Artist makes life-sized faux taxidermy animals from upcycled fabric swatches

The 'Hive' collection, developed by atelier oï for B&B Italia, explores an innovative approach to upholstery using small leather patches, termed "leaves," to construct a three-dimensional textile. This deconstruction process details the extensive trial and error involved in perfecting this complex material, which ultimately informed the design of hexagonal ottomans and complementary low tables. The initial phase of development focused on material exploration, specifically forming studies with leather patches in various colors and configurations. This involved examining both the front and back of these patch arrangements, noting how individual leather pieces connected to form a cohesive textile, even before full attachment. Following these material studies, the design team moved into conceptualizing how this unique leather textile could be applied to furniture. Early sketches focused on adapting the connected leather structures for an ottoman. This led to the creation of numerous ottoman models, varying in size, form, and leather color, to test the aesthetic and structural possibilities. A significant challenge addressed during development was how to effectively wrap the ottoman legs with the patch textile, requiring dedicated studies to perfect the technique. Further refinement involved developing methods to finish the corners and sides of the ottoman, especially given the irregular edges of the leather patches, ensuring a seamless and polished appearance. In parallel with the ottoman design, the concept evolved to include complementary furniture pieces. Initial sketches were created for a similarly shaped table to be paired with the ottomans. This integration aimed to create a cohesive collection where both the ottomans and tables shared a unified design language, inspired by the distinctive beehive-like texture of the leather. The culmination of this design process resulted in a finished product showcasing three-color ottomans paired with the metal tables. The 'Hive' collection was notably featured in an installation at the B&B Italia Store during the Milan Furniture Fair in April 2013, highlighting the successful application of this innovative textile in a contemporary furniture context. #LeatherUpholstery #3DTextiles #FurnitureDesign #AtelierOi #BBItalia #ProductDevelopment #OttomanDesign #TableDesign #MilanFurnitureFair

Portuguese artist Vanessa Barragão creates sculptural textile art that pays tribute to the ocean. Her work, which includes textured woolen rugs, tapestries, and wall hangings, is crafted from discarded industrial textile waste. Barragão employs a variety of traditional techniques such as crochet, latch hook, hand-tufting, embroidery, felting, and knitting to transform these materials into forms reminiscent of natural coral structures found in marine environments. This approach allows her to avoid industrial machinery, further minimizing her environmental impact. Barragão's recent pieces, specifically "Coral Garden" and "Ocean Tapestry," are designed to highlight the extensive pollution generated by the textile industry and its detrimental effects on the natural world. She emphasizes that the textile industry is a significant polluter, consuming vast amounts of energy, producing considerable waste, and contributing to atmospheric pollution, much of which is absorbed by the ocean. Her artistic process is deeply rooted in eco-consciousness, utilizing recycled materials and meticulous hand-production methods. "Coral Garden" is an immersive installation constructed from deadstock supplies sourced from an artisanal rug factory. This collection delves into the destructive impact of global warming on coral reefs. One side of a large textile wall panel within the installation showcases a vibrant, richly colored reef, while the other side is rendered in a subdued color palette, visually representing the devastating phenomenon of coral bleaching. This contrast serves to illustrate the before-and-after effects of environmental degradation on these vital ecosystems. Similarly, her "Ocean Tapestry" is composed of woolen yarns in various cold, blue hues, evoking the depth and mystery of the ocean. Through her art, Barragão aims to raise public awareness about critical environmental issues and encourage individuals to contribute to the planet's well-being. She underscores the ecological importance of coral reefs, describing them as the heart of immense habitats that support countless marine species. The loss of these foundational ecosystems, she warns, could lead to the extinction of a significant portion of marine life, ultimately impacting humanity and other living organisms. Her work serves as both a beautiful artistic expression and a powerful environmental statement, advocating for greater ecological responsibility. #TextileArt #RecycledMaterials #OceanConservation #EnvironmentalArt #CoralReefs #SustainableArt #Handcrafted #VanessaBarragao #InstallationArt

