Archives for posts with tag: weaving

A few weeks ago, we were approached by a nice Irish man working for Japanese TV. He was working on a segment that highlighted the “craft wave” in and around NYC and Brooklyn. In particular he was interested in highlighting our weaving and shoe making classes, and he discussed with us the various ways in which we felt this “craft wave” was growing, affecting individuals, as well as the economy.

I feel like we’ve been having this conversation a lot, through several interviews happening around the same time (EcoSalon, Brooklyn Based), and it’s really actually helped in how we run things here. For the most part, we are doing what we believe in and what we think will make people happy. But when you are asked specific questions, it forces you to wrap your mind around what you’re actually doing — what is going on in a larger picture. And rather than just feeling it, you can talk about it in a more concrete way. I like that.

Alisa, one of our wonderful previous interns, shows up on the video as a weaver. She is Japanese, and her father still lives there. So when he randomly saw her on TV one night, he sent her the clip through Youtube:

Now I only wish I could understand Japanese and know what it says under my face while I’m speaking..

(photo courtesy EcoSalon)

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Be sure to check out Elana Herzog’s show, Into the Fray, at LMAKprojects February 19.
It will be up February 19 – March  27 with an artist talk March 6.

Herzog alters and manipulates found textiles, including bedspreads and rugs, by stapling, tearing and draping.  These fabrics are transformed into new surfaces, often resembling organic decay or growth on the gallery walls they inhabit.

(Photos courtesy of http://www.elanaherzog.com/art.html)

Yesterday, Isa and I had a very nice ending to a day of bad news. We headed up to the American Folk Art Museum for the Fashion Lab in Process panel discussion “Re-Made in America” moderated by Daria Dorosh and featuring a wonderful group of speakers:

Sarah Scaturro, the textile conservator at the Cooper Hewitt; Eileen Fisher; Melissa Kirgin and Xing-Zhen Chung Hilyard of Eko-Lab; Meiling Chen of Fearless Dreamer; Jose Martinez; Gayil Nalls; Despina Papadopoulos; Sabine Seymour; and presenters from Shima Seiki (creator of WHOLEGARMENT knitting machine)

The discussion was meant to examine the future of fashion, and exploring what the next evolution for fashion will be, and whether or not sustainable practices are compatible with technology and further advancements.

The conversation was very interesting, and I attribute this to the wide variety of speakers and backgrounds, as well as great questions coming from Daria Dorosh, founder of FLiP (Fashion Lab in Process) While the conversation went through all the most pertinent topics related to sustainability in fashion, and how possible it is, I was happy that the main idea that came out of the discussion was that it would not be one thing that could save us all, it will be a combination over time — but the key will be to take the developments and educate the consumer.

So many interesting things were touched upon like the WHOLEGARMENT knitting machines, and an interactive app being developed by Jose Marinez that would provide tags in clothing that will pull up vital background information on the garment.

I was also so happy to finally meet Daria, who will be participating in the upcoming Earth Day event with Abigail Doan, and learn more about FLiP:


(EkoLab deconstructions for FLiP)

“Fashion Lab in Process, (FliP™) is a new company created and directed by Fashion Institute of Technology, NY, educator and artist, Daria Dorosh, PhD.

FliP™ uses a public performance process to communicate a sustainable design philosophy with a
social responsibility agenda that addresses the current state of the fashion world and beyond.

The concept behind FliP™ is to bring designers and customers together through a creative retail experience. FliP™ presents fashion surrounded by video, art and performance to celebrate its reconstructed, repurposed, don’t-waste-anything aesthetic. The public is invited to join in the fun, watch a garment makeover, and walk away with a unique fashion purchase.

FliP™ will demonstrate how mass produced fashion can be made sustainable by being transformed into one- of-a-kind fashions through a process that re-values garments and involves the public in a unique fashion experience.

Fashion Lab in Process is ready to share its novel concept and program that increases
opportunities for young designers. To find out how this can be done for retailers who would like a FliP™ fashion makeover in their store, please contact Daria Dorosh, Director.” – (www.fashionlabinprocess.com)

Which brings me to the plug : )

Help us get you educated — join us Sunday, February 13, 1-4PM for a Fashion Week Mending Brunch!

(Courtesy Dr.X’s Free Associations, Lewis W. Hine)
  • Bring (1) item from your closet that needs some TLC
  • TAC staff will help you transform it through dyeing, screen printing, and sewing
  • Go home happy with something brand “new”!

rsvp@textileartscenter.com

What a busy week! We’ll leave you with a nice, relaxing film put together by Etsy about a 91-year old Alaskan moccasin-maker named Mabel. We want our own Mabel moccasins to kick around this weekend…

Students will be finishing up the last class of Shoe-Making 101: North American Footwear, where they got to choose from 17 different designs for their leather shoes.

