In 1983, David Band, Brian Bolger, Helen Manning and Fraser Taylor formed The Cloth for their Royal College of Art degree show. The quartet’s collaborative ethos, although frowned upon by the educational institution, catapulted them onto London’s creative scene. Existing for only four years, The Cloth created textiles for numerous clients including Betty Jackson, Paul Smith, Yves Saint Laurent, Nicole Miller and Calvin Klein. Under The Cloth label, they created textiles and clothing, available through exclusive retail outlets. Although trained in printed textiles, the collective’s prolific array of outputs spanned creative disciplines. The period during which The Cloth operated is considered experimental in British style history, due to the emergence of a new generation of designer and the rise of small-scale cultural entrepreneurs (McRobbie 1988). Although The Cloth was recognised as innovative, investigation surrounding this collective has been minimal. Today, ‘collaborative interdisciplinary working’ is viewed as vital to creative industries’ growth (Bazalgette 2017:4). It is also recognised that collaborative methodologies are important to the development of the textile discipline, to extend practice boundaries (Valentine et al. 2017, Clark 2015). The Cloth went against industry practice by focusing on collaboration, as opposed to competing for work. This paper seeks to uncover collaborative textile designing and making of significance to creative practice and pedagogy.