The Poilu Vases represent an innovative venture into material research and 3D printing technology by Paris-based Studio Bold. This project explores the integration of natural fibers into 3D printed structures to create unique textural qualities in decorative objects. The studio's research centered on developing a method to implant what they describe as “hair” into the vases during the additive manufacturing process, aiming to enhance the visual and tactile bulk of the objects. The design philosophy behind the Poilu Vases bridges mathematical logic with natural generative principles. Studio Bold formulated a specialized code that dictates the precise coordinates for the integration of fibrous materials within the 3D printing sequence. This algorithmic approach allowed for a controlled yet organic outcome, resulting in surfaces that mimic the appearance of looped fibers, reminiscent of certain textile textures such as those found in rugs. Crafted from vegetable-based fibers, the vases incorporate materials like bamboo, coconut, and wood. These natural components contribute to the distinctive “hairy” texture and give each vase a unique character. The choice of natural fibers also aligns with contemporary design trends that emphasize sustainability and the incorporation of organic elements into manufactured goods. The collection consists of three distinct vases, each named after a hair color: "Blond," "Brun," and "Roux." This nomenclature further reinforces the concept of implanted "hair" and differentiates the individual pieces within the series. Each vase is produced as part of a limited edition, with specific numbering and artist signatures. This exclusivity positions the Poilu Vases as collectible design pieces rather than mass-produced items. The Poilu Vases are distributed through Aybar Gallery, highlighting their status as art and design objects. The collaboration with a gallery suggests a deliberate effort to present these pieces within a fine art context, appealing to collectors and design enthusiasts interested in the intersection of technology, art, and natural materials. This project showcases the potential of 3D printing to move beyond purely functional applications and into the realm of sculptural and decorative art, pushing the boundaries of what is achievable in contemporary object design through material innovation and advanced manufacturing techniques. #3DPrinting #VaseDesign #StudioBold #MaterialInnovation #HomeDecor #VegetableFibers #LimitedEdition #AybarGallery #ContemporaryDesign

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

The Reborn Furniture Project, developed by Korean designers Younghyun Kim and Dasom Lee, addresses the growing problem of textile waste by transforming old clothes into conceptual furniture. This initiative highlights both the environmental impact of discarded garments and the potential for innovative product creation through upcycling. The project features a collection of metal chairs with upholstered elements crafted from previously used items such as puffa jackets and leather bags. These handcrafted upholstery pieces are then attached to stainless steel frames, which Kim and Lee manually bend into distinct, ribbon-like shapes. The inspiration for these frame shapes is drawn directly from the construction process of the upholstered components. One of the key design principles of the Reborn Furniture Project is the modularity of its components. All chairs are engineered so that the upholstered sections can be detached from the metal frames. This separation is achieved through the use of leather zippers, straps, and buckles, many of which are repurposed from the original garments and discarded bags. For instance, buttons, zippers, buckles, and fasteners integrated into the furniture are directly sourced from the old clothes and accessories, showcasing a thoughtful approach to material reuse and design. Kim and Lee’s work draws attention to a significant environmental issue: the vast amount of textile waste generated globally. Despite widespread efforts to promote recycling, a substantial portion of recyclable textiles still ends up in landfills. Reports from fashion retailers like H&M indicate that only a quarter of the 95% of textiles that could be recycled actually are. This project serves as a compelling illustration of how overlooked materials, such as end-of-life fabrics, can be given a second life. The use of discarded textiles for upholstering furniture is an emerging trend that the Reborn Furniture Project exemplifies, demonstrating a creative and practical application within the circular economy. The designers’ methodology involves simple, handcrafted techniques to reinterpret consumer waste streams, transforming them into functional and aesthetically engaging furniture pieces. The project underscores the importance of sustainable design practices and the potential for designers to contribute to a more circular economy. By consciously repurposing materials that would otherwise be discarded, Younghyun Kim and Dasom Lee offer a tangible solution to textile waste while simultaneously challenging conventional notions of furniture design. Their work encourages a re-evaluation of material value and promotes the idea that beauty and functionality can be derived from existing resources. #FurnitureDesign #InnovativeMaterials #SustainableDesign #Upcycling #TextileWaste #CircularEconomy #HandcraftedFurniture

