Holland Street Designer Case Study: The Visionary Behind Michael Szell's Carnival Print
Exploring Michael Szell’s Iconic Floral Print That Blends Classic Chintz With 1960s Psychedelia
Michael Szell was one of those rare textile designers who treated pattern as a kind of theatre. His famous Carnival fabric captures that perfectly: a bold, exuberant floral that somehow blends the elegance of classic English chintz with the wild, mind‑expanding spirit of 1960s psychedelia. It’s a print that feels both nostalgic and rebellious, full of movement, colour and joy. Szell had an instinct for creating designs that weren’t just decorative but emotional, pieces that transformed a room and invited you into a world of their own. What makes Szell so interesting today is how closely his approach aligns with the values behind Holland Street. While our visual language is contemporary, the underlying philosophy is surprisingly similar. Szell wasn’t afraid of scale or drama, and neither are we. He looked to historical motifs and reimagined them for a new era, just as Holland Street draws from global textile traditions and translates them into modern, wearable artworks. There’s a shared belief that pattern should feel intentional and expressive — something that carries a story, not just a surface.
Christopher Farr plays an important role in this story, because he is one of the key figures responsible for bringing Szell’s work back into contemporary design conversations. Farr has long been known for championing exceptional textile and rug designers, and his studio has a reputation for reviving important archival prints with a level of care that honours the original artist. By reissuing Carnival, Farr helped reintroduce Szell’s bold, expressive world to a new generation of designers and collectors who might never have encountered his work otherwise. His revival of Carnival mirrors the way Holland Street approaches its own practice: celebrating artistry, honouring the original hand behind the work, and bringing expressive pattern into the present with sensitivity and intention. Both Farr and Holland Street recognise that great pattern doesn’t lose relevance — it simply needs the right context, the right maker, and the right moment to shine again.
Photography by Chris Wakefield
In many ways, Carnival is a reminder of what great print design can do. It shows how pattern can be joyful, generous and culturally alive, and why bold textiles continue to resonate with designers and wearers today. Holland Street’s work sits in that same lineage: a celebration of colour, craft and the pleasure of living with — and wearing — beautiful prints.
Colour: Terracotta
Colour: Wine
