Christian Fischbacher and Hadi Teherani create fabric designs informed by the Iranian landscape

This article is part of the “Working out of the Box” series, highlighting architects who have successfully transitioned their architectural backgrounds into alternative career paths. This installment features Ishraq Zraikat, a Jordanian textile artist, weaver, and wool researcher, detailing her journey from a conventional architecture practice to a unique blend of architectural design thinking and traditional textile techniques. Ishraq Zraikat studied architecture at Virginia Tech, completing her thesis at the Alexandria campus. After graduation, she worked for a large architecture firm in Amman, Jordan, on projects including governmental buildings and schools in Angola. Despite the perceived prestige of the role, she found herself unfulfilled by the large-scale projects and lack of attention to detail, desiring to work on smaller, more intricate architectural endeavors. Unaware of the smaller, design-focused architecture practices in Jordan at the time, she decided to pursue a different design field: fashion, which allowed her to work with her hands and express her creativity through clothing design. Her interest in design began in childhood, where she initially aspired to be a professional athlete. However, at 13, she discovered her passion for design through making clothes and observing how flat 2D patterns transformed into 3D garments. She also enjoyed designing and making houses for her Barbie dolls, realizing that architecture offered a broader design education than fashion. She believed that an architectural background would allow her to pursue fashion as well. She recalls being deeply impressed by a well-designed house belonging to a classmate, a house she later learned had won an architectural award, affirming her early intuitive understanding of good design. Zraikat decided to leave architecture after a few years, realizing her passion lay in small-scale design where she could physically create her designs. She found that the architectural practice she was engaged in was too large in scale and lacked continuous learning and growth due to repetitive construction details. She left her job, organized a fashion show in Amman, and subsequently moved to New York City to gain experience in the fashion industry through internships at companies like Anna Sui and Kai Kuhne. During this period, she discovered textile design and innovation, which deeply intrigued her. She later pursued formal education in Textile and New Materials Design at NABA in Milan, Italy. Currently, Zraikat works as a textile designer and material developer, focusing on weaving and wool. She integrates various textile construction techniques to create innovative materials for diverse applications. She has dedicated herself to understanding and mastering these areas, including learning centuries-old Bedouin weaving techniques from Bedouin women in Jordan. She applies these traditional methods to contemporary textiles and installations, which have been featured in exhibitions. Her research extends to native Jordanian wool, exploring its material possibilities for not only textile and craft markets but also for architectural, agricultural, and other industrial uses. This research-driven design approach is a primary source of her professional excitement. Zraikat attributes her success in her current field to her architectural education, emphasizing that architectural thinking provides a robust foundation for all design disciplines. She believes that the design process learned in architecture can be readily applied to various mediums and scales. Her architectural background instilled in her an appreciation for the "all-inclusiveness" of design, recognizing the interconnectedness of human psychology, natural materials, resources, and innovation through history and into the digital age. She remains open to returning to architecture, especially if it involves integrating her textile and fiber knowledge. She recently collaborated with OnSite Architects on a competition entry for "Desert Dwellings" in Al Ula, Saudi Arabia, where she contributed a textile component based on her weaving installations and research into Middle Eastern native wool and animal fibers. The team won the competition, providing her an opportunity to scale her material experiments to an architectural level and explore how fibers behave differently in various contexts. #IshraqZraikat #TextileDesign #MaterialDevelopment #ArchitectureCareer #BedouinWeaving #WoolResearch #DesignInnovation #AlternativeCareerPaths #JordanianDesigner