This article explores the charming appeal of carved wooden animals, highlighting their potential as decorative elements for various home spaces. Designed by a mix of contemporary creatives and historical masters, these small sculptures offer a touch of joy and humor, ideal for enlivening bookcases or home office desks. The piece features a curated selection of these finely crafted companions, suitable for starting a new collection or adding to an existing one. Among the featured creations are the 'Wooden Animals' by Floris Hovers for Ikonic Toys, known for their expressive and minimalist design, available in natural beechwood or a painted set. Sigurjón Pálsson's 'Lundi' wooden puffin for Epal is showcased for its expressive quality and magnetic head, allowing for adjustable orientation. Studiomama's 'Norppa' rocking seal for Vaarnii is presented as a sculptural and joyful piece, crafted from pine and designed to raise awareness for endangered seal species. The article also reintroduces Arne Tjomsland's iconic 'Isbjørn' wooden polar bear, reissued by Eikund, emphasizing its simple yet expressive form from 1955, inspired by Tjomsland's childhood museum experiences. Further examples include Enzo Mari's '16 Animali' puzzle for Danese, a celebrated work from the late 1950s that combines 16 animals into a continuous cut from a single piece of oak, reflecting Mari's interest in Scandinavian children's toys and formal creativity. Torafu Architects' 'Koala Kit' for Ishinomaki Laboratory is highlighted as an assemble-at-home option, offering simple yet expressive wooden figures. Hans Bølling's 'Oscar' dog, alongside other wooden animal figurines like the duck and duckling, produced by Architectmade, represent classic designs initially crafted as personal gifts that have since become iconic. The collection also features Sigurjón Pálsson's 'Shorebirds' for Normann Copenhagen, inspired by Icelandic fauna and characterized by their minimalist and expressive forms in solid oak. Finally, Lars Beller Fjetland's 'Amaranth' ducks for Bottega Ghianda are presented, initially commissioned for a Handmade exhibition. These ducks are inspired by Korean traditions of gifting wooden waterbirds to newlyweds, symbolizing nuptials, and feature a secret compartment for a wooden ring, with the wood color changing over time. Each piece in the collection offers a unique blend of artistic design, craftsmanship, and often, a story or inspiration behind its creation, making them compelling additions to any home decor. #WoodenAnimals #HomeDecor #DesignCollectibles #MinimalistDesign #CraftedFigures #InteriorDesign #SculpturalObjects #DesignerAnimals

Martha Magane, a retired librarian from Eastham Public Library, has embarked on a new creative career crafting unique chenille rugs from fabric remnants. Her journey into rug making began after her retirement in 2011, sparked by a sewing book and a rekindled childhood interest in sewing and dissecting mechanical objects. As a child, Magane repaired her grandmother’s 1930s-era sewing machine, a hands-on experience that fostered her fascination with construction and a desire to create her own garments. The specific technique that captured Magane's attention involves layering stacks of fabric, stitching them together with diagonal channels, and then cutting these channels open to reveal the inner layers. This process creates a textured, plush surface akin to chenille. Initially, Magane sought denim remnants for this technique, but when she couldn't find them at the Truro Swap Shack, she adapted by using heavy upholstery fabric samples. These samples offered a wider array of colors, enhancing the aesthetic diversity of her rugs. After sewing and cutting the layered fabrics, Magane meticulously brushes the cut edges by hand to fray and soften the material, forming the chenille texture. The resulting fuzzy, colorful panels are then backed with denim and assembled into approximately three-by-five-foot rugs. A critical step in her process involves washing and scrubbing the completed rugs to further loosen the fibers and remove lint, followed by trimming the surface to achieve an even pile. Each rug, branded as Slash Products, is inherently one-of-a-kind due to the use of salvaged and donated materials. Magane's initial foray into selling her creations at craft fairs revealed her preference for the creative process over sales. Consequently, her rugs are now retailed at Repurfect in Provincetown and Adorn in East Orleans. Over more than a decade, her designs have evolved from simple pieced squares to more complex patterns featuring wider, longer strips and Klimt-esque motifs. She draws inspiration from nature, observing how colors and shapes naturally interact in the environment, and incorporates these observations into her designs, often utilizing blues with bright contrasting accents. Her material sourcing primarily involves thrift shops, where she discovers thick fabrics like winter scarves and woven blankets, which are ideal for achieving the desired chenille effect. Often, a single piece of found fabric dictates the entire design of a rug. Recently, Magane has also begun integrating yarn to introduce varied textures. The demanding nature of her craft has led to the wear and tear of two sewing machines; her current toolkit includes a heavy-duty serger, electric scissors, and a robust “walking foot” machine designed to handle thick fabric stacks and heavier threads. This work, requiring solitude and patience, aligns well with Magane’s personality, allowing her to engage in another creative pursuit: memorizing songs for her performances with the Outer Cape Chorale. #MarthaMagane #RecycledRugs #TextileArt #Craftsmanship #ChenilleTechnique #SustainableDesign #HomeDecor #HandmadeRugs

