A broad range of artistic disciplines are offered through textile courses at the Open College of the Arts. These courses...
weaving walls by entropika celebrates the textile tradition of łódź, transforming it into a visual language in conversation with the urban landscape.
Buy Issue 113 Raw of Selvedge magazine. Textiles always reflect the times in which they are made, and now with sustainability at the forefront of our consciousness, we are looking again at ancient fabrics. We see plain woven structures constructed from undyed yarn used to create textured surfaces - materials that demonstrate our connection to the earth, reject the digital age and acknowledge a simpler life. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch, and regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for agave cactus fibre. And closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format. If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.
| A Pleasant Touch ♥ A Peaceful Sleep | by MONOHOME® ►US - TWIN 1 duvet cover + 1 pillowcase Duvet cover 68" x 86" ( 173*218cm ) Pillowcase 20" x 30" ( 51*76cm ) Oxford ( option >>> Flat Sheet 66” x 98,4” ( 167*250cm ) + ( 8$ ) ►US - QUEEN 1 duvet cover + 2 pillowcase Duvet cover 87" x 95" ( 221*241cm ) Pillowcase 20" x 30" ( 51*76cm ) Oxford ( option >>> Flat Sheet 98,4” x 102” ( 250*260cm ) + ( 8$ ) ►US - KING 1 duvet cover + 2 pillowcase Duvet cover 90" x 102" ( 228*260cm ) Pillowcase 20" x 40" ( 51*101cm ) Oxford ( option >>> Flat Sheet 98,4” x 108” (250*274cm ) + ( 8$ ) ************************************************ ►UK / EU - TWIN 1 duvet cover + 1 pillowcase Duvet Cover 53.14" x 78.74" ( 135 * 200cm ) Pillowcase 19,68" x 29,52" ( 50*75cm ) Oxford ( option >>> Flat Sheet 70,8” x 108,2” ( 180*275cm ) + ( 8$ ) ►UK / EU - QUEEN 1 duvet cover + 2 pillowcase Duvet cover 78,74" x 78,74" ( 200*200 cm ) Pillowcase 19,68" x 29,52" ( 50*75cm ) Oxford ( option >>> Flat Sheet 90,5” x 108,2” ( 230*275 cm ) + ( 8$ ) ►UK / EU - KING 1 duvet cover + 2 pillowcase Duvet cover 88,58" x 86,60" ( 225*220 cm ) Pillowcase 19,68" x 29,52" ( 50*75cm ) Oxford ( option >>> Flat Sheet 98,4” x 108,2” (250*275 cm ) + ( 8$ ) ************************************************ ►DE - TWIN 1 duvet cover + 1 pillowcase Duvet Cover 53.14" x 78.74" ( 135 * 200cm ) Pillowcase 31,50" x 31,50" ( 80*80cm ) Oxford ( option >>> Flat Sheet 70,8” x 98,4” ( 180*250cm ) + ( 8$ ) ►DE - QUEEN 1 duvet cover + 2 pillowcase Duvet cover 78,74" x 78,74" ( 200*200 cm ) Pillowcase 31,50" x 31,50" ( 80*80cm ) Oxford ( option >>> Flat Sheet 98,4” x 106,3” ( 250*270 cm ) + ( 8$ ) ►DE - KING 1 duvet cover + 2 pillowcase Duvet cover 86,60" x 94,50" ( 220*240 cm ) Pillowcase 31,50" x 31,50" ( 80*80cm ) Oxford ( option >>> Flat Sheet 98,4” x 110,2” (250*280 cm ) + ( 8$ ) Product features The upper surface of Duvet Cover is Exclusive Knit cotton satin. With its special knit weaving and organic special dyeing technique; it doesn't lose its texture and color quality for many years. Provides soft texture by minimizing the wrinkles Thanks to its air permeable structure and special woven fabric that absorbs to static electricity, it provides a comfortable sleep. Densely woven premium cotton fabric Vivid colors and original designs with digital printing technology Non-shrinkage guarantee on the product with sanforized fabric The Duvet Cover Sheet is exclusive woven Ranforce 100% cotton. Our duvet cover sets are sent to you in a special duvet cover box. Why MonoHome? Superior Quality of MonoHome 30 Years of Textile Experience and Manufacturer Company Warranty Export in Turkey with our quality standards in the e-commerce market; the first and only domestic Manufacturer offer to the same high quality Innovative Designs with Digital Printing Technology
Buy Issue 113 Raw of Selvedge magazine. Textiles always reflect the times in which they are made, and now with sustainability at the forefront of our consciousness, we are looking again at ancient fabrics. We see plain woven structures constructed from undyed yarn used to create textured surfaces - materials that demonstrate our connection to the earth, reject the digital age and acknowledge a simpler life. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch, and regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for agave cactus fibre. And closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format. If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.
