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Exhibition: Contemporary Materials. Artists. Designers. Makers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Teresa Georgallis
Teresa Georgallis is a textile designer specialising in woven fabric for fashion and interiors. In June 2012 she was awarded the Clothworkers’ Foundation Award / Cockpit Arts Award and she is now based at Cockpit Arts Deptford. After graduating from the Royal College of Art she has been working on a series of hand woven interior textiles, fashion accessories and stationary prints. She has developed a collection of luxury bags using her woven textiles combined with leather. All of the bags are one-off pieces designed and made by Teresa in collaboration with a leather craftsman.
www.culturelabel.com/shop/t/teresa-georgallis/
www.teresageorgallis.com


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


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MYB Textiles & Edo Architecture Project

MYB Textiles were recently involved in The Ghost of Water Row, a project by EDO Architecture, for which they produced a veil for their temporary structure at Water Row, using their Guirlandes pattern. MYB Textiles is  Morton Young and Borland Ltd and was founded in 1900 in the Irvine Valley, Scotland, exclusively weaving Scottish Lace and Madras sheers.

This pattern was felt to be relevant to the project due to the definition of the word ‘Garland’ and the Flemish roots of the handloom industry in Govan and throughout Scotland.

Thanks to this project and the history it has drawn their attention to, MYB are now researching the links between the Ayrshire lace industry and Govan by way of the weavers trail.

MYB hope to share their findings soon. In the meantime, there is some more information on the project from EDO Architecture:

Water Row has always sat at the heart of Govan. It’s a route to a crossing of the water and the reason Govan exists. Since pre Christian times, there have been successive layers of crossing and inhabitation here. All have their stories … all have their ghosts. Many remain buried awaiting investigation.

Govan’s Raison D’etre is routed in the water. With it’s desire line blocked it remains in a state of disconnection.

The Ghost of Water Row as it will appear on the footprint of the original buildings, distills the nature of Human Inhabitation that lasted here, till the Industrial Giant Harland and Wolff arrived. Built in pale Scottish Spruce – The Ghost is a careful distillation of four Buildings that sat to the west of the now buried slipway at Water Row. Its not a direct copy of the Ferry Inn or the weavers cottages that sat here from 1700 -1912 but it says something of them.

The shuttles of Govans hand loom weavers stopped flying in early 1900 to make way for shipbuilding. On the 5th November 1912 the Burgh of Govan was subsumed by the city of Glasgow and much of its independence went with it.

The pattern of the ‘Lace on the Ghost’ was taken from Flemish trade on the river Clyde its estuary and firth. It’s known as “Guirlandes” meaning garlands and representative of Honour. The pattern was moved from hand looming to mechanised looming and remains in production by MYB textiles in Ayrshire to this day.

All photographs by & copyrighted to Tom Manley

Texprint Weave Designers 2012

“TEXPRINT interviews, mentors and promotes the UK’s most talented textile design graduates with the support of industry professionals worldwide.” (Source Texprint website)

This year 7 weave designers were selected by Texprint and will be showing their work at Indigo trade Fair, Paris 19th – 21st September 2012. Their work was first showcased at Texprint London in July. See all Texprint Designers

Lisa Bloomer
Lisa Bloomers’work focuses on materials and the process of making. Specialising in weave, she also uses dye, print and freehand techniques to create bespoke fabrics for interiors and fashion. Lisa achieved an MA at the Royal College of Art in Woven Textiles.

Sustainable and ethical concerns inform her practice and she sources local fibres, such as European linen and hemp, British wool and alpaca, alongside mohair and silk, to ensure high-quality investment design. lisa.bloomer@network.rca.ac.uk

 

 

 

 

 

 


 