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

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

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

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

Fischbacher 1819, a Swiss heritage textile brand, presented "Ancient Memories" at Milan Design Week 2025. This immersive textile exhibition explores the emotional and material depth of fabric, taking a deliberate pause from fast-paced design trends. The project, in its second chapter, is a collaborative effort between designer Marcel Wanders, textile artist Caterina Roppo, and the brand’s creative director Camilla D. Fischbacher. Together, they have developed a series of materials that convey narratives through their aesthetic and tactile qualities. These materials include hemp, jute, and recycled cotton, emphasizing the significance of memory as a design principle. Central to "Ancient Memories" is a deep respect for traditional craft and a deliberate pace in production. The collection prominently features hemp, a historically significant fiber, symbolizing ancient knowledge and offering a counter-narrative to contemporary consumerism. This foundation allows for the creation of new materials imbued with historical textures. Examples include "Animalia Echo," a flat-weave rug made from undyed jute and wool, designed to evoke the appearance of ancient stone engravings. "Puffy Loom" combines soft knots with rough textures, creating a striking contrast in its woven structure. "Animalia Traces" is a tufted piece crafted from silky Tencel, featuring a primal motif that subtly incorporates the initials of its creators. These pieces are intended to be perceived as artifacts, each with its own unique story. Textiles within the collection, such as "Sacred Bark" and "Eco Saga," exemplify a raw and personal aesthetic. These pieces integrate jute warps with recycled cotton wefts, producing textures reminiscent of natural elements like bark and earth, and embodying a sense of memory. "Nature’s Canvas" displays a vintage fade, with its appearance subtly shifting after each cut, highlighting the natural evolution of the material. "Animalia Genealogy" is a jacquard trim depicting imagined animals, suggesting a connection to ancient myths. A key message conveyed through these textiles is the appreciation of imperfection and variation, viewing them not as flaws but as inherent elements that enhance the value and character of each piece. The passage of time is also embraced as a contributing factor in the design process. The Milan Design Week exhibition transformed Fischbacher 1819's showroom into a dynamic archive. Rugs and textiles were curated alongside vintage furniture and works by international designers, creating a cohesive spatial narrative and an emotionally resonant environment. Textile artist Caterina Roppo contributed to the exhibition with her solo presentation, "Everybody has pain somewhere," which delves into the layering of time through material. A video installation by Rashed Qurwash further enriched this multidisciplinary dialogue, adding another layer to the overall experience. The exhibition underscores the importance of considering design as a form of storytelling. Ultimately, "Ancient Memories" is not merely about evoking nostalgia; it advocates for resilience in design. It challenges conventional views on materials, proposing they be considered as legacies rather than fleeting trends. Fischbacher 1819 demonstrates that sustainable design extends beyond minimizing negative impacts; it involves creating with profound meaning and intention. The collection encourages a reflection on enduring qualities in a world often preoccupied with novelty, urging an appreciation for what lasts and holds intrinsic value. Fischbacher 1819, a Swiss textile house with over two centuries of history, continues its legacy of crafting luxury textiles, rugs, and wall coverings for both private and public spaces, guided by a commitment to craftsmanship, creativity, and material excellence. The family-run company, now led by the sixth generation, integrates tradition with contemporary sensibilities. #TextileDesign #SustainableDesign #MilanDesignWeek #Fischbacher1819 #MarcelWanders #CaterinaRoppo #InnovativeMaterials #Craftsmanship #MaterialMemory