Anthropologie's latest collaboration with London designer Bethan Gray is poised to introduce scallops and zigzags as the next prominent design motifs. The 14-piece collection, launching tonight, features these two distinct patterns across various home furnishings and accessories. The article highlights several items from the collection, including upholstered dining chairs with zigzag patterns, sculptural side tables with carved zigzag bases, velvet accent chairs with scalloped backs, and a teal rug with scalloped edges. These designs are presented as sophisticated and inviting additions to home decor. The inspiration for these geometric forms, according to Bethan Gray, comes from natural landscapes observed during her travels. The scallop shape is an abstraction of the feather motif, which she notes is significant in various cultures globally, from Pakistan and Polynesia to European heraldry. The zigzag design, conversely, is derived from the natural veins and markings found in marble and stone. This organic origin ensures that the geometric patterns feel neither cold nor uninviting. The collection showcases the versatility of these shapes. For instance, zigzag patterns appear subtly on a pink file holder, and more boldly as gold lightning bolt-like designs on a white storage cabinet. The designer expresses confidence in the growing popularity of graphic patterns in design, stating that they are effective for storytelling within craft and design, suggesting a trend towards more expressive and narrative-driven decor. The article includes specific product examples with pricing and direct shopping links, such as the Strike dining chair, the Sculptural side table, the Feather velvet dining chair, and the Feather rug, offering readers immediate access to the featured items. It also briefly mentions other appealing items from the collection, like marbleized desk sets, which, while not featuring the main motifs, complement the overall aesthetic. The collaboration aims to bring fresh, nature-inspired geometric designs into contemporary home interiors, making a statement with their unique and meaningful origins. #Anthropologie #BethanGray #HomeDecor #InteriorDesign #ScallopPattern #ZigzagPattern #GeometricShapes #DesignTrends #FurnitureDesign

