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Conference & Exhibition | Digital Weaving: Innovation Through Pixels

14 July 2025 Conferences / Events / Exhibitions / General / Lecture / New weave developments / News / Reseach
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Digital Weaving – Innovation Through Pixels: Conference and Exhibition
Date: August 12–15, 2025 | Sundvolden Hotel, Krokkleiva, Norway

In 1995, a small Hønefoss-based company called Tronrud Engineering set out to transform the landscape of textilecreation. Thirty years later, we celebrate the transformative legacy of the TC-looms, a tool that has enabled creativity, innovation and inter-disciplinary collaboration across the world.

To mark this milestone, Tronrud Engineering and Tronrud Engineering Moss (which assumed loom production in 2020) proudly present the Digital Weaving – Innovation Through Pixels Conference and Exhibition. Over four days at the scenic Sundvolden Hotel, this unique event will bring together textile artists, designers, technologists, researchers, and weaving enthusiasts to explore the ever-evolving possibilities of digital handweaving.

Conference Highlights:

  • Opening Exhibition (Aug 12): A curated showcase of woven works by 50 international artists and designers, all works created on TC-looms. All featured artworks will be published in a commemorative Anniversary Book, launching during the event.
  • Anniversary Book: Featuring contributions by Sarah Mills (San Jose State University, CA) and Norwegian writer and historian Jan Helge Østlund.
  • Speaker Series (Aug 13–14): Presentations by an international line-up of speakers, from across 20 countriesand three continents, representing the cutting edge of digital weaving, design, research, and innovation.
  • Key Speakers Include: Christy Matson, Holly McQuillan, Janice Lessman-Moss, Cindy Kao, LauraDevendorf, Ariana Moroder, Wen-Ying Huang, Kristina Andersen, Sarah Rosalena, Analyn Salvador-Amores, Anita Michaluszko and
  • Presentations: Art and design, cultural heritage, smart textiles, weaving animation augmented weaving, multimorphic textile forms, sustainability, and the intersection of craft and computation.
  • Special Sessions:
    • “5 slides – 5 minutes” lightning talks
    • Evening networking dinners
  • Optional Excursions (Aug 15):
    • Visit Tronrud Engineering and the Kistefos Museum, or
    • Explore Tronrud Engineering Moss and Gallery F15

There are spaces available. Join Digital Weave  in Norway to honour the past, celebrate the present, and help weave the future of digital textiles. Learn more: Link

Press Conference: 7th Aug 2025 at Sundvolden Hotel (Krokkleiva, Norway) at 1200 hrs
Media Contact Geetika Nautiyal  +47 90964969 Continue reading →

Clothworkers’ Award at Cockpit: Weavers

11 July 2025 Awards / General / New weave developments / Scholarships
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Clothworkers Award at Cockpit: Weavers
Deadline: 21 July 2025

The Clothworkers’ Award at Cockpit is an award designed to help up to three graduate weavers each year set up in business. Weavers can be working in any form, for example, making products, creating woven textile art, working with mills and/or making samples for industry.

The Clothworkers Award includes up to two years of business support and subsidised
shared studio space at Cockpit Studios Deptford, equipped with looms and a dye area.

What’s included?

  • This award is offered to three makers, with an anticipated start date of 1st September 2025
  • Studio space for up to 2 years at Cockpit Deptford
  • Shared looms and dye area, including Leclerc, Louet and electronic ARM looms
  • Business support including one-to-one coaching and workshops
  • Selling and promotional opportunities, including two annual Cockpit Open Studios events
  • Financial contribution required by makers:
     £1000 (approx. £85 per month) in the 1st year

    £2000 (approx. £168 per month) in the 2nd year

Who can apply:
Makers who graduated within the last 5 years working in weaving.

Please note: Cockpit only accept one application per applicant per each award round.

Click here to get more information and  apply

If you are thinking about applying to the Cockpit Clothworkers Award starting September
2025 please come along to our drop-in session to see the studio and looms, meet the makers and team, and find out about the award

Drop-in session: Tuesday 15th July 2025, 4-6.30pm
Where:  Cockpit Studios Deptford, 18-22 Creekside, London SE8 3DZ.
Ring the buzzer for Studio 214.

To attend the drop – in session please sign the form here Continue reading →

Amélie Crépy | Exhibition: ‘Traces of Nature’: Oak Gall Ink Natural Dye Textile Launch | London Craft Week

15 May 2025 Artist Profile / Events / Exhibitions / General / New weave developments / News / Reseach / Weave Designer Profile
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Amélie Crépy is launching her own interior upholstery fabric collection in collaboration with internationally renowned Gainsborough Silk Weaving Company and the natural dye specialists AO Textiles. Woven in 70% linen and 30% silk, this fabric has been exclusively developed with a natural dye derived from oak galls formed by wasp larvae, and will be unveiled for the first time at Amelie’s solo exhibition during London Craft Week.

