Turn Digital Art into Textiles with WOVNS

Bru Textiles, an international fabric supplier founded in 1995, has established itself by prioritizing quality, service, and strategic investment in technological advancement. Recognizing the increasing adoption of augmented and virtual reality in design and manufacturing, and the growing consumer trend of online purchasing, Bru Textiles launched Bru Digital in 2017. This dedicated digital research and development arm, comprising developers, CG artists, designers, and stylists across offices in Belgium and Ukraine, aims to bridge the 'imagination gap' between digital visualizations and physical products. The team's innovative venture, TwinBru, provides a service that offers photorealistic digital twins of Bru's extensive fabric library, rendered onto a diverse range of interior furnishing models. By leveraging the scalable computing power of Amazon Web Services (AWS), Bru has successfully generated hundreds of thousands of high-quality rendered images, solidifying its position as a digital leader within the industry. TwinBru's services extend beyond pre-configured content to include model creation, scene configuration, and rendering. This allows Bru's broad customer base, including manufacturers, designers, architects, wholesalers, and retailers, to apply digital materials from Bru’s fabric library to any model and integrate them into various 3D scenes. The resulting photorealistic images are nearly indistinguishable from professional catalog layouts and can be utilized in both online and offline applications. These applications encompass printed collateral, digital furniture configurators, and virtual reality environments. Ben Brabant, Bru Innovation Consultant, highlighted that TwinBru is setting a new industry standard for digital fabrics. He noted that the ability to quickly render realistic visuals on AWS significantly reduces the decision-making timeline for consumers, particularly for high-value purchases, as projects can be conceptualized without requiring physical fabric samples. Beyond sales, these high-caliber visuals are also valuable for marketing, customer validation, and rapid prototyping, enhancing efficiency for brands. To date, Bru has digitized over 10,000 distinct fabrics through a high-resolution scanning process and offers approximately 40 customizable pre-built assets. Customers also have the option to provide their own models, which TwinBru artists rebuild and optimize for the bespoke digital fabric application process. For each TwinBru render, models and scenes are typically created using Autodesk Maya on local Linux-based workstations. The rendering itself is performed using Chaos Group’s V-Ray on Amazon Elastic Compute Cloud (EC2) Spot Instances, with render management handled by Deadline, an AWS Thinkbox software. Assets are managed via a proprietary internal system and stored on Amazon Simple Storage Service (S3). Koen Verwimp, Bru Lead Software Engineer, emphasized the suitability of AWS for their batch rendering needs, enabling easy scaling without the burden of maintaining physical compute infrastructure. He noted that they have peaked at 400 simultaneous instances on AWS, a significant increase from their five local machines, illustrating the newfound functionality and efficiency gained since migrating from solely on-premises resources. Jurgen Goris, Bru Senior Software Engineer, further elaborated on the increased experimental capacity provided by AWS. He explained that new approaches can be tested by firing up an EC2 instance with minimal cost, eliminating the need for hardware investment and allowing continuous fine-tuning of their AWS usage and workflow integration. #DigitalTextiles #AWSCloud #VirtualReality #AugmentedReality #3DRendering #FabricInnovation #HomeFurnishings #InteriorDesign #ScalableComputing

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 '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

