Haptic & Hue – Tales of Textiles

Episode: Althea McNish – Queen of Colour

Host: Jo Andrews
Date: January 1, 2026

Episode Overview

This episode of Haptic & Hue revisits the life and enduring impact of Althea McNish, the pioneering Black British textile designer whose brilliant use of color revolutionized post-war British homes and the textile industry worldwide. The show explores how McNish’s legacy has grown since her death, highlighting her vibrant career, Caribbean roots, technical prowess, and her newfound recognition in both the art world and popular culture.

Key Discussion Points

1. The Rise of Althea McNish’s Reputation

• Host Jo Andrews introduces the episode by noting how McNish’s recognition has surged since the show first covered her, referring to her recent retrospective at the William Morris Gallery, an in-progress biography, and increased demand for her fabrics ([03:10]).
• Andrews reflects on how McNish was previously overlooked:
  • “She was remembered here and there with a few lines and an obituary or two, but not with the acclaim she deserved.” ([02:25])
• There is now a clear sense of overdue reassessment and celebration of her legacy.

2. Althea’s Signature Use of Colour and Artistic Vision

• Ashley Grey, a mid-century textiles expert, describes McNish’s mastery:
  • “She brought something truly stunning, a vibrancy, extraordinary knowledge of how to use colour to inspire… using her life experience really to celebrate the beauty of design.” ([03:40])
• Alexis Shepherd, fashion designer, emphasizes her role as a trailblazer for Black and Caribbean designers ([04:12]).
• McNish’s motto, “Colour is mine,” summed up her radical approach:
  • “Her artistic ability and her majestic use of colour detonated an optimism and joy into a drab post war Britain.” ([04:42])
• Her work seamlessly blurred the boundaries between fine art and design, making vibrant modernism accessible in everyday domestic textiles.

3. Personal Style and Personality

• Dr. Christine Checinska, V&A Museum curator, reminisces about McNish’s flair:
  • “She always wore her own prints… They would sort of be clashing colors, but they somehow worked… She was just like this wonderful vision of creativity and always told fabulous stories.” ([06:57])
• McNish is remembered as not only stylish but also an engaging and warm storyteller who enlivened every room she entered.

4. Caribbean Roots and Early Influences

• McNish’s upbringing in Trinidad shaped her colorful artistic lens:
  • “She always said that everything she worked on, she would see it through a tropical eye.” ([08:09])
• Her childhood in a creative, intellectual household fostered her technical and artistic talents:
  • “They were almost sort of equals in some respects… her creativity was seen at a very young age.” ([09:26])
• She apprenticed as an artist, cartographer, and entomological illustrator before immigrating to the UK ([10:39]).

5. Journey to Textile Design in Britain

• McNish moved to London in 1951 for architecture but soon found her way to textiles through studies at the London School of Printing and then Central School of Art ([11:29]-[14:01]).
• The legendary Eduardo Paolozzi recognized her talent and encouraged her pursuit of textiles ([14:40]):
  • “He knew that she could actually bring something exciting into the home.” ([14:52])
• She stood out for treating textile prints as art:
  • “Print design as paintings in repeat.” (Alexis Shepherd, [10:39])

6. Rapid Professional Success

• McNish graduated from the Royal College of Art in 1957, immediately attracting attention:
  • “The day after she graduated, she was summoned to the London department store Liberties to meet the chairman.” ([15:33])
• She quickly became a freelance designer, working for top firms and haute couture houses (Dior, Schiaparelli, Givenchy, Lanvin), designed murals, and made textiles throughout Europe ([17:16]).
• Her independence allowed her to experiment and set trends, not follow them.

