After months of lockdown, leading Australian interior designer Fiona Lynch sought restoration in the heart of the desert. Walking the Larapinta Trail with friends, she found light, colour and form revealed anew: sandstone escarpments glowing at dawn, ridgelines dissolving into violet dusk, and ghost gums etched against an endless sky.
From these impressions, and the immersive simplicity of the Colour Field Art Movement, came the idea for Desert Field.
After months of lockdown, leading Australian interior designer Fiona Lynch sought restoration in the heart of the desert. Walking the Larapinta Trail with friends, she found light, colour and form revealed anew: sandstone escarpments glowing at dawn, ridgelines dissolving into violet dusk, and ghost gums etched against an endless sky.
From these impressions, and the immersive simplicity of the Colour Field Art Movement, came the idea for Desert Field.
Four throws—Simpson, Stanley, Ormiston and Sonder—become woven studies of landforms and light. In bands of colour distilled to their essence, they translate the Larapinta’s daily rhythms into textiles that are both abstract and elemental. Each design speaks in fields of hue, shifting like desert air from morning radiance to evening depth.
The wool is sourced from the historic Winton Estate in Campbell Town, Tasmania—a property long admired by Fiona’s grandfather, the renowned sheep judge J.W. Benham, whose connection to Winton genetics shaped his own flock.
Generations later, that lineage comes full circle in Fiona’s first textile collection. Woven in Tasmania at Waverley Mills from superfine merino, Desert Field honours both heritage and horizon: a meeting of enduring wool and contemporary design, where colour itself becomes the landscape.
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