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

The fashion industry is undergoing a significant transformation driven by the adoption of digital tools, particularly 3D rendering. This technology is fundamentally changing how garments are conceptualized, developed, and presented, offering numerous advantages over traditional methods. 3D rendering allows designers to visualize, test, and refine their ideas in real-time, drastically cutting down development timelines, minimizing material waste, and introducing unparalleled flexibility into design workflows at every stage of production. A key enabler of this digital shift is the reliance on cloud-based infrastructure to handle resource-intensive tasks. These systems facilitate the rapid processing of complex visual data, overcoming the limitations of local hardware and accelerating delivery schedules. Cloud render farms, which involve multiple computers working collaboratively to render large digital assets remotely, are a critical component of this infrastructure. By utilizing these external networks, designers can maintain high visual quality without overloading their local systems, making advanced rendering capabilities accessible even to smaller studios. 3D rendering provides superior design accuracy and real-time flexibility compared to traditional sketch-based design. It precisely simulates fabric drape, garment movement, and how colors appear under different lighting conditions, eliminating the need for physical prototypes in early stages. Designers can instantly adjust cut, proportion, and details, fostering continuous creative development and immediate feedback among team members. This iterative process enhances communication, improves decision-making, and significantly reduces the number of costly revisions typically associated with physical sampling. Furthermore, 3D rendering offers substantial cost savings and speeds up the development cycle. Physical prototyping is both time-consuming and expensive, requiring materials, labor, and transportation. Digital iterations, conversely, incur no material waste or shipping costs, transforming a process that once took weeks into days or hours. This acceleration is particularly beneficial for fast fashion, which demands rapid production cycles in response to seasonal trends. The benefits extend beyond development, as digital assets created during the design phase can be repurposed for e-commerce imagery, advertising, and social media, reducing the need for traditional photoshoots and expanding marketing output at a lower cost. In terms of sustainability, 3D rendering plays a crucial role by significantly reducing the need for physical samples. Each digital prototype saves fabric, trims, and transportation, thereby lowering the environmental impact of the design process through reduced material consumption and emissions. Digital tools also enable more precise planning, allowing designers to refine every detail before physical production, which minimizes overstock and improves inventory accuracy—major contributors to fashion waste. For consumers, 3D rendering enhances the digital shopping experience by providing detail-rich product pages. Features such as 360-degree views, fabric zoom-ins, and augmented reality try-ons help shoppers better understand how garments will look and fit, reducing guesswork and increasing satisfaction. These rendered visuals are consistent across various platforms and adaptable to different uses, from desktops to mobile devices, and even AR/VR environments. Strong visuals ultimately lead to higher purchase intent and lower return rates. Personalization and customization are also supported at scale through 3D tools, allowing shoppers to digitally explore different colorways, prints, and fits before making a purchase. This level of engagement fosters consumer interest and supports made-to-order models, which help reduce unsold inventory. For manufacturers, this means more accurate specifications and fewer post-sale adjustments, improving overall efficiency. Fashion shows have also embraced this digital evolution, with designers now utilizing virtual lookbooks, CGI campaigns, and immersive digital presentations. These formats offer greater creative freedom, reduce logistical complexities, and eliminate travel and expenses associated with traditional shows. Rendered environments can be tailored to suit each collection's tone, giving designers more control over narrative and experience, and opening up broader audiences without additional infrastructure. Platforms like CLO3D, Browzwear, and Blender are integral to modern fashion workflows, providing the necessary tools to build, test, and animate garments in realistic environments. To meet the computational demands of these applications, brands increasingly rely on scalable rendering services like RebusFarm. These services process complex visual data and generate high-resolution assets efficiently, enabling teams to maintain speed and consistency without hardware limitations and ensuring smooth integration of digital rendering into daily operations. Early adopters such as Balenciaga, H&M, and Tommy Hilfiger have successfully integrated 3D rendering into their operations. Balenciaga utilized virtual runways for immersive digital experiences during lockdowns, while H&M reduced fabric waste by 30 percent through digital prototyping, demonstrating that efficiency and creativity can coexist. These examples highlight how digital rendering enhances both operational performance and creative output, offering scalable solutions for both large enterprises and smaller teams. Ultimately, 3D rendering has become a foundational element in fashion design, enabling precision, speed, adaptability, and sustainable growth, thereby preparing brands for a dynamic market with agile and efficient systems. #3DRendering #FashionDesign #DigitalFashion #Sustainability #CloudComputing #ECommerce #Personalization #VirtualShows #FashionTechnology

Martyn Thompson, a New York-based artist and the creative force behind Martyn Thompson Studio, has discovered an innovative approach to repurpose discarded materials, transforming his used drop-cloths and rags into a collection of woven tapestries and fabrics. This initiative, aptly named ‘The Accidental Expressionist,’ debuted at The Future Perfect in New York. The collection is notable for its jacquard-woven textiles and murals, which reimagine the incidental marks and stains left by the artist during his previous projects. Instead of being mere by-products, these elements are elevated and given new significance, becoming the central focus of the final artworks. The essence of ‘The Accidental Expressionist’ lies in its celebration of often-overlooked details and the expressive traces of the artist's creative process. Each piece in the collection encourages viewers to engage in close examination, revealing layers of colors and stains that coalesce into Pollack-esque splatters. Thompson meticulously collects and photographs these incidental marks, transforming them from discarded elements into purposeful components of his art. This process not only breathes new life into otherwise waste materials but also redefines their aesthetic and conceptual value within a fine art context. At The Future Perfect’s showroom, the versatile applications of this collection were showcased, demonstrating how these unique fabrics can serve as upholstery for furniture, be crafted into pillows, and even form bespoke lampshades. A standout example is the 'Quarry' lamp, a collaborative effort between Thompson and artist Dove Drury Hornbuckle. Hornbuckle hand-crafts the lamp's structure, which resembles stacks of ceramic shards, while Thompson’s studio provides the distinctive bespoke shade, featuring the collection's unique textiles. The 'Quarry' lamp is also available in a cast bronze edition, offering a variety of patinas. ‘The Accidental Expressionist’ collection thus embodies a powerful narrative of transformation and artistic vision, converting what was once considered refuse into objects of beauty and design. It highlights the potential for creativity to find inspiration and value in unexpected places, challenging conventional notions of artistic materials and processes. The collection offers a fresh perspective on sustainability in art and design, illustrating how an artist's personal history and working methods can be intimately woven into the fabric of their creations. The exhibition at The Future Perfect provided an immersive experience for visitors to witness the innovative use of these transformed materials in various interior applications, from large-scale murals to intricate lighting fixtures. #MartynThompsonStudio #AccidentalExpressionist #TextileArt #SustainableDesign #WovenTapestries #ArtisanCraftsmanship #InteriorTextiles #TheFuturePerfect #CollaborativeArt