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

Bernhardt Design has unveiled its 'Duality' collection, a collaboration with British-Ghanaian designer Chrissa Amuah, featuring a series of upholstery textiles. This collection includes six distinct patterns and 56 colorways, all deeply inspired by Amuah's Ghanaian heritage. Her design vision is rooted in the rich symbolism, textures, colors, and traditional patterns observed during her trips to Ghana, where these symbols are intricately woven into everyday life, from jewelry to architecture. Amuah's objective was to create a contemporary and aesthetically pleasing design blueprint that also carries profound, empowering messages, whether consciously or subconsciously communicated. The 'Duality' collection comprises six main designs. One prominent pattern is 'Aya,' which draws inspiration from the West African Adinkra symbol for fern. Amuah explains that the fern symbolizes endurance and resourcefulness, conveying a message of hope. She created this pattern using a super-fine chenille yarn that floats above the abstracted fern symbols, achieving an overlay effect. 'Aya' is designed to be paired with 'Still,' a monochromatic textured fabric available in 18 rich colors, allowing for versatile combinations. Another innovative design is 'Ink,' which Amuah developed by drizzling ink onto walnut veneer, allowing it to bleed into the wood grain. This process resulted in unique, abstract patterns with limited designer control, emphasizing the organic spread of the ink to form distinctive lines. These abstract patterns were then replicated on thick, textured chenille and produced in four different hues. 'Ink' is envisioned to complement 'Snug,' a textured bouclé fabric, offering a harmonious blend of patterns and textures. The collection further incorporates Ghanaian inspiration with the 'Sella' textile, named after the Latin word for 'stool.' This design pays homage to Ghana’s traditional asesegua seat, which has a long history and various forms, from common wooden stools to elaborate royal versions. Amuah hand-sketched the fabric's design, abstractly interpreting the familiar shapes of the asesegua. The final material in the collection is 'Touch,' a finely textured fabric crafted from two complementary yarns in contrasting shades, which creates a fine pattern with notable vibrancy and depth. Beyond patterns, Amuah also meticulously explored the symbolic meanings of colors in the collection's palette. She emphasizes that colors function as visual indicators that work in conjunction with patterns to form a complete narrative. The interpretation of color meanings can vary based on context, such as the intended message, occasion, status, or even age. Jerry Helling, president of Bernhardt Design, praises Amuah's artistry, highlighting her ability to transform deeply personal ideas into accessible and sophisticated design forms, abstracting her inspirations into modern and beautiful fabrics. The 'Duality' collection stands as a testament to the seamless integration of rich cultural heritage with contemporary design principles. #UpholsteryTextiles #GhanaianHeritage #BernhardtDesign #ChrissaAmuah #TextileDesign #InteriorDesign #CulturalInspiration #AdinkraSymbols #AfricanDesign

The year 2025 has introduced a variety of new indoor and outdoor fabric collections, providing extensive inspiration for interior design. This overview highlights eight notable collections that offer distinct aesthetics and innovative features for refreshing living spaces. William Morris At Home's "The Forager Collection," derived from the William Morris Gallery, features nature-inspired patterns, wovens, and cut velvets. The collection evokes a woodland aesthetic through vibrant fruit designs and popular patterns like Acorn and Willow Bough, aiming to add a whimsical touch to any interior. Sanderson's "Highgrove Collection," a collaboration with The King’s Foundation (founded by King Charles III), draws inspiration from the flora and fauna of Highgrove Gardens. This collection includes wallpapers, fabrics, weaves, embroideries, and stripes, integrating design elements from Sanderson's 165-year archive. A standout is the Highgrove toile, which depicts motifs such as yew tree hedges, pots, the Oak Summer House, and a topiarised English yew, along with King Charles III’s bust. The "Brown Jordan x Kravet Collection" is a partnership between two established brands, offering over 40 luxurious outdoor performance fabrics. Designed for outdoor relaxation, this collection features a natural color palette to blend seamlessly with various outdoor environments. Notable options include Bloom Steel, admired for its subtle design, and Balance Marine, recognized for its bold stripes. These fabrics are exclusive to Brown Jordan and can be used on many of the brand’s signature furniture pieces. Rubelli's "Teorema Collection," designed by Formafantasma, marks the brand’s initial venture into wool fabrics, alongside silks. Characterized by bold geometric patterns and striking colors, these fabrics are soft yet durable. "Fortunato" is a jacquard velvet within this collection, featuring an alternating pattern of cut velvet and higher pile trapezoids, which creates a dynamic, shimmering effect. Dedar's "Weaving Anni Albers Collection" is a collaboration with the Josef & Anni Albers Foundation, reinterpreting iconic Bauhaus textiles for contemporary use. The collection integrates Albers’ textile works with Dedar’s manufacturing techniques, preserving the beauty of handwoven textiles through modern methods, as exemplified by fabrics like Under Way 1963. S. Harris’s collaboration with Sasha Bikoff presents a collection that embraces maximalism and draws from fashion history. This colorful assortment of fabrics, wallcoverings, and trimmings offers youthful designs for creative expression. Examples include the Beating Hearts trim paired with the French Kiss fabric for an exuberant combination. James Dunlop’s "Alfresco Collection" emphasizes durability, sophistication, and texture for both indoor and outdoor applications. These textiles, made from solution-dyed olefin and recycled yarns, feature FibreGuard stain resistance, ensuring superior colorfastness when exposed to UV rays. Airlie, an indoor-outdoor boucle woven in Turkey, is highlighted for its low-maintenance luxury. Meredith Ellis Textiles’ "The Botanical Collection" is inspired by the Texas Hill Country, featuring richly layered designs. This collection includes seven new prints, two decorative borders, and one woven design, resulting in 40 fresh patterns. It evokes themes of sun-baked afternoons and an Americana spirit, blending Southern influence with whimsy through patterns such as Hyder and Huntington stripe. These collections collectively represent a fusion of heritage, innovation, and design, suitable for enhancing various interior and exterior spaces. #FabricCollections #InteriorDesign #TextileInnovation #HomeDecor #LuxuryFabrics #OutdoorFabrics #NatureInspired #GeometricPatterns