Venue:
67 York Street Gallery, London W1H 1QB
Dates: 12-18 May 2025
To fulfil her long held vision to create a fabric using dye from natural dyes, she partnered with AO Textiles and Gainsborough Silks where natural dyes extracted from plants such as madder, weld, and chestnut are used to colour yarn. These yarns are now effectively used for jacquard weaving for the ultimate sustainable luxury. Creating black using natural dyes though had been notoriously challenging for AO Textiles. At Amelie’s request, and after extensive experimentation, they perfected a recipe using Oak Galls and introduced this new biodegradable black dye designed specifically for linen.

Amelie is so proud to be showing this exquisite and unique textile at London Craft Week. It has been an amazing journey and the support from AO Textiles and Gainsborough Silks has been invaluable. Together they have demonstrated that fabrics dyed using naturally derived colour from sustainable sources is not only possible but scalable, repeatable, and of the high-quality required by today’s textile industry. This has also been Amelie’s continued quest: to challenge mindsets and inspire others to consider how art and textiles can contribute to a healthier, more sustainable environment. Continue reading →

Publication: Krokbragd – Contemporary Weaving With Colour Author: Angie Parker

11 February 2025 Company Profile / General / New weave developments / Publication / Reseach / Weave Designer Profile / Workshops
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Krokbragd – Contemporary Weaving With Colour is a practical guide to all aspects of a popular Norwegian weaving technique. With over 400 photographs and step-by-step instruction, it gives a detailed account of the techniques used by the author and other contemporary weavers. Written for weavers of all abilities, it features vibrant designs and patterns, and shows how this age-old Scandinavian technique can be given a 21st century twist to create stunning contemporary work.

Angie Parker has a worldwide reputation for weaving krokbragd, and her passion for this technique shines through in her work. Her expertly-executed rugs, wall hangings, furnishings and artworks are known for their joyful colour combinations, as well as their exquisite finishing. In addition to exhibiting and selling her work, she regularly teaches and is a passionate advocate for running a profitable craft business, and the sustainability of craft practices for the contemporary maker.

Text & Image: Courtesy of Crowood Press

Exhibition: Around The World With 80 Textile Artists | Louise Lemieux Bérubé

7 January 2025 Artist Profile / Awards / Exhibitions / General / New weave developments / Reseach
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Around The World with 80 Textile Artists is being exhibited at MUMAQ – Musée des métiers d’arts du Québec from December 12th 2024 to March 9th 2025.

The exhibition, a celebration of textile arts on a global scaled is curated by Marie-France Bégis, and  invites visitors to explore a highly personal and universal project, the result of the relationships forged over a 40-year career.

In 2022, on the eve of her 80th birthday, Louise Lemieux Bérubé began an ambitious project, the result of 40 years of career and collaborations with textile artists from all over the world.

From 1997 to 2016, Louise shared her expertise in Jacquard weaving with more than 400 participants at the Montreal Center for Contemporary Textiles, as well as through universities and international events. These enriching encounters inspired her new project, Around the World with 80 Textile Artists, a vibrant tribute to the diversity and uniqueness of the artistic practices that have marked her career.

This project was structured around three key stages:
1. Reconnecting: Through the Internet, Louise invited 80 international artists to contribute to her project, rekindling exchanges with this precious artistic community.
2. Imagining and creating: The artist has dedicated herself to the design of an innovative
work, combining different textile techniques and integrating for the first time the
knotting of paper threads.
3. Discover and assemble: Participating artists each sent a package containing a piece or sample of their work, along with a souvenir text and a portrait or photo.

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Research: Mono-Material Library x Schoenkwarteir | Sophia Fenlon + Stephanie Rolph

6 October 2024 Awards / Company Profile / Events / Exhibitions / General / New weave developments / News / Reseach / Weave Designer Profile
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Mono-Material Library: Designers Sophia Fenlon + Stephanie Rolph

What is the Mono-Material Library?
The Mono-material Library aims to showcase how mono-material design, created with a single fibre such as wool, can achieve diverse textures, forms, and functions through engineered use of woven structures.

This innovative approach shifts focus from selecting fibres based on their inherent properties, to engineering, through woven structure, functionality and transforming a fabrics mechanical properties.

As an emergent area of design, mono-material designing responds directly to the climate emergency by prioritising material or product recyclability or biodegradability at the end of life. This project has evolved from the Designers shared interest in the role textiles can play in achieving Net Zero.