The article explores the innovative and impactful uses of fabric in creating unique entertainment environments, highlighting its versatility, cost-effectiveness, and ability to shape atmosphere and user experience. It emphasizes the intrinsic relationship between fabric and lighting, noting how skillfully backlit fabric can evoke visceral reactions and create unparalleled qualities in a space. Fabric is presented as a material that offers a market advantage due to its lower cost compared to other construction materials, ensuring its continued relevance in the entertainment sector where new and authentic experiences are highly valued, particularly by the millennial generation. The article delves into how fabrics contribute to shaping real spaces, drawing parallels with the 'maker' movement's emphasis on handmade and tactile objects over virtual ones. Experts like Eric Bury of Eventscape and Catherine Stowell of Designtex explain that textiles often serve as the primary surface interacting with users, offering opportunities to add materiality, texture, pattern, and color. They note that the contrast between soft fabrics and hard surfaces can directly influence user experience by conveying warmth, familiarity, or luxury. Wade Wesson of Dazian highlights fabric's role in bringing elegance and essential acoustic properties to modern architectural environments, while Judy Dioszegi emphasizes its ability to set the 'atmosphere' or 'environment' of a space, coordinating with upholstery, wall coverings, and art to elicit subconscious reactions from clients. Furthermore, the piece discusses fabric's role in managing space, sound, and mood. Bury underscores fabric's limitless potential in architectural forms, from furnishing interiors to literally constructing building elements. He points out its versatility, ranging from tight and hard-edged to loose and soft, and its ability to span large areas or serve as small accent elements. Stowell highlights how textiles can create privacy and intimacy, particularly with new technological developments in fine sheer materials that allow light and visual transparency while providing significant acoustical properties. Wesson reinforces fabric's effectiveness in surface texture for LED lighting and its superior acoustic values for reducing noise in spaces where hardscape panels are not feasible, noting its affordability for post-construction acoustic issues. The article also presents a case study of the Toronto Centre for the Arts' renovation, where Eventscape engineered and installed an acoustical backlit panel solution that not only solved acoustic requirements but also allowed for programmable light shows, demonstrating a unique immersive experience. Dioszegi provides practical recommendations for using fabrics to enhance interior environments, such as suspending, gathering, or pleating fabrics to accentuate lighting, experimenting with different materials and positioning, and understanding how fabric properties like porosity and weight affect sound absorption. Wesson adds that digital printing on fabric enables custom designs and textures at an economical cost, and LED lighting has brought fabric back to the forefront for surface texture. Looking to the future, the experts predict ongoing innovation in fabric applications. Dioszegi notes a trend towards incorporating industrial elements, often printed or appliquéd on fabric for atmosphere and acoustics. Wesson anticipates more complex, deconstructible architectural fabric structures driven by CAD-based software. Stowell foresees increasing opportunities for custom textiles, with manufacturers working closely with designers to tailor materials. Bury is particularly enthusiastic about fabric as a sculptural medium, citing groundbreaking projects like Anish Kapoor's work at the Tate Museum, Zaha Hadid Architects' Winton Gallery, and the use of ETFE in the Water Cube, alongside emerging trends in fabric formwork for concrete, integrated electronics, reactive surfaces, and 'smart' materials, all pointing to a dynamic future for fabric in architectural and entertainment design. #FabricDesign #EntertainmentEnvironments #TextileInnovation #ArchitecturalFabric #AcousticProperties #InteriorDesign #EventDesign #LightingIntegration

This article explores the growing trend of utilizing textiles and rugs as wall art in interior spaces, moving beyond their traditional floor-bound roles. The increasing demand for warmth, texture, and unique decorative elements in homes and commercial settings has led to a re-evaluation of textiles' aesthetic and functional potential. Designers and homeowners are becoming more open to incorporating fabric-based pieces, such as wall hangings, art rugs, and woven structures, to enrich interiors. Several factors contribute to this resurgence. Historically, textiles like tapestries have adorned grand interiors for centuries, offering both aesthetic beauty and practical benefits. Modern interpretations build on this legacy, with contemporary textile artists gaining international recognition. For instance, American fiber artist Sheila Hicks has significantly influenced the art world, while Danish weaver Grethe Sørensen and Finnish designer Kustaa Saksi have garnered acclaim for their digital tapestries and vibrant wall hangings, respectively. These artists demonstrate the evolving artistic scope and appeal of textile art. The shift is also fueled by a broader appreciation for handmade goods and craft. Artists like Milla Novo and Windy Chien create macramé-esque wall art using rope, presenting a modern, sophisticated alternative to traditional framed art. Portuguese textile artist Vanessa Barragão's work, which often highlights environmental themes like the plight of coral reefs, connects deeply with clients seeking meaningful and visually compelling pieces for their homes. This artisanal approach adds a unique, personal touch that mass-produced decorations often lack. Furthermore, interior design trends have emphasized 'global' aesthetics and diverse 'textures,' encouraging the incorporation of rugs and textiles with traditional patterns and designs. Designers are creatively layering antique kilims with cushions and ethnic poufs, as seen in Cynthia Spence's work for the San Francisco Decorator Showcase. The redevelopment of London's BBC TV Centre, featuring dhurries and wall hangings by Vanderhurd in communal areas, further exemplifies this trend in contemporary residential and commercial projects. Beyond mere decoration, textiles are increasingly used to define and soften architectural spaces. Samira Boon's woven 'Archi Folds' structures, Hey-Sign's felt 'Flow' room division systems, and Studiopepe's wall hangings by cc-tapis all showcase textiles' capacity to influence spatial dynamics and acoustics. Finnish design duo Kivistö Leppisaari's 'Knit Divisions' exemplify this, creating spatial dividers from knitted fabrics and wooden frames. This integration highlights the functional versatility of textiles in modern interior design. The prevalence of this trend is evident on social media platforms like Instagram, where contemporary interiors frequently feature Beni Ourain or other tribal vintage rugs displayed on walls rather than floors. This signifies a return to older traditions, particularly in countries like Finland, where hanging rugs on walls has historical roots. Additionally, art rugs, such as those from Gothenburg’s Henzel Studio, designed by international artists like Jack Pierson or Tom of Finland, are increasingly chosen as wall-mounted artworks. Trend forecaster Lidewij Edelkoort's prediction that "Textiles will govern the century" underscores the growing importance of textiles in shaping our environments, offering comfort, decoration, art, and storytelling. #TextileArt #WallDecor #InteriorDesignTrends #HandmadeTextiles #FiberArt #HomeDecoration #ArtRugs #ContemporaryDesign #ArchitecturalTextiles

