Kate Daniel is a textile artist who recently graduated from the Australian National University School of Art and has a Masters in Arts Administration from the College of Fine Art in Sydney. Last year she was living and working in London where she compiled this report on the latest developments in the craft/design scene.

The only good thing about the London tube is that it affords one the time to catch up on their reading. Trying to pass time on the tube one night in September, I pulled the official guide to the London Design Festival from my bag and began to flip through. Its selection from my handbag was a lucky dip amongst a collection of brochures, books, pamphlets and guides all swimming within. I began to dog-ear the pages of exhibitions I wanted to see. As I reached my stop and observed the now defaced guide I anticipated the next month in London with much excitement.

The London Design Festival is a dynamic schedule of exhibitions, fairs, seminars, lectures and events. The diverse range of exhibitions which I attended as part of the Festival was of an exceptional standard, I was continuously impressed and inspired throughout the month.

A personal highlight was the 100% Design Exhibition held at Earls Court Exhibition Centre at the end of September. The exhibition is now in its tenth year and has become the British design show standard. Impressive for its scale alone, the show combines young and emerging designers with world renowned manufacturers. 100% Design showcases the latest and the most technologically impressive interior products right alongside some of the best, yet ultimately simple products.

One such designer maker that stood out for me was Jenny Wilkinson. She had created an interactive display where she was encouraging the audience to try her product; a series of wallpapers, whereby the illustration was to be completed using a paint-by-numbers system by the consumer. The results were remarkable and the process was enjoyed by all those who were attempting to paint their own patch of wallpaper. Perhaps it was her enthusiasm for her product which drew my attraction to her stall, an attribute shared by many of the younger designers. Wilkinson's innovative wallpaper was simple yet positively refreshing amongst so many other products that seemed to focus on the use of state-of-the-art techniques and materials to wow their audience. Undeniably, I was impressed by such products myself, notably the Cloth Clinic's "Phosphor Bronze" woven collection, metallic fabrics patterned by an ultra sound process. The appearance of the cloth was as stunning as it sounds and attracted a large and curious crowd.

Another inspiring designer was Helen Murray. Her fabrics, embedded with roses, were as impressive as Murray's self-marketing skills. In 2003 she was the winner of the British Craft Council's Development Award and has since gone on to enjoy great success. Recently she has attracted much publicity and attention in London with the development of a unique technique for manipulating the surface of leather to create her three-dimensional designs. It was an image of Murray's work in the London Design Festival Guide that initially encouraged me to attend the exhibition. I sat beside Murray, chatting to her on one of her beautifully embellished chaise-like lounges, admiring the allure of her fabrics as well as her person. It was then that I recognised the invaluable nature of this unique experience. To meet the makers offered a rare insight into the character of the products on display.

My enthusiasm for the Design Festival then led me to the Chelsea Craft Fair which was held in October. The Fair was celebrating its 25th Anniversary this year. Over the last quarter century it has developed a most prestigious reputation, and claims to be the best in Europe. The rather opulent venue, the Chelsea Town Hall, houses the Fair annually.

The Chelsea Craft Fair is celebrated as an exhibition of quality work by leading designer makers. Each display featured well made and unique products, personal to each maker. The impressive array of stalls was somewhat overwhelming throughout the lavishly decorated building. The eclectic mix of architecture, objects on display and visitors created quite a chaotic environment. An aspect I endured willingly in order to enjoy the new and emerging talent that the Fair has become a forum for.

Amongst an amazing array of products certain designers stood out, often appealing to my sense of humour. Perhaps my favourite at the Craft Fair was Kate McBride's quirky ceramics. At fist glance the china I was observing appeared to be a delicate and ornate range of porcelain tea cups and tea pots. A closer look revealed that the pretty china was contaminated by conspicuously placed black blow flies. Tiny figurines had been created with upside-down teacups dressed in skirts. One with its skirt blowing north was amusingly named "Marilyn Monroe."

Yo Yo Ceramics also had a witty and entertaining edge. The plastic-looking containers are reminiscent of my mother's Tupperware collection with that slightly up-turned lip on the lids. All the works are in fact glazed earthenware.

It appeared to me that the UK is at the cutting edge of contemporary craft and design. With the Chelsea Craft Fair claiming to be Europe's finest you would expect a standard that would impress, inspire and delight. And it delivers. Much of what is craft is taking on a new guise, it is essentially more conceptual and ideally serves to comment, communicate and entertain.

The exhibitions and fairs I attended during the London Design Festival were all truly progressive and impressive. Their popularity alone is an indicator that contemporary craft and design is gaining universal recognition within the cultural industry. Its enthusiastic, young and emerging makers, I believe, are the best ambassadors for its continuing recognition and success.

Kate Daniel, February 2005