Silk, Screen, and Story - Inside the World of Adamley Textiles with Tro Manoukian

Earlier this year, we travelled north to Macclesfield to visit Adamley Textiles, a mill that has been screen printing scarves and fine textiles for over a century. Surrounded by idyllic countryside in the heart of England’s silk country, Adamley is one of the last remaining scarf mills still carrying the torch for traditional British craftsmanship.

Part of our visit was to select designs from Adamley’s vast archive for our collection of scarves, pocket squares and bandanas. We also took the opportunity to sit down with Tro Manoukian, Adamley’s CEO, to talk about the mill’s legacy and his own journey in carrying that torch forward.

Walking through the print rooms, surrounded by colour, pattern and history, we saw how Adamley continues to blend traditional craft with modern technology.

Adamley Textiles is one of the last standing scarf mills in Macclesfield — what does it mean to you personally to carry that legacy forward?

Adamley is a life’s work. I’ve always felt it vital our core business remains the same: we are artisans and we need to hold that but we must not be afraid to progress and embrace technology as a way of complimenting our style of working. I appreciate there is a great deal of responsibility in my role as I ultimately shape the business. We are now one of one. There is no other company in the UK that does what we do, that responsibility can equally be rewarding and at times intimidating. 

Han and the team recently visited your mill and was struck by the level of care and craftsmanship. What do you think surprises people most when they visit for the first time?

The processes involved in manufacturing a scarf. There are 14 steps, each one requires the attention of highly skilled craftsmen and women.

There’s a balance at Adamley between preserving traditional techniques and moving forward. How do you decide what to protect, and where to innovate? 

Our traditional roots will always shine through. That begins with the archive. We have over 70,000 designs within our library most of which are hand drawn. A close second is the art of dye and discharge printing which is a traditional printing technique which can be extremely difficult to control as ambient temperature, humidity and other naturally changing conditions can dramatically alter colour, spread of print, and fastness. Innovation comes with expectations our clients may have of us. Our products still need to be sellable. We are fortunate enough to work alongside equally innovative client who will work alongside our business. Continuous improvement is key.

Your archives are incredible, spanning decades of design. Do you have a personal favourite pattern or period that resonates with you?

We are known for our very small and tight geometric prints which are beautifully simple, yet incredible difficult to print. Those are the designs I love to see. I could talk about our ornate paisleys, medallions, woodland scenes, the Liberty archive. My roots are firmly set in our signature style.

Macclesfield has a deep connection to the silk trade; how do you think that sense of place and history shapes the products you create today?

As generations grow within the industry and eventually retire the responsibility of our association with Macclesfield become a greater burden. Many of our products continue to have that association with Macclesfield, the most important being the style in which we print.

Growing up, what were the things you rebelled against?

Oh, many things, but I guess within this context I have always had a dislike of boxy, mass-produced garments and accessories where there is absolutely no consideration given to the person who will be paying and the product. Fabric, manufacturing, design and the client should be key.

You’ve spoken about your interest in psychiatry and human behaviour. How has that shaped the way you think about running a business or leading a team?

My management style has changed significantly over the last 30 years. I no longer own the majority share of the business, we are an employee owned trust. Involvement of my colleagues is important. I am here to guide, nothing more.

Scarves are often seen as expressive, almost psychological objects, tied to identity, memory or emotion. Do you think there's a link between textiles and how we feel?

Of course but over the years there has been an introduction of fast fashion that has eroded that link a little.

In what ways do you think working with your hands, or being surrounded by people who do,  affects our mental state or emotional health?

We produce something very beautiful from a white piece of fabric. That’s something most people do not see very often. I an only speak for myself when I say I say there is not much better than seeing our product being sold by some of the most exclusive stores in the world.

Do you think the future of British manufacturing lies in empathy as much as efficiency, in understanding people, not just processes?

It lays in the hands of those who can support our industry in our country.

Your work at the mill follows a slower, careful rhythm. Do you think Britain would risk losing something important if places like Adamley were to disappear?

I would hope Adamley has built and will continue to shape a reputation within the industry that will encourage other manufacturing businesses to grow. I firmly hope manufacturing businesses like Adamley grow and encourage people to work with them.

What excites you most right now in the textile design, business, or life?

It’s a very positive time for my team. We have seen strong growth, much creativity and a very different, stimulating time. We’re excited to work with brands like Blackhouse Lane as well as our traditional clients. Long may it continue.

Explore our collection of scarves, pocket squares, and bandanas, all crafted for us by Adamley — a celebration of pattern, colour, and British craftsmanship.