Textiles, whether brought back from international travels or sourced from local designers, offer a unique way to introduce narrative and texture into home decor. Beyond their aesthetic appeal, textiles carry the stories of different times and places, making them cherished keepsakes. The article explores various methods for displaying these pieces, moving beyond common applications like pillows to highlight more creative and impactful design solutions. One effective approach is framing. Designer Christina Bryant, founder of St. Frank, advocates for framing textiles, particularly in acrylic box frames, which accentuate the handwork, three-dimensionality, and texture of the piece. This method also encourages sharing the textile's history and craftsmanship. An example showcases a framed scarf in a Houston living room designed by Meg Lonergan, demonstrating that not all textiles are raw fabric swatches. Another innovative use is transforming a textile into a headboard. Frances Merrill of Reath Design illustrates this by backing and upholstering an African textile with light padding, creating a comfortable and visually striking headboard. This method offers a distinctive alternative to traditional headboard designs, adding a personal and artistic touch to a bedroom. For those seeking a less permanent or upholstery-intensive solution, spreading a textile across the seat or back of a couch offers significant visual impact with minimal commitment. Textile designer Nathalie Farman-Farma of Décors Barbares, for instance, uses a vintage curtain to adorn her couch, achieving a dramatic effect without the need for professional upholstery. Similarly, Rebecca Atwood uses one of her original designs to enhance the back of a sofa, contributing to a calming room aesthetic. Smaller textile pieces can be repurposed into functional and decorative items such as poufs. Sally Breer of Co-Mingle Design utilizes kilims to create plush poufs, serving as additional seating and injecting color and pattern into a living room. Other small-scale upholstery projects mentioned include covering the seat of a chair, the front of a dresser, or the top of a bench. Textiles can also function as unique window treatments. Sally Breer suggests using vintage textiles for windows, especially those with unusual shapes or walls that need artistic enhancement, given their often-idiosyncratic sizes. This approach turns functional elements into decorative focal points, as seen in a stately living room with black and white Roman blinds. Finally, a simple yet impactful method is to hang textiles directly on the wall. British interior designer Abigail Ahern recommends draping a textile over a pole and mounting it, instantly transforming it into a piece of art. This technique, she explains, can make a space feel warm and cozy by elevating the textile to an artistic display. These diverse strategies allow textile enthusiasts to integrate their cherished pieces into their homes in creative and personalized ways, enhancing both the aesthetic and narrative of their living spaces. #TextileArt #HomeDecor #InteriorDesign #TextileDisplay #FramedTextiles #HeadboardDesign #FurnitureAccents #WindowTreatments #WallHangings

Kelly Rene Jelinek, an artist operating out of Little Stag Studio, creates life-sized faux taxidermy animal mounts using upcycled fabric swatches. Her work offers an alternative to traditional taxidermy, providing a cruelty-free option for interior decoration. Jelinek's creations, which include deer, caribou, and moose mounts, blend traditional folk art with a whimsical aesthetic, serving as unique conversation pieces for any home. The artist's process involves meticulously crafting these animal forms from old scraps of upholstery fabric. This method not only gives new life to discarded materials but also transforms a traditional household item into a contemporary work of art. Jelinek expresses that her artistic journey began with a passion for repurposing old upholstery found in thrift stores, leading to the development of her distinctive style. Her inspiration is deeply rooted in her rural upbringing in Wisconsin, where taxidermy deer and game mounts were common household decor. Jelinek found these items fascinating rather than unsettling, a sentiment that evolved into her current artistic practice. Her interest in old upholstery and her fascination with animal mounts converged during her college years, resulting in the creation of her first upholstered animals. This combination of interests highlights a creative approach that reinterprets conventional decor through sustainable practices. The faux taxidermy pieces are designed to add an animalistic touch to interior spaces. Each mount is custom-made, emphasizing individuality and artistic craftsmanship. Jelinek's work represents a fusion of art, design, and environmental consciousness, offering a unique decorative solution for those seeking ethically sourced and creatively imagined home accents. The artist's commitment to using recycled materials also promotes an eco-friendly approach to interior design, aligning with broader trends in sustainable living. #FauxTaxidermy #UpcycledFabric #EcoArt #HomeDecor #SustainableDesign #AnimalArt #InteriorDesign #CrueltyFree