Teresa G…
SHARI Leaving conventions behind is easy with this dominating eye-catcher, which determines the ambience even in subdued coloring. Reduced furnishings which pick up the shades of the carpet set the stage for SHARI. An ideal means to create special zones
About Exotica Series, Abstract Woven Tapestry, Textile Sculpture. Cotton, goat hair and sisal, 114" x 60" x 6", 1975. Ritzi Jacobi (1941 - 2022) and Peter Jacobi (1935) Ritzi and Peter Jacobi collaborated on textile works for 15 years, from 1967 to 1984. “…[A]bstraction became their dominant mode of expression in series that spanned the 1970s: Transylvania, Romanica, Germanic, and Exotica….[T]hese non-representational ‘textile reliefs’ were mounted on the wall instead of being placed on the floor. By workingin relief instead of in the round, the Jacobis explored issues of space and volume while maintaining a productive dialogue with traditional modes…” Sarah Parrish, “Artists: Ritzi Jacobi/Peter Jacobi,” Fiber: Sculpture 1960-Present Jenelle Porter, editor, page 206 (Del Monico/Prestel, Munich, London, New York, 2014). Ritzi Jacobi: "In general my approach to fiber working has always been defined by subordination of material in favor of expression and gesture, revealing the qualities of darkness and lightness, transparency, density, tension and tactility. To a high degree, complexity of surface and structure is a result of method of operation – by summarizing cable elements in various techniques the single particles generate a vivid, pulsating pattern."
Tandy Hersch Dimity draft from the amazing collection of Ute Bargmann - warp 20/2 wool, weft various
Nell'anno in cui la Croazia entra a far parte dell'Unione Europea, Trieste rende omaggio alla grande artista dalmata Jagoda Buic'. Desiger, costumista, scenografa, pittrice legata alle correnti d'avanguardia, fiber artist e da ultimo autrice di straordinari collage Jagoda è sicuramente un'artista da conoscere. Jagoda Buic' Theatrum Mundi 19 ottobre 2013 – 6 gennaio 2014 Civico Museo Revoltella Galleria d'Arte Moderna Via Diaz 27 TRIESTE ore 10 – 19 , martedi chiuso http://www.museorevoltella.it ps: consiglio l'acquisto del catalogo ricco di immagini e testi utilissimi ed interessanti!
260 GSM Composition: 95% US Cotton 5% Elastane Fabric width: 120cm +/- 5% Printed width: 110-120cm Ribbed cotton is a type of fabric used for making clothing, accessories, and textile products. It is characterized by the ribbed structure, where the threads are woven in two different directions, resulting in a ribbed surface. Ribbed cotton is often made from cotton fibres and is soft, comfortable, and breathable, making it ideal for making clothing items that come in contact with the skin, such as T-shirts. The material is also durable, easy to maintain, and has a natural appearance. Ribbed cotton is a popular choice for both casual and formal clothing and is available in a variety of colors and styles. Fabric is sold by the 1/4 yard. An order of 1 = 1/4 yard.
Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evoc- ative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each vessel flows in a unique way. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form lan- guage they combine the aesthetics of digital texturing with handmade Craft. Materiality - Polypropelyne rope, parachute chord, epoxy, flocked nylon fibres.
Buy Issue 113 Raw of Selvedge magazine. Textiles always reflect the times in which they are made, and now with sustainability at the forefront of our consciousness, we are looking again at ancient fabrics. We see plain woven structures constructed from undyed yarn used to create textured surfaces - materials that demonstrate our connection to the earth, reject the digital age and acknowledge a simpler life. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch, and regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for agave cactus fibre. And closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format. If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.
Cueva Beneito is a volcanic cave in La Palma. Its long, black shimmering corridor covered in black lava stone inspired the creation of this monochromatic blanket. Mohair gives a visual effect of distortion of the surfaces, and the rhythmic patterns both reveals and conceals the woven structure behind the fog mohair effect. The result is a luxurious, structural blanket with a unique, tricot pattern that conveys a feeling of both simplicity and elegance. The Cueva Beneito blanket has been woven with fine, natural lambswool and mohair from British sheep, and is perfect as a decorative accent in your home or for warmth on countryside walks. Labeled by Maker,Labeled by Maker less
Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evoc- ative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each vessel flows in a unique way. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form lan- guage they combine the aesthetics of digital texturing with handmade Craft. Materiality - Polypropelyne rope, parachute chord, epoxy, flocked nylon fibres.