If you missed this round of Shoe Making, you can join in April! Check it out.

Enjoy!

(courtesy Craft Zine)

The Ikat class starts today and I couldn’t be more happy to be teaching it. I thought I would share with all of you a little bit of Ikat history.

Although Ikat is a Malay word, Ikat weaving is present in many cultures around the world, such as African, South American and Asian countries, being one of the oldest textile decoration techniques. The process consists of resist dyeing (normally by tie-dye) the warps and/or wefts before weaving.

Weft being prepared for ikat weaving, India

(photos courtesy of http://textiledesigninindia-indiansaris.blogspot.com)

The patterns include geometric and floral forms, stripes, animals, etc and, depending on how the warp and weft threads are aligned together, can either be super rigorous and sharp or have a blurred look.

When only the warps have been resist dyed the technique is called warp ikat. One great example of warp ikat comes from West African textiles, where the warp is resist dyed with indigo, creating a white and blue striped effect.

Stripwoven ‘country cloth’, Ghana (top right); Yoruba stripwoven cloth, with warp ikat details (bottom right);  Stripwoven Woman’s cloth, Nigeria (top left); Yoruba stripwoven ‘country cloth’ (bottom left)

(photos from John Gillow’s “African Textiles”)

Sometimes, only the weft threads are resist-dyed to create the pattern. This is the technique that we’re going to explore on TAC’s Ikat Class, and as you can see from this silk and gold thread weft ikat from Bali, amazing results can also be achieved.

(photo courtesy of http://indokain.com)

When both warps and wefts are resist-dyed to create a pattern together the technique is called double ikat, and one of the better examples are the famous Patola wovens from India.

Weaving a double-ikat Patola, Patan, India

(photo courtesy of http://textiledesigninindia-indiansaris.blogspot.com)

(Double-Ikat) Patola from textiles

(photo courtesy of http://www.abouttextile.com)

Or the also famous examples from Toraja culture, Indonesia..

Indonesian funeral shroud or hanging, (porilonjong), Central Sulawesi (Celebes), Rongkong, Toraja, cotton with ikat paterns,

(photo courtesy of Honolulu Academy of Arts)

I hope you’re feeling inspired by these international ikat textiles – I can’t wait to see what our students are going to be creating tonight in Brooklyn!

 

Thanks to Tali Weinberg, one of our talented Resident Artists, for compiling a list of “must see” shows in and around the NYC area (plus a few more we want to see):

Master of the Blue Jeans, Didier Aaron Gallery, through February 4

Charles LeDray: workworkworkworkwork, Whitney Museum, through February 13

Convergence, Lumenhouse, through February 15

Balenciaga: Spanish Master, Queen Sofia Spanish Institute, through February 19

Kashmir Shawls at the Bruce Museum, through Feb 27th (Greenwich, CT)

Colors of the Oasis: Central Asian Ikats, Textile Museum, Washington DC, through March 13th (quick road trip anyone?)

AKWAABA: Weaving Unity Between Bonwire and Staten Island, Sung Harbor Cultural Center, Staten Island, through April 3rd

Art/Memory/Place: Commemorating the Triangle Shirtwaist Factory Fire, Grey Gallery at New York University, through July 9 (closed March 27-April 11)

Knoll Textiles 1945-2010, Bard Graduate Center, May 18-July 31

Objects of Exchange: Social and Material Transformations on the Late 19th Century Northwest Coast, Bard Graduate Center, through April 17

Sergej Jensen, PS1, through May 2

The Global Africa Project, Museum of Art and Design, through May 15

Color Moves: Art and Fashion by Sonia Delaunay, Cooper Hewitt National Design Museum, March 18-June 5

Rugs and Ritual in Tibetan Buddhism, Metropolitan Museum of Art, through June 26

A Stitch in Jewish Time: Provocative Textiles, Hebrew Union College Galleries, through June 30th

Have other recommendations? Let us know!

It’s been nasty out lately – snow, snow showers, slushy snow, freezing rain.. Well, you know!!  And even if this is my 3rd Winter in NYC, my wardrobe is still not prepared for this weather (talk about Winter denial..).

And it was with wet weather on my mind that I came across the exhibition ” Beauty Born of Use: Natural Rainwear from China and Japan”, now on view at the Textile Museum of Canada. The exhibition features examples of rainwear made in mid 20th century in China and Japan. The garments were made using plant materials that were available locally and renewable, like bamboo, tree barks, reeds, etc, without compromising in a bit the fantastic design.