Scanlines, a new algorithmic system developed by Turf Design, translates images into sound-absorbing PET felt panels that function as dimensional wall art. This system expands upon existing digital methods for converting images into sound by adding a tactile, aesthetic, and functional element to the process. The core of Scanlines is a proprietary algorithm designed to analyze the intensity of color shades within an image. This analysis is then used to determine varying depths for cutting Turf's acoustic PET felt, creating a three-dimensional effect on a two-dimensional panel. The visual result evokes the aesthetic of scan lines found in older cathode ray tube (CRT) television displays, adding a nostalgic yet modern touch to interior spaces. Designers and architects are the primary target audience for Scanlines, which offers customizable panels made from 9mm and 3mm PET felt board materials. A palette of 30 colors is available, allowing for diverse design applications. Beyond their visual appeal, these panels serve a practical purpose: their acoustic properties and varied depths absorb sound, effectively reducing echo and reverberation in a room. This dual functionality addresses aesthetic and acoustic challenges simultaneously, providing an integrated solution for interior environments. Rob Perri, CEO of Turf, highlights the system's ability to tackle spatial, visual, and acoustic issues, emphasizing that Scanlines showcases the 'art of acoustics' and Turf's commitment to innovative solutions. The panels aim to improve visual aesthetics while enhancing the acoustic comfort and perceived spaciousness of a room. Scanlines panels can be generated from nearly any image, with maximum dimensions of 119 inches in height, 47.5 inches in width, and a thickness of 12mm. These contract-grade panels boast a Noise Reduction Coefficient (NRC) value of 0.35, indicating that they absorb 35% of sound energy that comes into contact with their surface. While primarily intended for commercial and corporate settings due to their robust design and acoustic performance, the technology also holds significant potential for residential applications. For instance, homeowners can use these panels to mitigate echoes in home offices, creative studios, or other living spaces where sound control is desired. The innovative fusion of digital art, material science, and acoustic engineering positions Scanlines as a versatile solution for modern interior design, enhancing both the visual and auditory experience of a space through a unique algorithmic approach. #SoundAbsorbingArt #AcousticPanels #PETFelt #AlgorithmicDesign #InteriorDesign #WallArt #SoundControl #DesignTechnology #ArchitecturalSolutions

Donald Brothers, a Scottish furnishing-fabric company established in the early nineteenth century, is the subject of a collection of over 300 fabric design images now freely available on JSTOR, courtesy of Heriot-Watt University. The company, based in Dundee, has a rich history in textile design, though much of its business records, including details on specific designers for many pieces, have not survived. Despite this, the collection offers a significant glimpse into the company's aesthetic and its contribution to fabric design. The collection highlights various designers, including those who worked as freelancers and staff. One notable designer featured is Ernst Aufseeser, who created the 'Crossways' design in 1933. Aufseeser was a German emigrant who designed for multiple firms in Britain before returning to Germany where he died in 1940. His children also pursued careers in design, suggesting a lasting legacy within the family. His work for Donald Brothers showcases a geometric and modern aesthetic that was prevalent in the early 20th century. Mary Oliver, another prominent designer, is credited with 'London Square' from 1948. This design was inspired by views from her London flat, reflecting a personal connection to her work. Oliver's career began with practical design, as she was involved in designing models of landing beaches during World War II. Her ability to transition from such critical tasks to creating intricate fabric patterns while still a student demonstrates her versatile talent. Marjorie Young contributed multiple designs, including 'Cactus' (1950) and 'Berne' (1951). Young designed for both Wemyss Fabrics and Donald Brothers. Her career trajectory later shifted to local drawing and design after she started a family, indicating the evolving priorities and constraints faced by designers during that era. Her designs often featured natural motifs, capturing the organic forms of plants and landscapes. The collection also includes designs where the specific creators are unknown or not explicitly mentioned, such as 'Wildflowers' (1955), 'Beaumont' (1937), 'Carron' (1939), 'Medina' (1944), 'Persian Tree' (1930), and 'Windows' (1951). These pieces collectively represent the diverse artistic styles and influences that shaped Donald Brothers' output over several decades. For instance, 'Wildflowers' might evoke a pastoral English garden, while 'Persian Tree' suggests exotic and intricate patterns, showcasing a global influence on design. Other attributed works include 'Pisces' (1955) by George Zissimedes, a design likely featuring aquatic or celestial themes given its name. Cecil Judge's 'Bamboo' (1936) is particularly notable as it was supplied to significant clients like Harland and Wolff shipbuilders in Belfast and the General Dental Council in London, illustrating the broad application of Donald Brothers' fabrics in various commercial and institutional settings. These designs underscore the functional and decorative aspects of the fabrics, used not only in homes but also in public and commercial spaces. The availability of these samples provides valuable insight into the history of textile design, the evolution of interior aesthetics, and the careers of individual designers during the 20th century. Researchers and enthusiasts can explore the collection to understand artistic trends, material culture, and the industrial production of textiles in Scotland. #FabricSamples #TextileDesign #ScottishTextiles #DonaldBrothers #HeriotWattUniversity #InteriorDesignHistory #FurnishingFabrics #MidCenturyDesign #DesignHistory