Mono-Material Library x Schoenenkwartier
This collaboration challenged conventional approaches to woven design and shoemaking through an interdisciplinary partnership. This process driven project explores how jacquard and dobby weaving can be used to create mono-material footwear uppers. Focusing on the ability to engineer multi-layer woven textiles on- loom and then transform them through finishing techniques to create functional footwear components. Through an in depth exploration of woven structure, the project investigates how to strategically engineer areas of flexibility, rigidity, stretch and cushioning where required within the uppers.

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Exhibition: Marie Hazard & Masaomi Yasunaga

30 May 2024 Artist Profile / Events / Exhibitions / General / Lecture / New weave developments / News
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Tristan Hoare is delighted to present a dual exhibition of works by French weaver Marie Hazard and ceramics by Japanese artist Masaomi Yasunaga, curated by Sonya Tamaddon. Both threading and ceramics embody notions of being enmeshed, finding connections, coming apart, thus disclosing multiple incarnations, formats, densities, and textures. In the woven works of Hazard and in the ceramic vessels of Yasunaga, the artists make a poignancy of the familiar by allowing rituals of life and their affiliated embellishments to be misconstrued. Both artists engage in radical acts to bring their artworks to life, stripping their chosen mediums of their centuries-long ties to function.

Hazard and Yasunaga embody the spirit of termite artists, a term coined by Manny Farber in 1962 to articulate an artist’s lack of ambition towards gilt culture but rather a squandering, beaverish endeavour in their approach to art-making. While pottery is typically formed by clay, fired in a kiln and sealed with a finishing coat of glaze, Yasunaga employs glaze as his primary material from which he builds his sculptural works, enlisting fire as his sculpting tool. Each fragile glazed construction is prepared for firing by an act of burial under protective layers of sand and kaolin which organically fuse together in the kiln. After ceding a measure of control to fortuity in the firing stage, Yasunaga unearths the object, enacting a ritual performance of interment, transformation, exhumation. This process is influenced by the Japanese doll making method of Hariko, a papier-mâché technique introduced to Japan between the 8th and 12th centuries.

In the spring of 2020 Yasunaga introduced found stones and mosaic tiles into this practice. Deepening both the notion of the termite process to the work and an element of chance, Yasunaga began deploying tiles to the surface of his works prior to firing them. Yasunaga recalls, “this discomfort indicated the possibility that my own boundaries of beauty existed around the periphery.” In his practice, objects once functional with human activities are reconsidered in a state of material death and it is through this process the artist’s pursuit of beauty lies. With these innovations in non-functional, expressive ceramics, Yasunaga extends the influence of this process into the 21st century towards a significant collective reconsideration of what ceramic sculpture has been throughout its history and what it can become.

This notion of time and materiality also lies central to Hazard’s practice. Hazard’s medium of choice is weaving, drawing upon studies of pastel on paper, photography, painting, printmaking, and literature as research materials to inform her works conceived on the loom. Etymologically the word “text” is derived from the Latin word “texere” meaning woven. Pre-Columbian textiles were made for communication prior to the adaptation of written language. If one looks closely they may find a phrase by Rimbaud delicately disguised into Hazard’s weavings – “on ne part pas” (we are here forever). Continue reading →

Job: The Bristol Weaving Mill Ltd | Head of Product Development. Maternity Cover

24 May 2024 General / Jobs / New weave developments
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Role: Head of Product Development: Maternity Cover

The role is to commence in August 2024 under a fixed-term contract (12-13 months)
PT Role, 24 hours per week, salary dependent on experience

Bristol Weaving Mill (BWM) work across both fashion and interiors, designing, developing, and manufacturing woven products and fabric for a variety of outcomes. End uses include but are not limited to Ready to Wear and Couture Menswear and Womenswear fabrics, finished shawls and scarfs, interior drapery, tapestry panels, upholstery fabric and finished interior soft accessories and products such as throws, blankets and cushions.

From their largest commercial client to the smallest personal project, each of their client relationships are based on offering a service catered to their individual needs.
BWM are looking for a driven and passionate leader with previous experience to head up their small Product Development team.

The successful applicant will need to be an excellent communicator and extremely organised with impeccable attention to detail and quality. The ability to self-motivate and
work independently as well as in a team is essential. A real passion for hand-weaving and woven design is essential for this opportunity to contribute to a small and dynamic creative business.

Responsibilities
Project Management:
 Leading the Product Development team, setting and delivering monthly targets for client projects.
 Together with the Production Manger to lead the organisation and monitoring of critical paths in line with company targets.
 Together with the Production Manger to ensure work being completed by BWM sub-contractors runs smoothly.
 Researching and implementing new supplier relationships when necessary.
 Overseeing the division of responsibilities among the BWM Team and flagging up daily and weekly priorities.
 Working closely with the team to make sure that any targets are specific, measurable, attainable, relevant and time specific.
 Upholding the systems and procedures to ensure efficient and consistent productivity standards in the mill, including project management schedules and project documents.
 Effectively communicating any changes to project critical paths to clients.
 Weekly planning meetings including reporting to company Directors.

