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Job: Project Manager | Humphries Weaving

Project Manager: Humphries Weaving

About 

Humphries Weaving design and weave bespoke fabrics for historic institutions, interior designers, architects, artists and ecclesiastical projects. They are one of three esteemed companies weaving at Sudbury Silk Mills. The mill is fully vertical, including fabric design, yarn dyeing, warping, weaving and finishing and is OEKO-TEX® STeP accredited and received a King’s Award for Sustainable Development in 2025.

They are searching for a Project Manager to join their established team. You will project manage the fabric design development process with their clients, known internally as an Account Manager.

The role
· This is your opportunity to be the face of Humphries Weaving and develop exceptional relationships to deliver sustainable, profitable growth through new business development within existing customers, new customers and new territories.
· You will promote the capabilities of the company, to internal and external stakeholders, and hold responsibility for market development, customer relationships and distribution channels, including working with specifiers and introducers.
· You will need to develop a great understanding of our markets, using intelligence to develop a strategic sales plan maximising opportunities and mitigating risks.
· Most importantly, you will be responsible for maintaining the high standards of service, providing their customers with the best solutions to their needs.
· You will be actively involved in product development, innovation and improvements across the business.
· This is a textile-product development driven role; generating inspirational fabrics from client briefs, through design decisions, yarn combinations, sophisticated colouring and inspiring presentation of developments.
· Whether contemporary or historic recreation, understanding the project scope and context to make appropriate recommendations and guide the client through the development and decision-making process.

Who are they looking for?
At Humphries Weaving, they recognise that learning is a continuous part of everyday life, you will be given the opportunity to learn and develop. To be successful in this role you will need a particular set of skills and experience which include;
· Someone with proven commercial experience who enjoys nurturing exceptional relationships with distinguished clients.
· A person that is highly organised and energised by managing numerous concepts and projects concurrently from inception, through development and manufacturing to delivery.
· You will be detail orientated and methodical in your approach with the resolve to achieve successful project outcomes.
· Have strong communication skills, able to adapt tone, language and presentation style
appropriately.
· An authentic interest in heritage textiles, historic environments and decorative arts; with a sensitivity to colour, texture and an appreciation of contemporary creative design and craft.
· Aptitude of a good team player, providing positive contributions to the team and supporting others. Holding a strong focus on execution of ideas and successful project conclusions.
· Someone who proactively considers innovation and improvement activity as part of their daily approach.
· Ability to create and implement an active development plan to maximise market and geographical opportunities and promote their capabilities, you will set and manage a budget.
· This is a mill-based role in Sudbury, Suffolk but the flexibility and enthusiasm to travel in the UK and internationally is required.
· You will be representing Humphries Weaving within the market, at industry events and networking opportunities

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Job: Account Manager | Stephen Walters

Stephen Walters are looking for an Account Manager to join their established team.

Stephen Walters is recognised internationally for its high quality and excellent service, boasting a rich heritage spanning 300 years as a family-owned business. Operating within a supportive environment emphasising shared values and continuous improvement, the role offers a competitive salary, benefits, and profit-sharing opportunities.

Responsibilities include serving as the face of Stephen Walters, fostering exceptional relationships to drive sustainable, profitable growth through new business development across existing customers, new customers, and new territories.

Key duties entail promoting company capabilities to internal and external stakeholders,
overseeing market development, customer relations, distribution channels, and collaborating with agents. The role requires a deep understanding of markets, strategic sales planning, maintaining high service standards, and contributing to product development and innovation.
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Job: Woven Textiles Pathway Leader (Maternity Cover) | Central Saint Martins UAL

Woven Textiles Pathway Leader (Maternity cover). Central Saint Martins, UAL

Application deadline: 15th June 2025
Interviews: 7th July 2025

Full details link here

Purpose of the role
The Pathway Leader in Woven Textiles is responsible for teaching, curriculum development, and on-going scholarship on the BA (Hons) Textile Design. This course is part of the Jewellery, Textiles and Materials Programme at Central Saint Martins. The post-holder will work collaboratively within a course team, deploying specialist expertise to develop pedagogy and the curriculum in innovative and critical directions.

The post-holder will be expected to undertake:
• Academic leadership for the woven textiles pathway.
• Responsibility for stage 2 and 3 woven textiles undergraduate students’ pastoral support, progress and attendance, maintaining records and liaising with colleagues as appropriate.
• Pedagogic and curriculum development that stimulate thought and practice that challenge the canon of woven textiles with the aim of promoting diversity and inclusivity.
• Expand the capacity of the course design to inspire students in their creative practice and professional goals.
• Effective management and inspiring leadership within the woven textiles pathway, working collaboratively within the wider textiles team.

The post-holder is expected to uphold and implement the policies and procedures of University of the Arts London and the College.

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

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 →

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

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

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. Production Assistant Maternity Cover Role

Role to commence in June/July 2024 under a 1 year fixed-term contract, 35 hours per week.

Salary £21,000 per annum.

The Bristol Weaving Mill Ltd are looking for an organised and proactive weaving mill Production Assistant with advanced knowledge of woven textiles, and meticulous attention to detail. Reporting directly to the Production Manager this role requires a confident and skilled hand-weaver with an interest in industrial manufacturing and sustainable textiles. The successful applicant will have excellent communication skills, be self-motivated and hard-working, able to follow instruction and work well in a dynamic small team. Experience working with industrial machinery is desirable but not essential.