The project "Knowing the Ropes," initiated by designers Brynhildur Pálsdóttir, Þuriður Rós Sigurþórsdóttir, and Theresa Himmer, delves into the ubiquitous nature and varied applications of rope, challenging conventional perceptions of this utilitarian material. This artistic endeavor explores the cultural and structural significance of rope within a Scandinavian context, specifically focusing on its dual existence in interior design and maritime industries. The designers utilize two historical production facilities, Hampiðjan in Reykjavík, Iceland, and Aarhus Possementfabrik in Denmark, both established in the early 20th century and employing similar machinery. These facilities represent the divergent paths of rope production: one for marine use and the other for interior textiles. The core of the project lies in highlighting the unexpected aesthetic and functional intersections that arise when examining a material with such diverse applications. The genesis of "Knowing the Ropes" dates back to 2017. Over time, the project evolved from its initial conceptualization into a comprehensive body of work, culminating in a publication and an exhibition featuring objects and video installations. The initial exhibition was held at the Reykjavík Art Museum in 2021, showcasing the designers' innovative interpretations and creations. The artists further developed their project by presenting an evolved version at the Hallwyl Museum in Stockholm. This particular venue, a meticulously preserved Victorian home from the turn of the 20th century, provided a unique juxtaposition for the contemporary design pieces. The museum's ornate and traditional environment offered a striking contrast to the modern and unconventional objects crafted from rope, creating an unexpectedly modern aesthetic within a historical setting. The exhibition features a range of objects that reimagine the use of rope in everyday items and art installations. These pieces include floor lamps with rope-wrapped bodies and exposed light bulbs, demonstrating how rope can be integrated into lighting design to create a distinctive texture and form. Pedestals made entirely from rope showcase the material's structural capabilities and its potential as a sculptural element. A standing round mirror, framed and supported by intricate rope work, highlights the material's versatility in creating decorative and functional home furnishings. A modern three-legged table also utilizes rope in its construction, presenting it as a primary material rather than a mere accent. Additionally, arch-shaped shelving units, crafted with rope netting, illustrate innovative approaches to storage and display. Through these creations, Pálsdóttir, Sigurþórsdóttir, and Himmer prompt viewers to reconsider the inherent qualities of rope and its potential for artistic and design expression. The project not only celebrates the craftsmanship and heritage associated with rope making but also pushes the boundaries of how textiles can be perceived and utilized in contemporary design. The juxtaposition of modern designs with a historic setting further emphasizes the timeless appeal and adaptability of this fundamental material, inviting a deeper appreciation for the overlooked elements of our material world. #TextileArt #RopeDesign #ScandinavianDesign #MaterialExploration #ContemporaryArt #ExhibitionDesign #InteriorFurnishings #DesignInnovation

Alchemie Technology, a UK-based company, is at the forefront of transforming the textile manufacturing industry through its clean-tech digital dyeing and finishing processes. Simon Kew, Managing Director, highlights the company's commitment to significantly reducing the environmental impact of textile production while enabling digital transformation within supply chains. The global market for textile dyeing and finishing equipment exceeds $20 billion and is experiencing a CAGR of over 5%, indicating substantial growth and demand for innovative solutions. Alchemie Technology has developed two key technologies: Endeavour and Novara. Endeavour focuses on digital dyeing, utilizing an advanced digital colorant application and fixation system. This technology applies liquid colorants to fabrics using a non-contact, high-energy jetting of nanodroplets, ensuring exceptional homogeneity and penetration. The colorants are then fixed using a proprietary digitally controlled process, resulting in high color fastness in a single-pass roll-to-roll operation. Novara, on the other hand, employs a similar fluid application method to apply typically colorless finishes to fabrics, followed by optional drying or curing to impart specific properties such as anti-viral, water-repellent, or flame-retardant characteristics. A significant advantage of Novara is its ability to apply finishes precisely where needed, including single-sided coatings or 2D patterning, and to deliver multi-functional finishes for high-performance textiles. Both systems are open platform, compatible with various commercial chemistries and a wide range of dyes (dispersed, pigment, reactive, acid, vat) and specialty colorants for diverse substrate types. Novara has been successfully demonstrated with numerous finishes, including anti-viral, water-repellent, flame-retardant, and anti-odour treatments, and can also be used for post-treatment applications like softeners. Digital powder patterning, another innovation from Alchemie, allows for the creation of innovative 3D texture patterns using thermally fusable powders and digitally controlled technology. This enables textile manufacturers to produce surface textures and impact-resistant coatings for various applications, including sportswear, apparel, and home furnishings, catering to brands seeking structural surface patterning and textural effects. This technology provides an avenue for design innovation, particularly in areas like home furnishing where unique textures and patterns can enhance aesthetic and functional qualities. The textile dyeing and finishing industry is a major contributor to environmental pollution, accounting for over 20% of global water pollution and 3% of global CO2 emissions, according to a World Bank Report. Alchemie’s digital dyeing and finishing processes aim to eliminate wastewater from textile dyeing and reduce energy consumption by over 85%. This drastic reduction in environmental impact and operating costs also allows dyeing operations to be established in water-scarce regions. The development of Endeavour and Novara technologies involved five years of intensive research, combining expertise in chemistry, machine design, and digital manufacturing to create sustainable manufacturing solutions. These technologies are broadly applicable to a wide array of fabrics, colorants, and finishes, supporting both single-sided and double-sided applications to minimize waste. The company has also demonstrated multi-functional finishes, with different treatments applied to different sides of the fabric. Alchemie Technology addresses a growing demand from textile manufacturers and brands in apparel, sportswear, and home furnishing sectors for waterless manufacturing methods that offer sustainability, lower costs, and reduced carbon footprints. The Novara solution is particularly valuable for technical textiles, enabling the use of specialized coatings for anti-viral and water-repellent applications. There is notable demand for anti-viral finishing in medical and upholstery contexts, where reducing surface contamination is crucial, such as in communal areas like plane and train seating. These markets also benefit from multi-functional coatings that combine water-repellent and flame-retardant properties. The company is actively developing the Endeavour process to extend its waterless, low-energy digital dyeing capabilities to cotton, nylon, polycotton, and other blends, further expanding its cost-saving, production capacity, and environmental benefits across a broader range of textile fabrics. For manufacturers in water-poor regions, Alchemie’s digital solutions are particularly beneficial, achieving over 95% reduction in water usage. This leads to a significant decrease in environmental impact, operating costs, elimination of wastewater emissions, and over 85% energy reduction, ultimately resulting in a more than 50% reduction in cost base, increased production flexibility, and enhanced dyeing capacity. The Endeavour system’s on-demand dyeing process can handle over 2000 square meters per hour, making it suitable for high-throughput industrial production, while also offering rapid color changes and cost-effective short-run manufacturing. At the World Congress on Textile Coating, Alchemie highlighted its Endeavour Waterless Smart Dyeing technology for solid color dyeing and Novara digital textile finishing technology for multi-functional 2D patterned finishes, emphasizing their role in eliminating wastewater and achieving 85% energy reduction. The company also presented its low-energy Novara finishing solution for anti-viral fabrics, developed in response to the COVID-19 pandemic, which allows for more sustainable and cost-effective application of treatments like HeiQ Viroblock compared to traditional methods. Alchemie Technology is currently focused on aggressively rolling out its commercial Endeavour and Novara solutions globally, anticipating a significant number of installations by the end of 2021. The substantial interest in their technology is driving this expansion, along with the establishment of a global distribution network to ensure comprehensive customer support worldwide. This strategic expansion aims to make clean-tech digital textile manufacturing accessible to a broader market, reinforcing the company's commitment to sustainable and innovative textile production. #TextileDyeing #CleanTech #DigitalManufacturing #SustainableTextiles #WaterlessDyeing #EnergyEfficiency #TextileFinishing #EnvironmentalImpact #AdvancedMaterials