Product Development:
 Oversee the Product Development team to ensure the workload is prioritised and distributed, and that projects are running smoothly and on-time.
 Managing key client accounts for existing clients and developing new ones.
 Align any personal design style with the BWM house style and successfully assume and amplify individual client aesthetics through design work.
 Working closely with clients to develop their design ideas through meetings, trend research, mood- boards, CADs and handloom samples.
 Hand-weave design samples for clients and directing other members of the BWM team to weave clientsamples.
Design CADs for clients and projects using Pointcarre weave software and Photoshop, including simulations of products and fabric, and developing original peg-plans and weave structures for client sampling.
 Preparing designs for production thorough and organised digital documentation of design
developments, including product spec sheets, weave tickets, photographic records, and digitised mood-boards.
 Liaising with Production team to ensure projects are handed over accurately and in a timely manner.
 Always designing for the target market, ensuring fabrics and products are costed accurately and in-line with client price-point. Working with suppliers and in-house systems to provide detailed and accurate costings for clients as part of the design development process.
Client Communication:
 Handling customer inquiries for the mill, maintaining communications with existing and new clients remotely by phone, video chat and email.
 Initiating digital meetings and telephone calls with clients and meeting with existing and new clients in-house and at customer premises (mostly UK based only).
 Updating clients on project progress throughout.
 Manage client accounts, including issuing Quotes, Order Confirmations and Invoicing.

Training is provided for operation of in-house handlooms and CAD software (Pointcarre), but a thorough understanding of hand-weaving and woven construction, and previous experience with weaving software is essential for the role.

To apply please email your CV together with a covering letter and your digitalised portfolio, all in
PDF format to juliet@bristolweavingmill.co.uk by 6pm on Friday 31 st May 2024.

Publication | Woven Optical Illusions : Pattern and Designs from Four to 24 Shafts

18 May 2024 General / New weave developments / Publication / Reseach
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Woven Optical Illusions: Patten and Design from Four to 24 Shafts is authored by Stacey Harvey-Brown and Katharina Kronig. Published by The Crowood Press Ltd. ISBN no: 0719843391

Optical illusions are very much part of our time but have been around for hundreds of years. They never cease to fascinate.

Woven Optical Illusions is a newly published book which explores how these effects can translate into woven cloth, the scientific background behind illusory effects and how they can inspire the handloom weaver to develop their creativity.

There are five different chapters, each looking into one particular group of effects and taking the reader from an image to the finished sample. Examples are given to show how to develop the initial inspiration further along with analysis of the visual processes and how to observe them to create the illusion in weaving.

From four shafts through to 24 shafts, the book offers possibilities for weavers at any level of expertise. Particular attention is paid to weavers with eight-shaft looms. The principles behind the development of each sample are explained and all samples are accompanied by explanatory drafts. Plain weave, a large array of tied weaves, colour-and-weave structures, doubleweave and its variations are all used and explained throughout the chapters. A final chapter with technical weaving notes explains these weave structures in more detail.

Within the publication there is a gallery with complex weavings by experienced weavers, mostly with multi-shaft looms, shows the unlimited potential for woven optical illusions.

With many thanks to Stacey Harvey-Brown & Katerina Kronig for the text and image

Exhibition: Woven/Unwoven | Laura Thomas

9 October 2023 Artist Profile / Events / Exhibitions / General / New weave developments / Weave Designer Profile / Workshops
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Woven / Unwoven is a major new exhibition of artworks by Laura Thomas at Ruthin Craft Centre, open from the 30th September – 7th January 2024.

The exhibition represents a distillation of all of Laura’s areas of interest in working with thread, making both woven and unwoven works. The transformation of passive threads, held taut on a loom to be woven into a fabric or placed into position to be encapsulated in glass or resin has kept her transfixed for over two decades and is at the very root of this collection of works.

Laura uses threads as lines to evoke what captures her attention in the world around her whether that be coastal horizons; the edge of a hillscape where land meets sky; a full moon; or the minutiae within coastal strata’s and sand patterns that have captivated her since childhood.

Untypical weave structures have always been a hallmark of Laura’s practice, and are indeed fundamental to this new body of work. Many of the textiles are open Spanish Lace constructions, or sparse leno weaves, with selectively cut weft floats allowing for views through the surface at what lies beyond. Rya knots and cut corduroy’s create inviting surfaces evoking coastal grasses and furrowed fields.

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