 Production Assistant Maternity Cover Job Role Description:

Organisation and Logistics:

  • Assisting the Production Manager with procurement by monitoring the status of deliveries.
  • Communicating with cut-and-sew subcontractors handing over technical direction.
  • Preparing finishing sheets, Quality Control management and recording.
  • Assisting the Production Manager with logistics.
  • Packing and distribution of fabric rolls, yarn and products in line with project timescales.
  • Assisting with organization of stock and annual stock checks.
  • Archiving of finished projects including technical files and samples.
  • General housekeeping – regular tidying, keeping space organised and manageable.

Technical and Weaving:

  • Assisting the Production Manager with the creation and organisation of CAD files and weave tickets for in-house and outsourced production designs.
  • Under the direction of the Production Manager and Product Development team, working on hand-woven samples ready for industrial application.
  • Hand-weaving of production lengths and products, ensuring targets are met.
  • Setting up of weaving looms from warp winding to threading and reeding.
  • Checking and mending loom-state fabric.
  • General maintenance and upkeep of hand-weaving looms.
  • Cut-and-sew processes including sewing labels and cutting blankets and scarfs.

In-house Industrial Operations:

  • With the support of the Production Manager, working on the general set-up and operation of in-house industrial loom.
  • Creating, checking through and assembling punch-cards for industrial weaving loom.
  • Assisting with the organization of warps for the in-house industrial weaving loom.

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

To apply please email your CV together with a covering letter and your digital portfolio of weaving to juliet@bristolweavingmill.co.uk by 6pm on Friday 5th April 2024.

Double Weave: Ditchling Museum of Art + Craft

Double Weave: Bourne and Allen’s Modernist Textiles

This autumn, Ditchling Museum of Art + Craft will be marking ten years since their major redevelopment with an exhibition about the museum’s co-founder Hilary Bourne (1909 – 2004) and Barbara Allen (1903 – 1972), her partner in life and creative practice.

The pair ran an internationally successful textile studio, designing and making a variety of fabrics – tweed for Fortnum & Mason, furnishing fabric for Heal’s and scarves for Liberty. The turning point in their career came in 1951, when they won the competition to design and make textiles for the newly built Festival Hall. They went on to win commissions to make the costumes for the multi-Oscar winning 1959 film Ben-Hur and the interiors of the UK’s first jet planes.

In short, they were two of the most significant textile designers of the modernist period, yet they remain largely unknown – until now.

Double Weave will give space to their story. It will speak to the invisibility of women as leading modernist designers and how women’s intimacy informs creative pursuits.

High profile commissions undertaken by the pair will be on display, such as the costumes from Ben-Hur and curtains designed for the Ceremonial Box at the Royal Festival Hall. Visitors can see Bourne and Allen’s innovative use of natural dyes for hand woven textiles, as well as examples of their early adoption of the metallic yarn, Lurex.

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Opportunity: Whitchurch Silk Mill | Trainee Weaver

Whitchurch Silk Mill is looking for a Trainee Weaver who is keen to learn about making silk on their Victorian machinery. As a working museum, they need someone with a practical hands-on approach with a genuine interest in heritage and weaving silk on tappet and dobby looms. During this one-year training post the trainee will learn how to wind, warp and weave and work in this working museum in the heart of the Hampshire countryside.

The Trainee Weaver will receive:
Full time, paid placement
£19,000 pa
Training in the operation of a Grade Two* listed Silk Mill, including winding, warping, weaving and the operation of a visitor attraction
Time to study
Work alongside the Weaver Tacklers, Mill Engineer and the Mill team
Learn about all aspects of silk production on our historic machinery
Develop skills, such as guiding and working in a visitor attraction

To apply, please send a CV and a covering email letter to Sue Tapliss (click on name for address) by Monday 4th September 2023.

Please do not send portfolios / photographs
Closing Date: 5.00pm Monday 4th September 2023

With thanks to Whitchurch Silk Mill for text and image

 

Anita Sarkezi | Weave Designer & Award Winner

Winner of the Weavers’ Company Award at New Designers

Anita Sarkezi was born to working-class Slovenian migrant parents in Sweden and returned to Slovenia during her school years. She has since then lived in several European countries, moving to Scotland in 2018.

Sarkezi’s textile design practice is motivated and informed by her Slavic cultural background. Her work is grounded in the interwoven histories of rural material culture and post-colonialism in Central and Eastern Europe, where she questions the traditional use of floral patterns as national symbols.

Her practice explores the relationship between organic and geometric shapes. Using the TC2 digital loom, Sarkezi constructs an imaginary space consisting of personal ornaments and motifs, as well as bold and gradient uses of colour. This serves as a visual metaphor for the flux of movement and migration and an outlet for her personal narrative as a migrant.

Sarkezi gathers visual information through wandering, catching and recording glimpses of nature in urban centres, then incorporating them into a new reality utilising digital and analogue ways of working.

Sarkezi’s approaches to drawing, colour and design exploration are intuitive and chaotic yet neatly edited at the end of the process. They’re all intertwined throughout the creative journey, and she feels colour exploration can end up in a drawing and design exploration can become a drawing. Form does not exist without colour. Each drawing, colour and design exploration has been collaged from diverse sources, aiming to create something that is ‘original’ and is an expression of her own identity and heritage.

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