In New Zealand’s native Maori culture, written language first arrived with the Europeans, who phonetically transcribed the local Te Reo dialect. Before that, oral history and classic artistic expressions including painted patterns, weaving, and carvings told the history of the people. For fabric designer Ngahuia Damerell, whose name is a daily reminder of her Maori roots, this traditional practice was influential. “Textile design is an opportunity to use pattern as a mode of communication, something tactile to bind abstract concepts in a decorative way,” she says.
After graduating from Massey University with a degree in textile design, Damerell spent two years working for New Zealand fabric company Textilia before joining Mokum (now owned by James Dunlop Textiles) in Sydney. There, among other projects, Damerell got the rare opportunity to develop the interior textiles for Baz Luhrmann’s 2013 film adaptation of <em>The Great Gatsby</em>. She shifted focus to carpet, first as a concept designer for Interface (in Sydney and in London), and then subsequently as a design consultant and eventually the creative director for Danish manufacturer EGE, enticed by both brands’ reputations as green manufacturers. After establishing the Tom Dixon x EGE range (a highlight, she says) and building the brand in New York, Damerell moved to Paris, where she founded <a href=”https://www.instagram.com/n_g_a_h_u_i_a_/” target=”_blank” rel=”noopener noreferrer”>N G A</a>, her own studio and textile consultancy.
Just over a year ago, she took another career turn, joining <a href=”https://group.accor.com/en” target=”_blank” rel=”noopener noreferrer”>Accor</a> as senior design project manager for the hotel company’s luxury and premium brands. “Being based in Europe now refines my viewpoint and inspires a vision where the world of interiors has the potential to pioneer inclusivity and empathy,” she explains.
Damerell’s role has partially evolved into emphasizing the art and styling of such brands as Fairmont and Sofitel. “Like textiles, art offers an opportunity to convey a visual message,” she points out. But she hasn’t entirely left fabrics behind. In the wake of COVID-19, Damerell is applying her own line’s custom prints to antique screens, which are “especially relevant in today’s world situation,” she says. “In particular, [they are] useful for the communal areas of hotels to establish flexible, transitional space.”
Damerell takes part in other pertinent initiatives, including Accor’s RiiSE diversity program, and she serves on the board of the NEWH Paris chapter. The organization has just hired a consultant to “help foster equity, inclusion, and diversity in hospitality,” she says. “We can all find ways to improve consciousness, communication, and behavior.”
<em><strong>This article originally appeared in HD’s <a href=”https://www.nxtbook.com/nxtbooks/hd/202011/” target=”_blank” rel=”noopener noreferrer” data-feathr-click-track=”true”>November 2020 issue</a>.</strong></em>
