Cannabis Card ">

An Inanimate Narrative: The Fictional Object Ethos

The creative pursuits of South Coast residents seem to know no bounds as week in week out we find another talented group or individual picking up their collective tools to produce. No exception to this fact is Fictional Objects creator Emma Rutherford. Omnipresent within her Fictonal Objects range of textile centric wares is an affinity to home, modernity and a contextual thought process. In other words, Fictional Objects offer pieces that adapt to their environment whilst enforcing their own agenda of comfort and future nostalgia.


Many of our fondest memories involve a sleepy-eyed duvet drag to the couch on a blistery winter day. At the very heart of such remembrances are feelings of comfort, warmth and security all rolled up into an impenetrably fluffy fortress of fabric. A consideration of memories similar to the above plus adaptability to space and time sit at the heart of the Fictional Objects ethos, “‘Fictional’ comes from the idea of selecting beautiful things for your self and home that create your own story” says Emma, “ and ‘objects’ could mean anything”.


“It’s about creating something of a super-good quality that is timeless, in terms of print and colour aesthetic, whilst being useful. Although I’m really into textiles, manufacturing anything that is beautiful on a boutique scale is pretty interesting to me,” Emma said in an interview with Room For Horse. And hence explains the ubiquity of a name such as Fictional Objects, as both words raise a collective intrigue toward the nature of their business. The “meaningless and interesting” coupling could apply to almost anything, as was intended upon their inception says Emma.




The world of surface and textile design can be incredibly personal and requires the end product to possess a fluency and adaptability that sees it at home in any space, “I am always considering the overall landscape of their home. I use single colour prints so people have the freedom to create their own palette. The prints are really simple and clean for this reason,” explains Emma about her design process, the fundamental of which were cultivated over a decade of working in private art collections and museums. Studying Fine Arts with a focus on printmaking and ceramics provides an antecedent to the Fictional Object paragon, as Emma brings her appreciation for nice things into all aspects of her business. A business that is based around the creation of nice things in small quantities that last a long time is a practice that is gaining considerable momentum with it’s quality over quantity mantra.


“We are encouraging our design-led and educated customers to spend a bit more, get something that means something to them and still works with their aesthetic.” To do this Fictional Objects carefully curates their retailers and focuses on developing a relationship with them and their clients. The by-product of which is a constant reiteration of a design-led, refined aesthetic that works to define each participant; the retailer, producer and ultimately the client.




Emma says people love to support small business and meet the designers and learn about your brand. “It connects them to the products, people like to be able to choose and talk about the design process and the supply chain, I think they feel they are making an informed decision about how they consume,” which is why she makes a concerted effort to attend design markets whilst managing the online store herself.


“Online is amazing. It allows you to run a store without having a shop front. The most important thing for online to be successful is having really good images, I think. I work really closely with a local photographer, Jek Maurer to make these shots,” says Emma, reaffirming how good design is intertwined in every aspect of her operation.


“Good product supply chain, good design, good images, they are the important things.”

Images are properties of their respective owners. Old Paper by