His company, Tibor Ltd., produced designs featured in projects including the Festival of Britain, Concorde, HMY Britannia, Coventry Cathedral, Clarence House and the Queen Elizabeth 2.

In 1933, he left Budapest to study textile design and architecture in Vienna,[2] where he was influenced by the legacy of the Wiener Werkstätte and the Bauhaus.

[3] Reich achieved the first-class result in the City and Guilds Institute examination in Woolen and Worsted Weaving.

He was awarded a diploma from the institute in Textile Industries in September 1941, following the submission of a thesis titled "The Economical Production of Novelty Fabrics".

His early weaves were purchased for dress couture, including by Edward Molyneux who used them for their 1946 United States export collection.

Up until the early 1950s, British textiles, in particular furnishing fabrics, showed little consideration to colour, texture and modern pattern, with most relying on traditional motifs and woven in a simple process.

Inspired by the Bauhaus and his pre-war training, Reich's deep textures were woven to give a third dimension to the surface pattern.

[7] Michael Farr stated in 1954 that Reich had started a 'new phase in the development of British modern design for woven textiles.

The texture and weave of the cloth to be printed on are especially considered in his designs'[9] Reich designed deep textures for the Festival of Britain including the Southbank Festival Pavilions, Fairway Café, the Press Room, and the Royal Shakespeare Theatre, Stratford upon Avon, where he draped and upholstered the entire building.

Major furniture manufacturers upholstered using Tibor fabrics including Ernest Race, Gordon Russell, Robin Day, Howard Keith, G Plan and Ercol.

In 1954, Liberty and the Council of Industrial Design held a solo show of Reich's work named 'Adventure with Colour', opened by Percy Thomas.

In 1954, Hugh Casson and Misha Black chose Tibor fabrics to drape the Royal Yacht Britannia and Time and Life Building.

In a three-page article for Design magazine Stephen Garrett stated 'By careful selection of the colourways, it should be possible to get the exact overall colour effect that is wanted.'

Drawing on Bauhaus ideas of functionality and movement, the house was used as both laboratory and show-room where textiles, furniture, floor and wall coverings, paint-work and lighting were tested and shown from a practical as well as an aesthetic point of view.

Architects can now work on from here," by Jacob Bronowski, in stark contrast to Norman Hartnell who stated "Monstrous without beauty.

Any view through that meanly constructed window would be more pleasing than the hideous room behind"[25] In the 1960s, Tibor Ltd was commissioned to design the first sets of upholstery and curtain fabrics for the Anglo-French Concorde.

In August 2024, Reich's daughter appeared on BBC's Antiques Roadshow with two pieces of his ceramic work, one created in his original studio in Stratford and one produced by the Denby Pottery Company.