About us

TEXITURA is one of the main international pattern design magazines. More than 40 years ago, the first number of the catalog premiered an explosion of graphic inspiration dedicated to prints on all kinds of surfaces. Each number gravitates around a big theme and offers different color palettes and more than 100 original vector patterns, created just for this publication.




There have been changes along the way: the big ones came in 2004, 2014 and 2018. Right now, Texitura is a jewel-book and only 50 copies are printed per number, each of them comes numbered and with a unique download key. The images that you will find inside cannot be seen anywhere else and are not for sale, they are completely confidential and all of them are perfect vector repeats that the buyer can use as he or she wishes.


Texitura was born in 1975, when trend and textile specialists María José Wynn Doménech and Pep Llorenç, with help from the Spanish Association for Textile and Fashion Designers ADIMTE, decided to launch the Mostra Textil in Barcelona, a textile fair where industrials and designers met clients interested in their services, and proposed to create a seasonal magazine where fair clients could find creations from textile designers and expert’s suggestions about trends.

A few years later, TEXITURA was being sold in fairs all over the world and Mode…information, a German distribution company of considerable importance in the world of fashion, took over its distribution worldwide.

Texitura 25
Texitura 23


After some changes in the creative process, such as the dissolution of ADIMTE and the Mostra Textil, Maria Jose Wynn Doménech took TEXITURA’s publishing by herself (1996-2006), to give the leadership to Ana Santonja Querol and the Circulo Textil TEAM, who, from 2006 onwards, have taken over, adapting TEXITURA to the current needs of the market and launching this online platform, always faithful to the goal of bringing the newest, most trendy pattern design to a few selected clients all over the world, with a special regard towards Spanish design.

Starting in 2004 the catalogs took on a nicer look, they gained in quality and a stronger feel with a more contemporary design was seeked. A dvd was included inside each book where all designs could be found in digital format, although at the beginning of this new phase the files were bitmap and their reproductions rights were very tight, so the files could be used for little or nothing.

Number 49, in 2013 brought around the vector era: from them on, all published designs had to be completely vector and a dvd with all the repeats in .ai format was included inside each book. At the same time, the reproduction rights of the designs became looser so buyer could use them with more freedom. All these changes were a consequence of the more liberal paths that the pattern design market was offering.

evolución texitura
la caja texitura

A big change was awaiting the Texitura website, and in 2015 we launched a new and powerful site dedicated to the marketing of prints and the exhibit of designers. There was also a Texitura box that buyer could get with all the designs  and digital files belonging to the issue. The effort was momentous and the website looked beautiful but, after 3 years of trying everything, the managing team at Texitura decided that a new change was necessary. Lack of sales on the digital platform, and very few contacts between buyers and designers, made us think about how to get a more direct benefit for our designers that are, after all, our main concern.

This way, Texitura 3.0 was born, embodying a new concept where the book format is revisited. Texitura is now a jewel-book with only 50 copies to distribute around the world, and all the benefits go straight to our publishing designers. This way, we make sure our designers get some benefit, besides the honor of being published by Texitura, after a selection of an at least 10 to 1 ratio. Buyers can use as many of the more than 100 designs published exclusively on each number as they wish, since they will have access to the digital vector files, and rest assured that only 49 more copies of them exist in the world, and none are on the internet.