Robert Greene, known as Bob and affectionately called Hugger by his Bonacker friends, is a renowned decoy carver residing in Springs. His exceptional skill elevates decoy carving to a museum-worthy art form, as recognized in Harvey J. Lewis's book, “Artistry of Louisiana Decoy Carvers: Old and Contemporary.” Greene's masterpiece, a life-size red-tailed hawk, demonstrates his meticulous attention to detail, having taken him 550 to 600 hours to carve. This piece, complete with a chipmunk emerging from a stump and intricately carved oak leaves and acorns, showcases his ability to transform a block of wood into a lifelike sculpture. His home is a testament to his artistic passion, featuring taxidermied animals, his own vibrant landscape and animal paintings, and display cases filled with carved ducks like red-breasted mergansers, green-winged teal hens, and mandarins. Greene's creative process begins in his shed, where he carves the wooden forms, and continues in his basement workshop, where he applies paint. Both spaces are filled with a mix of taxidermied birds he has hunted and his own carved creations, covering nearly every surface. His tools range from band saws for rough cuts to fine-pointed wood burners and Gesswein devices with tiny diamond drill bits for intricate feather detailing. He employs gesso for priming and an airbrush for blending colors, often adding bright dashes of color to secondary feathers, such as the green in a green-winged teal. Greene also crafts “smoothies,” decoys that achieve texture through painting rather than carving. His current project, a group of six lesser yellowlegs, exemplifies his progression toward photorealistic detail, a stark contrast to his earlier, blockier sanderling carvings. He studies books to accurately capture bird outlines, colors, and textures, creating practice pieces like individual duck heads. Decoy carving, an art form originating over 2,500 years ago with Native Americans, now encompasses two main categories: hunting decoys and decorative decoys. Greene specializes in decorative decoys, which demand lifelike detail. He emphasizes that being a successful decoy carver requires knowledge of wood, carving proficiency, painting skills, and an artistic eye. Greene's journey into carving began during his time as a heavy equipment operator, inspired by a fellow worker. Starting with basic tools like a jackknife and coping saw, he refined his craft over five decades, becoming one of the last carvers from his local group. He participated in national duck carving shows, earning ribbons and advancing through classes, and even competed in the prestigious Ward World Championship, though he eventually withdrew due to perceived political biases in judging. Despite his achievements and the museum-quality of his work, Greene views carving primarily as a hobby. He does accept commissions, with his reputation spread through word-of-mouth, as evidenced by a recent request for a $1,500 black duck. His passion for the outdoors extends beyond carving; he started duck-hunting with his father as a teenager and, at nearly 85, continues to fish and hunt with his son and grandson. His yard contains a fishing boat, lobster traps, and a camouflage duck blind trailer, highlighting his deep connection to nature and traditional outdoor pursuits. #DecoyCarving #WoodSculpture #WildlifeArt #RobertGreene #ArtisticProcess #TraditionalCraft #HomeDecor #NatureInspiredArt

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

Armourcoat, a surfaces brand, has introduced a new collection of textured and eco-friendly paints called Limewash, designed for both residential and commercial interiors. This range aims to replicate the distinctive aesthetic and tactile qualities of traditional limewash while offering enhanced durability and a less chalky finish. The collection features 45 shades, each crafted from a blend of slaked lime, kaolinite clay mineral, water, mineral pigments, and natural plant additives. This specific composition ensures that the paints are free from solvents and Volatile Organic Compounds (VOCs), aligning with stringent environmental and health standards within the architectural industry. Armourcoat asserts that its Limewash collection is unique in possessing both Environmental Product Declaration (EPD) and Health Product Declaration (HPD) documentation. This makes the product particularly suitable for construction projects seeking to achieve sustainability certifications such as BREEAM and LEED. Duncan MacKellar, Armourcoat's creative director, emphasized the company's commitment to material transparency, viewing it as crucial for designing aesthetically pleasing interiors that also minimize ecological impact. He stated that the brand's objective as manufacturers is to decrease both embodied carbon and environmental toxins, thereby fostering sustainable innovation in the built environment. MacKellar reassured architects and designers that all Armourcoat finishes, including the new Limewash range, support the creation of environmentally responsible and healthy indoor spaces, backed by their EPD and HPD documentation. A key benefit of the Limewash collection is its naturally high alkalinity, derived from its slaked lime content. This inherent property provides resistance against bacteria and mould growth, contributing to healthier indoor environments. Additionally, the paint is non-combustible, adding a safety dimension to its list of advantages. The introduction of Limewash represents the latest expansion of Armourcoat's portfolio of surface finishes. The brand consistently aims to deliver sustainable luxury finishes to the global community of architects and designers. This product launch underscores Armourcoat's dedication to providing innovative solutions that cater to the increasing demand for sustainable and high-performance interior materials. #Armourcoat #LimewashPaint #EcoFriendlyInteriors #SustainableDesign #InteriorFinishes #GreenBuilding #MaterialTransparency #VOCFreePaint