The collaboration between Snøhetta and Ege Carpets introduces MATTER, a flatwoven carpet collection that merges digital and physical design, challenging traditional pattern-making through algorithmic randomness. The project draws inspiration from nature's inherent uniqueness, where patterns emerge organically without exact repetition, transforming perceived imperfections into a desirable characteristic. Each carpet in the MATTER collection is unique, created by an algorithm that prevents any two compositions from being identical, echoing the natural world where no two specimens are exactly alike. This approach positions the carpet as a dynamic, almost living element, moving away from conventional industrial production towards a more natural aesthetic. Francesca Giulia Poli, Product Designer and project lead at Snøhetta, describes MATTER as an exploration of scale, craftsmanship, and technology. The design process views the carpet not merely as a surface but as a 'woven landscape,' meticulously constructed from individually manipulated threads. The project investigated how micro-scale design decisions, from code to pixel to thread, can influence macro-scale spaces, resulting in a surface that appears uniform yet constantly shifts depending on the viewer's movement through the space. This innovative methodology allows for a continuously evolving aesthetic that resists serial repetition. MATTER is produced using Ege Carpets' advanced flatweave loom, ensuring both material quality and digital precision. The collection emphasizes sustainability through the use of selected recycled yarns, aligning with a circular design philosophy. The flatweave manufacturing technique also guarantees the product's durability, making it suitable for high-traffic environments while maintaining its aesthetic integrity over time. The material choices and manufacturing process reflect a commitment to environmental consciousness and product longevity. The collection is available in two distinct color palettes, each featuring 18 primary colors with either a muted (beige/grey) or a saturated (blue/green) undertone. This duality offers design flexibility, enabling the carpets to adapt to various spaces and contexts while maintaining a cohesive look within the collection. This thoughtful approach to color and undertone allows designers to achieve diverse atmospheric effects with a consistent product line. MATTER represents a significant advancement in design, redefining the concept of craft by integrating binary code, digital pixels, and physical threads into a new design methodology. This approach celebrates both precision and imperfection, weaving unpredictability, material honesty, and intentional design into a product that naturally resists obsolescence. The inherent uniqueness of each carpet ensures that it evolves over time and cannot be perfectly replicated, offering a fresh perspective on interior textiles. The successful development of MATTER highlights the importance of interdisciplinary collaboration. The fusion of Snøhetta's architectural expertise and Ege Carpets' specialized knowledge in textile manufacturing was crucial for realizing this innovation. Such cross-disciplinary partnerships are often catalysts for groundbreaking designs and disruptive ideas, pushing existing boundaries and challenging conventional systems within the industry. Tenna Knak, Director of Product and Marketing at Ege Carpets, notes that these collaborations inspire curiosity and ambition in new design development, leading to valuable knowledge and unique products like MATTER. The project demonstrates the potential when craft and technology converge, establishing a new design philosophy that embraces unpredictability as a source of beauty and innovation. #TextileDesign #AlgorithmicDesign #DigitalCraft #SustainableDesign #CarpetCollection #Snøhetta #EgeCarpets #InnovativeMaterials #CircularDesign