I love the interaction of color and fiber! My work focuses on using a lot of space dyed warps. Fall is my favorite season …the turning leaves, the cool air and excitement of football games in a Friday night and the anticipation of the holiday season.
About Exotica Series, Abstract Woven Tapestry, Textile Sculpture. Cotton, goat hair and sisal, 114" x 60" x 6", 1975. Ritzi Jacobi (1941 - 2022) and Peter Jacobi (1935) Ritzi and Peter Jacobi collaborated on textile works for 15 years, from 1967 to 1984. “…[A]bstraction became their dominant mode of expression in series that spanned the 1970s: Transylvania, Romanica, Germanic, and Exotica….[T]hese non-representational ‘textile reliefs’ were mounted on the wall instead of being placed on the floor. By workingin relief instead of in the round, the Jacobis explored issues of space and volume while maintaining a productive dialogue with traditional modes…” Sarah Parrish, “Artists: Ritzi Jacobi/Peter Jacobi,” Fiber: Sculpture 1960-Present Jenelle Porter, editor, page 206 (Del Monico/Prestel, Munich, London, New York, 2014). Ritzi Jacobi: "In general my approach to fiber working has always been defined by subordination of material in favor of expression and gesture, revealing the qualities of darkness and lightness, transparency, density, tension and tactility. To a high degree, complexity of surface and structure is a result of method of operation – by summarizing cable elements in various techniques the single particles generate a vivid, pulsating pattern."
Completed in 2012 in Marrakech, Morocco. Images by Johannes Foerster. Marrakech is a city that offers an indigenous, a madly inventive, and vivid hand- craft culture oscillating between ad-hoc kitsch and the archaic...
Coast to Coast #1 Natural Fibers, Ink, Birch Board in Maple Frame 18" x 24" x 2.5" Part of the 'Coast to Coast' Series Coast to Coast Series builds off visual and materials cues from my Urban Gradients Series that I began in 2020 while introducing more carefully crafted complex compositions into the structure of the woven surface. Coast to Coast traces a longing and love for the ocean, the compositions are minimalist meditations of the ocean’s patterns and prose.
The Bjork rug is based on a weft in wool, combined with details in leather. The expression in the woven structure is inspired by the black and white trunk of the birch tree (‘Bjork’ in Swedish) and the leather represents the inside of the bark. “The birch, a tree that can be found all over Sweden, is my inspiration for the Björk collection” says designer Lena Bergstrom. “The textile forms a beautiful surface in the home, as natural as stone or wood. To me, Bjork is like poetry, like a quiet whisper in the room.” The marbled effect in the color of Bjork is created through intertwining different colored wool yarns in the weft. Wool is known not only for its softness, but also for its built-in resistance to soiling thanks to its natural oils. Bjork is woven by hand and as such is a piece of craft and therefore the appearance can differ from product to product. The whiteness of the wool yarns can also differ depending on what time of year the sheep are sheared. Features Bjork Collection Available in three sizes Available in Light Grey or Dark Grey color
About Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evoc- ative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each vessel flows in a unique way. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form lan- guage they combine the aesthetics of digital texturing with handmade craft. Materiality - Polypropelyne rope, parachute chord, epoxy, flocked nylon fibres Customization OptionsCustom Colors and Sizes upon request Request Customization
Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evoc- ative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each vessel flows in a unique way. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form lan- guage they combine the aesthetics of digital texturing with handmade craft. Materiality - Polypropelyne rope, parachute chord, epoxy, flocked nylon fibres.
Vanishing and Emerging Wall, paper, 87” x 102” x 11”, 2009. Japanese, Contemporary Woven Paper Textile Sculpture. Hideho Tanaka (b. 1941, Tokyo, Japan) Artist statement: "Why did I start thinking about fiber art as a medium? It was partly because I was attracted to the idea of expressing myself in a subtle yet intractable material, but I was also intrigued by the challenge of turning something accidental into a deliberate work of art .… I’m acutely aware of accidents that actually help me achieve the expression I was striving for and other accidents that take my work in a completely different direction. This experience helps me to better understand the concept of tariki, the idea that a piece of art often comes our best when the artist entrusts as much as possible to the materials,” and lets things take their natural course.” Adapted from Future Fibers: Japan’s Textile Pioneers (Japan Society, New York, distributed Yale University Press 2011).