Riddhi Jain Satija, founder of Studio Medium, a Delhi-based apparel and home textile design space, reinterprets traditional handwoven textiles using intensive resist-dyeing techniques. Her work seamlessly integrates diverse textile traditions, such as the JamBan collection, which combines Bengal’s jamdani weave with Gujarat’s bandhani tie-dye. The design process at Studio Medium is textile-driven, starting with the selection and treatment of fabrics before garment construction. The team finalizes a color palette, which artisans then use to prepare for the tie-dye process, while Satija collaborates with her design team on sample sketches, garment construction patterns, and shade cards for upcoming collections. The dyeing processes at Studio Medium involve a meticulous back-and-forth approach, with a focus on achieving precision in shibori tie-dye patterns. Artisans engage in fabric tying using techniques like Arashi shibori, also known as the pole-wrapping technique. This method involves diagonally wrapping ivory fabric around PVC poles and securing it tightly with thread, then scrunching the cloth to create accordion-like folds. The term 'Arashi,' meaning 'storm' in Japanese, reflects the diagonal patterns that resemble falling rain. After preparation, the fabric-wrapped poles are submerged in a hot water bath, followed by the addition of natural and azo-free dyes. The shade is carefully monitored, and salt is incorporated to enhance color vibrancy. Once the desired color is achieved, the poles are sun-dried to remove excess dye, revealing intricate patterns resembling leaf veins upon untying. Following the dyeing and drying processes, tailors begin garment construction. The apparel then proceeds to artisans who hand-embroider or stitch to finalize each piece. Every stage of design and production at Studio Medium emphasizes high craftsmanship, detailed work, and a strong commitment to sustainability. Once completed, garments undergo rigorous quality checks, ironing, and display. The studio integrates core upcycling ethics into its operations, striving for zero-waste patterns and innovative upcycling of by-products. For instance, threads from the bandhani technique and fabric scraps from past collections or garment construction are transformed into unique textile art. Bandhani thread clusters are meticulously arranged on fabric and then sandwiched between another layer, secured with Kantha stitching to create textiles for outerwear in the 'Re' collection, which draws inspiration from Monet’s impressionist paintings. Another initiative is the 'Bor(r)o(w)' collection, which is based on Japanese mending philosophies, specifically the Boro art form. Artisans freely arrange fabric scraps from previous collections or waste materials onto new fabric, patching, stitching, and piecing them together to preserve their beauty. Studio Medium applies various dyeing techniques to hand-woven textiles to create a range of classic silhouettes, including kaftans, capes, shirts, saris, and jackets. Riddhi Jain Satija emphasizes that design is not merely about creating new items but about observing the environment and introducing simple innovations. She also highlights the importance of respecting the comfort and expertise of weavers and dyers, aiming to design mindfully and foster an inclusive and sustainable community of practitioners to generate unique narratives and experiences. Her personal journey into tie-dye began in her mother’s workshop in Kolkata, influenced by Jaipuri bandhani and Kutch district techniques, later exploring Japanese shibori at the National Institute of Design in Ahmedabad, where her fascination with the 'circle' as a design element continues to inspire her work. #TextileDesign #ResistDyeing #StudioMedium #RiddhiJainSatija #SustainableFashion #HandwovenTextiles #Shibori #Upcycling #IndianCrafts