Dominique Caplan
Dominique Caplan’s work is innovative and engaging, experimenting with different approaches, but always resulting in entertaining intelligently executed textile.   Having recently graduated from Central Saint Martins College of Arts and Design with a First Class (Hons) Degree in Textile Design, Dominique thrives on the technicalities of weave and the construction of a fabric utilizing both Arm and Jacquard looms.  She enjoys creating concepts and stories to base her fabrics on working with a range of media from film to 3D model making.  Extensive drawing and painting coupled with this combination of media allows her research and resulting fabrics more freedom and variation.  Her recent collections which have been exhibited at New Designers and now Texprint, London, experiment with unusual contrasting colour ways.  Her innovative and unique research procures a strong design signature which is communicated throughout her work.  Most recently Dominique’s collection originated from the ‘End Game’ a computer game dual reality created by her to generate fabrics for quirky menswear.   From beginning to end Dominique’s collections are surprising, humorous and energetic. dominiquecaplan999@hotmail.com

 


 

 

 

 

 

 

Sophia Fenlon
Intrigued by the weird and the wonderful, Sophia’s collections delve into the exploration of extreme textural opposites, intricate extra weft patterning and masses of vibrant colour.  Enhanced by a love of illustration and styling a strong sense of designer identity transcends throughout. Specialising in Woven Textile Design for Fashion, Sophia holds a first class BA (Hons) degree from the University of Brighton with graduate collection sponsorship from luxury Paris fashion house Hermes. s.e.fenlon@hotmail.co.uk

 

 

 

 

 

 

 

 

Alix Massieux
Alix graduated with a fashion degree in women’s wear in 2008 from La Chambre Syndicale de la Couture Parisienne in Paris. She then decided to broaden her skills and knowledge by attending Central Saint Martins College of Art and Design in order to create fabrics with a fashion application.

Her work is vibrant and exciting, exploring the relationship between material and colour and emphasizes attention to detail with hand stitch embroidery and finishing techniques. In her research she utilises similar techniques, experimenting with painting and collage.
Her visualisations often portray simply cut fashion pieces with exquisite and precious fabric.
As a designer with a background in both fashion and textiles, she considers the fabric as important as the garment and she intends to explore this relationship further in her future career.  alix.massieux@gmail.com

 

 

 

 

 

 

 

 

Sophie Reeves
Sophie Reeves studied at the University of Brighton, graduating with first class honours in 2012. Her collection drew upon the freeform geometry of the Russian Constructivists, finding a parallel with the shapes, colours & textures of crystals in nature.  It is this visual chemistry to be found in mechanised structure & natural formation that defines her practice to date. sophieelizabethreeves@gmail.com 

Warp & Weft: Woven Textiles in Fashion, Art and Interiors. Jessica Hemmings

Warp & Weft by Jessica Hemmings explores the world of woven textiles created for fashion, interiors and art. The experimental practice of some of the most exciting international textile artists and designers today, including Lia Cook, Nuno, Liz Williamson and Maggie Orth, reveals the range of interdisciplinary connections that inspire and inform contemporary woven textiles. A rich overview to contemporary weaving, this book is an excellent resource for everyone with an interest in weaving, fashion, interiors and art. The book will be published in Oct 2012.

Jessica Hemmings writes about textiles. She has taught at Central Saint Martins College of Art and Design, the Rhode Island School of Design, Winchester School of Art and Edinburgh College of Art. In 2010 she edited a collection of essays entitled In the Loop: Knitting Now published by Black Dog and has recently compiled The Textile Reader for Berg (2012) and written Warp & Weft for Bloomsbury (2012). She is currently Professor of Visual Culture and Head of the Faculty of Visual Culture at the National College of Art and Design, Dublin. Continue reading →

The TC2 Jacquard Loom – Digital Weaving Norway


Weaving on the new TC2 – Digital Weaving Norway

Stacey Harvey- Brown had the good fortune to be in Norway, at the factory of Tronrud Engineering where the TC1 and TC2 computer hand-jacquard looms are manufactured. She got to work within the factory environment where the staff were friendly, extremely knowledgeable and listened to the user, creating or adapting equipment directly from weaver feedback.

Vibeke Vestby, the dedicated and inspiring weaver and creator of the TC1 and now the TC2, invited Stacey over to test weave on the TC2 with non-traditional weave techniques to see how well the loom could cope. She reports that the loom coped very well. One or two suggestions were acted on immediately, and modifications were made which improved the weaving experience. The TC2 is a faster loom than its predecessor, which delighted her, as that was probably her main criticism of the TC1. She had found that the TC1 wouldn’t allow getting into a comfortable weaving rhythm when only using one shuttle, and this has been addressed with the TC2. Stacey is a fast weaver with one shuttle, and although the TC2 isn’t quite as fast as she is, she was still able to get into a good weaving rhythm. When you use more than one shuttle, the speed certainly is not an issue.