At our recent event Pattern Play, Kirk Brown shared his passion for mid-century modern printed textiles with the Selvedge audience – the recording is available if you missed the live event. Similar cheerful patterns can be seen in the textile designs of Andy Warhol displayed at the Fashion and Textile Museum, London, until 10 September: they capture the optimistic mood of the postwar recovery when fabric was scarce, and consumers were looking for cheap and cheerful prints. Textiles always reflect the times in which they are made, and now sustainability is at the forefront of our consciousness, ancient fabrics are at the vanguard. We see plain woven structures constructed from undyed yarn used to create textured surfaces. Materials that demonstrate our desire for a connection to the earth, reject the digital age and acknowledge a simpler life are our focus. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to use to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch. Regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. At the same time, Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for the fibre of the agave cactus. Closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. We follow his seven summers of nettle and seven winters of spinning in Dylan Howitt’s documentary, The Nettle Dress, on 28 June – part of our summer screenings season. See the website for details. I will leave you with the thought Rachel Baker lives by: “Don’t take more than you need,” aptly illustrated in an advertisement by Tate Steel, available on YouTube. If you are out and about, we hope to see you at the Selvedge Fair, The American Museum, Cleverton, Bath, on 9 September 2023. Polly Leonard Editor Selvedge magazine Published 15 June
Meet Jacqueline Surdell. She is an interdisciplinary artist working with the histories, materials, and processes of fiber and painting. Read more from our Q&A with Jacqueline here:
Buy Issue 113 Raw of Selvedge magazine. Textiles always reflect the times in which they are made, and now with sustainability at the forefront of our consciousness, we are looking again at ancient fabrics. We see plain woven structures constructed from undyed yarn used to create textured surfaces - materials that demonstrate our connection to the earth, reject the digital age and acknowledge a simpler life. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch, and regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for agave cactus fibre. And closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format. If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.
As an ex-pattern cutter of Comme des Garçons, Kei Ninomiya creates intricate, modular textiles with smocking and macramé techniques and complex patterns.
Buy Issue 113 Raw of Selvedge magazine. Textiles always reflect the times in which they are made, and now with sustainability at the forefront of our consciousness, we are looking again at ancient fabrics. We see plain woven structures constructed from undyed yarn used to create textured surfaces - materials that demonstrate our connection to the earth, reject the digital age and acknowledge a simpler life. In this issue, Rachel Baker finds respite from failing health by relocating to the Luberon, France, where she forages for plants to dye vintage linens in a regenerative practice. Marjolein Hessels takes a scientific approach to dye her threads with the same plants she chooses to represent in stitch, and regular contributor Magali An Berthon introduces us to artists working at the intersection of hard and soft materials. Ilama in Argentina and Llanatura in Mallorca exploit the beauty of undyed fibre to form sustainable businesses. Karen Selik explains why wild sericulture in central and eastern India exemplifies Gandhian principles written into the Indian constitution in 1950. Designers in Mexico take on the legacy of the once-global sisal industry to find new applications for agave cactus fibre. And closer to home, in a Herculean endeavour, Allan Brown undertakes to weave a dress from foraged nettle. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format. If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.
Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evoc- ative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each vessel flows in a unique way. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form lan- guage they combine the aesthetics of digital texturing with handmade Craft. Materiality - Polypropelyne rope, parachute chord, epoxy, flocked nylon fibres.
The Brooklyn-based designer discusses maintaining the legacy of the handmade, fear of drowning in Gowanus, and a piece she’s completing for Richard Meier.
Knitted and woven textile made from combining high quality Polypropylene rope and parachute cord that is sculpted with epoxy to form a strong composite structure. Finished with a nylon fibre coating. Press Release - The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and warm tactility. The unique knitting and casting process brings the pieces to life, evocative of coral reefs and underwater life. Due to the movement of the textile during the casting process, each shelf flows in a unique way. The flocked nylon coating provides acoustic dampening properties, allowing the shelves to function as acoustic panels. The series exists in the space between creature and object, similar to how sea corals and anemones occupy the mystical space between plant and animal. With their flocked surface finish and linear form language they combine the aesthetics of digital texturing with handmade Materiality - Polypropylene rope, parachute cord, epoxy, flocked less
