–1974). Foght was a Danish textile artist. She established a studio in 1937 and initially produced floral designs before eventually transitioning to almost entirely abstract styles, as seen in her “Harlekin” design. As a teacher (1952–70), she encouraged hundreds of students to experiment with new designs, colour combinations and materials.

OCTOBER: “La Foret” (The Forest), c. 1920, designed by Raoul Duffy (1877–1953). Renowned for his vibrant paintings and joyful fabric patterns, Duffy was also a pioneer of early 20th-century textile design. In 1911, he established a small factory to design and print fabrics for the couturier Poiret and the textile company Bianchini-Férier in Lyon. “La Foret” has been recoloured by the textile designer Christopher Farr. 

NOVEMBER: “Black Goose,” 1938, designed by E. Q. Nicholson (1908–1992). “Black Goose” was designed while Nicholson, a British textile designer and painter, was working with her sister-in-law, Nancy Nicholson, who had previously printed textile designs for her brother, Ben Nicholson, and his wife, Barbara Hepworth, at Poulk Press. “Black Goose” showcases her sense of graphic spatiality, complemented by natural imagery. 

DECEMBER: “Finnish Hop,” 1994, designed by Virginia Lee Demetrios (née Burton). Demetrios was co-founder of the Folly Cove Designers, a collective rooted in Gloucester, Massachusetts, that maintained a commitment to democratic and accessible design. Printed in a single rust-red ink, “Finnish Hop” captures the exuberance of folk dance with rhythmic, repeated figures in motion, framed by radiating dots.

*Our calendars are shipped by a third party who have imposed a seasonal surcharge on their shipping.