The action of the loom is smooth. The heddles now lift inside a frame – not dissimilar to traditional jacquard – and there are fewer ends that misbehave. She had 2 that refused to co-operate out of 2640. Stacey has more than that on my baby jacquard sample looms from the 1880s which are completely manual. The curing of that kind of problem is also much easier, and hopes to have more time to investigate this on another visit.

The actual hardware on the TC2 is much less frantic than the TC1. Instead of cables everywhere, there are simple modules with vacuum hoses. The bulk of the electronics are in the side frame so reducing the amount of trailing cables. The design of the frame is cleaner, less industrial and somehow more ‘friendly’.

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Cockpit Arts – Clothworkers’ Foundation Award Winners

Cockpit Arts is extremely grateful to The Clothworkers’ Foundation for helping to establish and promote the Cockpit Arts / Clothworkers’ Foundation Awards 2012 which aims to support weavers who have recently graduated to help them develop their skills and pursue their career. All the Award winners can be seen at the Cockpit Arts Deptford Summer Open Studios 2012. Open 22-24 June. Address: 18-22 Creekside, London, SE8 3DZ. Opening times: Fri 6pm-9pm, Sat – Sun 11am-6pm. Cockpit Arts

The Clothworkers’ Foundation has been closely involved in the Award concept from the beginning, and  are most indebted to Andrew Blessley, Director of the Foundation for introducing us to Philippa Brock, Woven Textiles Pathway Leader and Linsay Robinson, Senior Weave Technician, Central Saint Martins, who advised on the award timetable and purchase of looms and equipment. Cockpit Arts also sought initial advice about the concept of the Award from weaver, Eleanor Pritchard, who is based at Cockpit Arts Deptford.

The Selection Panel comprised Scarlet Oliver, representing The Clothworkers’ Foundation; Mary Restieaux, acclaimed ikat weaver and designer; Vanessa Swann, CEO of Cockpit Arts and Beckie Kingman, Studio Manager, Cockpit Arts. The six Award winners moved into Cockpit in mid-April 2012. They occupy shared space in two studios at Cockpit Arts’ incubator centre in Deptford (Studio 213 and 214) and have shared access to looms and equipment, generously funded by The Clothworkers’ Foundation with a grant of £25,000. The 6 Awards are being generously funded by the Foundation at £2,000 per Award with match funding of £2,000 being provided by each Award winner.

Cockpit Arts are looking forward enormously to supporting the young weavers with business development support over the coming year in order that their weaving businesses thrive and grow to national and international success.

Award Winners

Nadia-Anne Ricketts

Deptford Studio 213/214

Multimedia textile designer and artist Nadia holds a first class BA (Hons) from Central Saint Martins. Nadia digitally translates music into fabric, and this innovative fusion of music and weave has led to projects with the V&A and Microsoft Research Cambridge. Her fashion-led work includes collaborations with musicians Beth Ditto and Adele.
www.nadia-anne.com 

 

 

Soukaina Aziz El Idrissi,

Deptford Studio 213/214

Soukaina is a surface designer specialising in weave who up-cycles yarns from plastic carrier bags. She was born and raised in Casablanca, Morocco and moved to London in 2005 where she studied at Central Saint Martins. She also won the New Designers Award in 2010.

www.soukaina-azizelidrissi.com

Teresa Georgallis

Deptford 213/214

Teresa specialises in hand woven and jacquard design cloth and explores themes around pattern, rhythm and sequence. She holds a textiles BA (Hons) from Chelsea College of Art & Design and an MA from Royal College of Art.

www.teresageorgallis.com

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Weave Talks – ASF Shetland

Edina Szeles and Fiona Daly are visiting Shetland this summer for  residencies. ASF Shetland will be holding an open day on the 22nd July from 10am with talks by the weavers from 2pm. If any weavers would like to join in by Skype, please contact Andy on globalyell@btconnect.com or pay us a visit in Yell.