Dutch designer Lieske Schreuder has developed an innovative method for creating floor tiles from colored snail excrement. Her project, which combines biology with art and design, involves feeding snails colored paper and then collecting their feces to form new materials. This unconventional approach highlights the potential for utilizing natural processes and unexpected resources in design. Schreuder's interest in this concept began after observing snails in her garden consuming paper and cardboard. This led her to acquire hundreds of snails from a farm and establish a dedicated laboratory to conduct experiments. In this lab, she systematically fed the snails various colored papers to investigate the resulting excrement. Her findings revealed that snails not only consume colored paper but also produce feces that retain the paper's original hue. The designer explained that snails are unable to absorb the color pigment into their bodies, causing the pigment to pass through their digestive system and be expelled as colored excrement. The laboratory setup includes multiple compartments where snails are provided with sheets of colored paper. The paper's cellular structure is similar to the plant matter snails typically eat, making it a suitable dietary substitute for the experiment. Once the colored excrement is produced, Schreuder collects it. The material possesses a malleable texture, which she then processes using a portable machine of her own design. This machine grinds, mixes, and presses the snail excrement into tiles. The resulting tiles have a distinct, roughly textured surface and maintain the vibrant colors of the paper originally consumed by the snails. Schreuder reflected on the common occurrence of walking on unnoticed snail excrement in gardens and streets, suggesting that if these excrements were colored, they would create a kind of "snail excrement carpet." This observation fueled her exploration into transforming this otherwise overlooked natural byproduct into a visible and functional material. In addition to tiles, the designer has also experimented with pressing the feces into molds using a spatula to create delicate threads. These threads have a five-millimeter diameter, and Schreuder is currently researching potential applications for them. She noted that producing one meter of this thread takes approximately an hour and requires six grams of ground excrement, which is roughly the amount produced by nine snails over five days. This project is part of a larger exhibition titled "Biodesign," held at The New Institute in Rotterdam. The exhibition showcases 57 different ideas that integrate biology with art, architecture, and design, demonstrating innovative uses of biological processes and materials. Schreuder's work exemplifies the interdisciplinary nature of biodesign, pushing the boundaries of material science and sustainable design by repurposing biological waste into novel products. #Biodesign #SnailExcrement #SustainableMaterials #LieskeSchreuder #InnovativeDesign #FloorTiles #MaterialExperimentation #RotterdamExhibition

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

Rachel B. Hayes, a Tulsa-based artist, creates striking large-scale patchwork textile installations using vivid, translucent fabrics. These temporary artworks are designed to transform perceptions of both indoor spaces and expansive natural environments. Hayes experiments with scale, color, pattern, light, and movement, resulting in joyful and dynamic installations. Her work has been showcased across the U.S. and Europe, frequently appearing as quilted sun sails in courtyards. One of Hayes's recent collaborations, "Horizon Drift" with Black Cube in Denver, featured overlapping triangular elements that cast colorful shadows, reminiscent of her piece "A Moment in Time" in Capri. These temporary installations, typically on view for a few weeks or months, integrate with their surroundings, drawing parallels to the monumental fabric interventions of Jeanne-Claude and Christo. Her richly patchworked or woven creations celebrate light, breeze, and traditional American quilting techniques. Hayes frequently revisits earlier works and site-specific experiments to fuel new designs, finding continuous inspiration and energy in these temporary explorations. She often returns to familiar locations in South Dakota, Missouri, and New Mexico to document her art multiple times, observing how varying light, weather, and landscape changes influence the perception of her pieces. She views many of these works as elements within a broader, long-term artistic vision. Some of Hayes's installations are designed for extended outdoor display, lasting at least five years, which has led her to develop expertise as a "fabric engineer" to ensure the materials withstand the elements while remaining visually impactful. Light, particularly sunlight, is a crucial component in Hayes's artistic process and site selection. For indoor installations, she carefully considers architecture and human movement, often "chasing the sun" to identify areas where light can interact with her textiles, creating reflections and colored shadows. While she utilizes software like Photoshop or Procreate for pattern composition, her primary focus remains on the physical properties of the material and its interaction with specific environments. Hayes's current installations include _Patterned by Nature_ at the Chicago Botanic Garden throughout the summer, _Soft Structures_ at Jane Lombard Gallery in New York City until August 8, and _Body’s First Architecture_ at Ely Center of Contemporary Art in New Haven, Connecticut until August 10. Her semi-permanent works are on display at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. Additionally, her flag is currently flown outside Ballroom Marfa in West Texas during gallery hours. #RachelBHayes #TextileArt #SiteSpecificInstallation #Quilting #FabricSculpture #ContemporaryArt #ArtInstallation #TranslucentTextiles #LightArt