[4] Linda Parry, curator of modern textiles at the Victoria and Albert Museum, described her in 1990 as one of two or three British artists who used their great ability to serve industry.

[4] Although she became a leading name in industrial design – creating upholstery for everything from London Underground to BEA aircraft – she almost always developed her ideas on a handloom before applying her technical know-how to their manufacture.

The experience gave Straub a keen interest in the uses and varieties of fibres and she developed her skills in double cloth textile construction and the use of power looms.

[1] After finishing her course she was invited to work at Ethel Mairet's Gospels studio at Ditchling where she developed her hand loom techniques.

[1] One of her most famous early designs for Warner was Surrey, a textile that featured in the Festival of Britain in 1951 and was used in the Regatta Restaurant.

Her neighbours included John Aldridge RA, Edward Bawden and Audrey Cruddas and Straub became friends with most of them and an integral part of the community.

[10][11][12] Aimed firmly at the contract and commercial market, Tamesa was highly successful in introducing alternatives to the prevailing fashion for bold pattern, instead focusing on texture, tone and high-specification fabrics.

She was a member of the Red Rose Guild[15] and also a Fellow of the Society of Industrial Artists and Designers (SIAD) and was appointed an OBE for services to textile weaving.