ASF Shetland are also pleased to be part of Wool Week in October and will be hosting a Wool and Weave talk on October 13th. The evening will start at 6pm for coffee/ tea and a look around ASF Shetland. Booking is essential and places are limited. £10/ 8 This talk will also be available free to watch online; please contact us for details or see our website: www.creativeindustriesshetland.org.uk for details, coming in September.

Exhibition & New Books: Ann Richards & Lotte Dalgaard

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

info@thehandweavers.co.uk
www.handweavers.co.uk/


 

 

 

 

 

 

 

Textiles: Guild / Education Exchange Grants

The Journal for Weavers, Spinners & Dyers is pleased to announce a new grant scheme to foster the exchange of skills and knowledge between Guilds of Weavers, Spinners & Dyers and UK Universities and Colleges involved in textiles.

Today’s textile students are all potentially future Guild members and Journal readers. They can benefit from the considerable expertise that Guilds have to offer. Equally, Guilds can get an insight into current issues and trends in textile design through engagement with educational institutions and their students.

Although applications will only be accepted, and funding provided, via Guilds that are members of the Association of Guilds of Weavers, Spinners & Dyers, we are keen to make Universities and Colleges with textile departments aware of the scheme so that they can form or strengthen their links with local Guilds and consider what sort of activity might be mutually beneficial.

Further details
Guilds will be invited to apply for a grant from the Journal for educational work to cover expenses such as travel, materials and tutors’ fees.
In total, the Journal has up to £500 in grants available, which could potentially support a number of projects.

Proposed activity might, for example, include
• Demonstration and discussion of specific weaving techniques with examples from staff, students and Guild members.
• A spinning demonstration and workshop provided by the Guild for students. A talk for the Guild by students on some of the yarns, materials and processes they have been using.
• A one-day workshop on a specialist dye technique for Guild members and students using expertise from the Guild and facilities at the university. Techniques might include use of natural dyes, warp painting, ikat, wax resist and so on.

These are just examples however: we expect proposals that are relevant to the particular interests and skills of Guilds and the educational institutions they will be working with. The proposed activity must take place during the period February – June 2013.

If you don’t already have Guild contacts, you can find a list of Guilds at
www.wsd.org.uk/guilds.htm

Information about the grants scheme and how Guilds can apply will be published in the Autumn issue (243) of the Journal.

The Journal is the magazine of the Association of Guilds of Weavers, Spinners & Dyers. Published quarterly, it covers a wide range of textile subjects, including articles on historic textile techniques and cutting edge modern design. We offer reduced subscription rates to both educational institutions and individual students.
www.thejournalforwsd.org.uk/

Woolmark Relaunches ‘Cool Wool’ for Summer – Philippa Watkins

Visitors to Première Vision could’nt resist a smile at the (by now iconic) Woolmark image of a flock of stylishly ‘cool’ Merino sheep in Ray-Ban shades, which met them at the entrance.

The image really set the scene, for the re-launch of Cool Wool, drawing buyers and designers to the wealth of lightweight wools on show, and putting wool firmly back on the map as an elegant, yet functional fabric for spring garments, which keeps cool in hot weather. Merino wool’s natural breathable and thermal-management properties really do make it highly suitable for warmer climates.

This is all part of the efforts to bring wool back into favour, after many years when all promotional activity of woollen products had been stopped.  Wool, without promotion had a difficult time losing a lot of its market share, despite the many new developments which had brought finer softer merino wools in knitwear and wovens – which just proved how important marketing is.

Now ‘The Campaign for Wool’ www.campaignforwool.org is making up for lost time, and AWI (Australian Wool Innovation) is putting huge efforts into rebranding wool.  The Cool Wool relaunch is one such promotion to inform what wool can be. Another is the Woolmark Company’s new “Wool Lab” project, which is a seasonal guide to the best wool fabrics and yarns, which is proving to be an extremely effective tool, identifying inspirational wool trends for the fashion industry, including brands, retailers, manufacturers, spinners and weavers. It’s well worth getting your Ray-Bans on to have a look…..