Rain cape, rice straw, bast fiber, cotton, China, mid 20th century

According to the Textile Museum’s most recent educational tool, Social Fabric (please make a minute to check it, it’s so worth it!), this cape was made using rice straw that was folded and stitched together, assuming the appearance and functionality of a thatched roof. People in remote areas of China still wear these capes to this day.

Rain cape; palm bark fiber, bast fiber, cotton; China, mid 20th century

Rain hat, plant material, grass, Japan, mid 20th century

Since early times, the people in these countries have been using the materials locally available to construct waterproof garments. For instance, in China, this kind of garments go back earlier than Ming dynasty, and where woven using straw, grass and pipal tree leaves. In Japan, people also always used what was readily available to make garments, like rice and wheat straw, reed, bark, vines, and seaweed. However, all these skills and traditions for making weather resistant garments are being forgotten, and like everywhere being replaced by the ubiquitous plastic.

I think rain and snow wouldn’t be so bad if I was protected by one of this! If you’re going to Toronto before May 1, make sure you make a stop to go see and admire these garments. And please tell me more about it!


I am so pleased to be working with the Textile Arts Center as part of our initiative at StyleSalt to support independent fashion artists and designers. Fiber art is the first step in wearable creations, and I couldn’t be happier with the shift from people looking for mass-produced pieces to wanting something special and unique–real statement-pieces that can be an extension of their personality and view of the world. It’s a push to individuality, and with the luxury market back in swing, customers don’t mind paying more to get it.
I have spent a large portion of my career working with designers, both emerging and established, as a fashion editor for magazines like ShapeNatural Health and Fit Pregnancy. Passion for creating something original is an attribute highly visible in this industry.
Now in my role for StyleSalt.com’s boutique , I am able to take on an even more hands-on role for artists, not just witnessing the journey, but also in helping. Our goal is to make apparel design a more accessible career for new talent, give designers a free place to sell their creations, free promotion, free blogging and an instant audience.
If you are interesting in becoming involved in StyleSalt’s boutique for emerging and independent designers, you can contact me at misty@stylesalt.com.
I look forward to hearing from you!
Misty Huber
CCO, StyleSalt.com

(from Eden Jewelry)

(from Kahri)

Join us and curator Scott Henstrand tonight for an Artist Talk on the current exhibition missing/Missed.

Textile Arts Center, 505 Carroll Street (btwn 3rd + 4th ave), January 24, 7PM

The following artists will be sharing about their work:

Regina Agu

Audrey Anastasi

Julia Elsas

Pat Hickman

Sara Jones

Mary Lippin

Jill Magi

John Paul Morabito

Maria Scarpini

Ed Schexnayder

Leonie Wunderlich.

Visit the missing/Missed website for more information on each artist!

Apologies — Isa and I have been very bad with sharing stories and photos from our long-lost trip to Peru in early December.

Aside from the obvious favorite spot (Machu Picchu), by far the most rewarding part of the trip was getting to take a tour with Annie and Emma from Awamaki up to Patacancha, where they work with women for the weaving project.

A couple of years ago (pre-Textile Arts Center and in a hurry to get out of a bad job) I was planning to spend 6 months in Ollantaytambo volunteering with Awamaki. Time passed, and suddenly Textile Arts Center was starting, and Awamaki moved to the back burner. Then, one day in October, Tara St. James of Study NY emailed me to introduce Annie to us. Tara had been work as a mentor to a new project, Awamaki Lab, where a fashion designer would spend a few months in Peru to create a capsule collection using traditional Peruvian designs, with the goal of training local women for production (and eventually design, as well)

I was so happy to be put back in touch with the organization, and thrilled that someone had taken the initiative with such a project there, that we immediately made plans to spend plenty of time in Ollantaytambo when we went to Peru. Annie generously let us join a tour, taking us up into the mountains — far from paved roads, toilets, electricity — to Patacancha.

(from the road, drive to Patacancha)

(standing in the valley, at Patacancha)

We were shown what Awamaki had set up for the community of families (several small structures; the first working toilet in the area) and went through their processes of spinning, natural dyeing and backstrap weaving. The group of women, who ranged in age, then each took out their individual work, from which Awamaki places orders to sell in the Fair Trade store in Ollanta.

Starting with our wait at 6am in Ollanta’s main plaza, we got to see the inner workings of the small town. While Ollanta is quite touristy, being one of the main stops in the Sacred Valley, getting to see the more day to day operations of the people in Ollanta, as well as neighboring village, was absolutely incredible.

(5am, Heart Cafe in Ollantaytambo)

And NOW… Annie, Awamaki Lab, and Nielli Vallin get to share their hard work at their launch party/pop up shop.

Join us, and many others, to celebrate the launch of the first capsule collection by Nielli Vallin tomorrow night:

January 20, 7-10PM

208 Bowery St, 2nd Floor (between Prince + Spring)