7. The Genius of “Golden Harvest”

• Her landmark design, “Golden Harvest,” fused English landscapes with Trinidadian color and light:
  • “It became the best selling design ever produced by Hull Traders.” ([18:51])
• Ashely Grey describes McNish’s design genius:
  • "When you look at Althea McNish's textile designs, you see that incredible confidence of an artist and a designer who completely recognizes that they don't have to go on and on and on and on. They can give the impression… and then the fire blazing, the colours blazing from behind." ([16:27])

8. Technical Mastery and Industry Influence

• McNish was praised for her technical skill and ability to challenge industry norms:
  • “Whenever printers told me it couldn't be done, I would show them how to do it. And soon the impossible became possible.” ([18:51])
• Christine Checinska:
  • “Her technical knowledge was second to none. She knew more about printing than they did. She just won everybody over.” ([19:43])

9. Navigating Race and Representation

• As a Black, female designer in a white, male-dominated field, she stood out but positioned herself above discrimination:
  • “She was so rare that [they] were dumbfounded.” ([20:26])
  • “She didn't pay much attention to… microaggressions… She was protected. She sort of had a protected aura around herself.” (Alexis Shepherd, [20:45])
• Her name was often known, but her face less so—even her husband assumed she was an “old Scottish lady” before meeting her ([21:35]).

10. Legacy, Recognition, and the Need for Preservation

• Despite her success, McNish was long underrecognized compared to white peers ([23:23]).
  • “She was never honoured for her immense contribution to British exports… or for her long years of teaching.” ([23:23])
• Christine Checinska laments the lack of awareness:
  • “I didn't hear about her work until I was sort of in my 40s… How empowering is that story?” ([23:50])
• Ashley Grey identifies McNish as an essential symbol of migrant innovation:
  • “Within Britain we may have had the raw materials, the wool, but we needed the ingenuity… and the vision of those who could come and work and understand and produce something beautiful with what we had here.” ([24:52])
• Calls for archiving and collecting her work are now urgent:
  • “I would welcome any materials, whether it's notebooks, whether it's artworks… because I feel that in the museum, we have… people that are able to do the conservation work… for future generations to enjoy.” (Christine Checinska, [27:06])

Notable Quotes & Memorable Moments

• On Her Unique Eye:
  “She always said that everything she worked on, she would see it through a tropical eye.”
  – Christine Checinska, [08:09]

• On Colour:
  “Colour is mine.”
  – Althea McNish, paraphrased by Narrator, [04:42]

• On Technical Skill:
  “Whenever printers told me it couldn't be done, I would show them how to do it. And soon the impossible became possible.”
  – Althea McNish, quoted by Narrator, [18:51]

• On Creativity Overcoming Prejudice:
  “She never saw anything as an obstacle… everything that happened in her life as more grist for the mill of her creativity, if you like.”
  – Christine Checinska, [22:53]

• On Recognition Gap:
  “She was never honoured for her immense contribution to British exports… or for her long years of teaching.”
  – Narrator, [23:23]

• On Cultural Contribution:
  “We needed the ingenuity. We needed the vision of those… who could come and work and produce something beautiful with what we had here.”
  – Ashley Grey, [24:52]

• On the Need for an Archive:
  “I would welcome any materials… we have people that are able to do the conservation work… for future generations to enjoy.”
  – Christine Checinska, [27:06]

Timeline of Notable Segments

• 00:20 – Jo Andrews introduces Season 8 and the special focus on Althea McNish's legacy.
• 03:40 – Ashley Grey and Alexis Shepherd discuss Althea’s influence and artistic mastery.
• 06:57 – Christine Checinska paints a personal portrait of McNish and her vibrant style.
• 08:09 – Discussion of McNish’s Trinidadian upbringing and lasting influence on her work.
• 11:29 – Althea’s technical training and unplanned entry into textile design.
• 14:40 – Mentor Eduardo Paolozzi’s support and McNish’s unique path within Central School of Art.
• 15:33 – Immediate post-graduate success, including major commissions and freelance work.
• 18:51 – “Golden Harvest” and her knack for fusing the Caribbean and English landscapes.
• 19:43 – Insights on her ability to command respect in industrial settings.
• 20:26 – Exploring race, representation, and experience in the textile industry.
• 23:23 – The problem of long-term recognition and calls for historical reassessment.
• 27:06 – Checinska’s appeal for preservation and archival work to secure McNish's legacy.

Conclusion

"Althea McNish – Queen of Colour" is both a tribute and a call to action. The episode illuminates McNish’s foundational impact on British textile design—a legacy of transformative color, technical innovation, and cultural bridging. Through the voices of experts and friends who knew her, listeners are prompted to reconsider how we celebrate creative contributors, especially those previously sidelined. The podcast ends with a clear message: preserving and promoting McNish's work is essential for future generations, ensuring her radiant vision continues to inspire.