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

Weaving is a traditional craft that involves interlacing threads or fibers to create textiles and accessories. For individuals interested in learning this craft or establishing a weaving business, sourcing appropriate supplies is a fundamental first step. The textile industry encompasses a broad spectrum of operations, from large-scale manufacturers to independent weavers who market their handmade products directly to consumers. Small businesses in this sector typically distinguish themselves not by competitive pricing, but by offering unique, handcrafted items and personalized customer service. Numerous online and physical retailers offer a comprehensive selection of weaving supplies and kits. Top sources include major online marketplaces such as Amazon and Etsy, which provide a wide array of looms, yarns in various colors, and instructional books and kits suitable for beginners. Amazon is noted for its value and rapid order fulfillment, including two-day free shipping for Prime members on many products. Etsy, conversely, is a hub for distinctive craft materials, featuring hand-dyed and hand-spun yarns, as well as artisanal wooden tools like dowels, combs, and shed sticks. Specialized fiber arts stores like WEBS (America's Yarn Store), The Woolery (focused on fiber crafts), The Weavers Loft (dedicated entirely to weaving supplies with nationwide shipping), Vermont Weaving Supplies (offering products for all skill levels and customer guidance), Pacific Wool and Fiber (specializing in quality yarn and looms with free shipping incentives), and Paradise Fibers (a Washington-based company providing tools, educational content, and a loyalty program) cater specifically to the weaving community. Gist Yarn offers yarns, patterns, tools, and educational resources, while eBay provides a diverse marketplace for various weaving supplies and accessories from multiple sellers, often featuring new options and deals. Essential weaving supplies include a variety of yarns, each with distinct properties. Cotton yarn is a natural, breathable, absorbent, and soft fiber, ideal for lightweight and comfortable fabrics like summer clothing, towels, and bed linens, and is valued for its durability and ease of care. Wool yarn, primarily from sheep, is recognized for its warmth, elasticity, and natural water repellency, making it suitable for winter garments, blankets, and rugs. Silk yarn is a luxurious natural fiber known for its sheen, strength, and smooth texture, frequently used in high-end items such as scarves, shawls, and elegant apparel. Linen yarn, derived from the flax plant, offers exceptional coolness and freshness, making it perfect for table linens, curtains, and summer clothing, and becomes softer with each wash. Bamboo fiber is a regenerated cellulose fiber with a smooth texture and eco-friendly attributes, used for silky, drapey items and noted for its antibacterial and hypoallergenic properties. Synthetic yarns like acrylic and polyester are man-made, providing a wide range of colors and textures, and are favored for durability, low maintenance, and affordability. Alpaca fiber is a soft, durable, and luxurious natural fiber, prized for its warmth, hypoallergenic nature, and lightweight quality, making it ideal for sweaters and blankets. Jute fiber, a long, soft, and shiny vegetable fiber, is used for rustic items like sacks and rugs due to its natural brown hue and eco-friendly characteristics. Tencel fiber, a regenerated cellulose fiber from wood pulp, is known for its smooth texture, strength, and eco-friendly production, utilized for silky, drapey items with moisture-wicking properties. Other crucial supplies include wool roving (for spinning or tapestry work), warp thread (strong fibers for the loom's vertical setup), patterns (for guiding weaving projects), and dowels (for holding finished tapestries). Various tools and equipment are indispensable for weaving. The loom is the central tool, holding warp threads taut, with options ranging from simple frame looms to complex floor looms. A shuttle carries the weft yarn across the loom. A warping board or mill aids in measuring and organizing warp threads, ensuring correct length and tension. A reed or heddle lifts and lowers warp threads to create a shed for the weft. Bobbins hold weft yarn in conjunction with a shuttle. A warping peg assists in direct warping on rigid heddle looms, maintaining even tension. A beater pushes weft yarn into place for a tight fabric. Scissors are fundamental for cutting yarn. A raddle evenly distributes warp threads. A tape measure is necessary for accurate measurements. A threading hook assists in threading yarn through heddles and reeds. Lease sticks keep warp threads organized. A temple stretches weaving widthwise to maintain even selvages. A fringe twister creates neat fringes. A yarn swift holds skeins for winding, while a yarn ball winder creates neat yarn balls. A sley hook helps pull warp threads through reed slots. Warp weights maintain tension in tapestry weaving. Tapestry needles are used for hand-weaving or adding details. A shed stick separates threads for easier needle threading. A loom brush cleans the loom. Optional tools include a spinning wheel for custom yarns and fiber wash for cleaning finished woven items. For beginners, a rigid-heddle loom, approximately 15 to 25 inches wide, is often recommended as a manageable starting point. Common yarns include wool, cotton, and rayon, chosen based on the desired product. Weaving allows for the creation of diverse products, including rugs, tapestries, scarves, bags, jewelry, clothing, blankets, table linens, pillows, wall hangings, kitchen towels, hats, upholstery fabric, baskets, footwear, and standalone art pieces, offering extensive creative possibilities and customization. #WeavingSupplies #HandmadeBusiness #TextileCrafts #YarnTypes #WeavingTools #FiberArts #SmallBusinessResources #CraftingMaterials