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

The article delves into the creative journey of Abdallah Alayan, a Tāmaki Makaurau-based architect, and his collaboration with GH Commercial to explore the capabilities of their new Designer Jet technology. Alayan, known for his innovative approach to craft and creativity, was initially recognized for his profound master's thesis project at the University of Auckland School of Architecture and Planning. His thesis, titled 'Faith in Fiordland,' proposed architectural interventions along a pilgrimage route from Te Anau to Milford Sound, aiming to foster spiritual engagement in an increasingly secular society. The project focused on architecture's potential to evoke poetry and heighten spirituality within the natural landscape by spatially abstracting common practices from various faiths, creating inclusive interventions that unified religious and non-religious individuals through a shared connection to nature's spiritual weight. This work earned him the 2019 Te Kāhui Whaihanga New Zealand Institute of Architects Resene Student Design Award for its clarity, sensitivity, inclusivity, and optimism. Five years later, Alayan embarked on a personal pilgrimage through the Middle East and Mediterranean, visiting remote Greek monasteries. During this journey, the Monastery of Varlaam, perched above Kastraki village in Thessaly, particularly captivated him. He was struck by the visual tapestry formed by the lush greenery, terracotta roofs, and muted rock formations. This experience later influenced his design work. Currently, as an associate at Monk Mackenzie, a multidisciplinary architecture practice, Alayan engages in both commercial and residential projects, exercising a high degree of creativity and craftsmanship. His involvement extends to bespoke furniture and product design, broadening his expertise beyond traditional architecture. Additionally, he runs his eponymous practice, founded in 2019, specializing in boutique architectural and spatial concepts. When GH Commercial introduced its Designer Jet technology to the Australasian market, they presented Alayan with an open-ended brief. This custom carpet technology allows for endless color and bespoke design possibilities, enabling the transfer of patterns, drawings, or images onto carpets with precision engineering. Alayan's objective was to showcase the technology's vast potential while honoring the traditions of tapestry and printing. He identified directionality as a common thread between tapestry, which generates complex images through sequential linear knotting, and digital printing, which applies color directionally. This insight led him to develop a design featuring fine horizontal lines, abstracting traditional processes. To inform the color scheme, Alayan chose to manipulate a photograph from his trip, specifically the image captured at the Monastery of Varlaam, which depicted both architectural and natural elements. This choice resonated with the tradition of incorporating natural and architectural motifs in carpet designs across various cultures, adding another layer to his design's inspiration. Through digital manipulation—selectively expanding and contracting image portions and adjusting color saturation—he achieved his desired outcome. The design features a composition of lines that subtly fade inwards, in both color and visibility, towards a central point where the original image is almost discernible, yet remains open to interpretation. This effect then blurs and fades outwards again, referencing how individual threads or lines in tapestry and printing converge to form larger images. The final custom carpet, a six-meter-long piece, was produced using the cut pile option, which Alayan found best demonstrated the Designer Jet technology's capability to print thousands of colors with impressive precision, creating unexpected color bleeds that added depth. The end result was a striking, vibrant, and evocative piece of art, showcasing the technology's advanced capabilities with minimal pixelation, proving how far this technology can push creative boundaries. The Designer Jet Carpets boast several key features: an ACCS Rating 4 Star for Contract Extra Heavy Duty performance; texture options including cut pile (17oz for standard feel, 26oz for superior comfort) and loop pile (22oz and 24oz for distinctive texture); and size options like rolls (1.96m wide), carpet tiles (500mm x 500mm), or planks (250mm x 1000mm) for flexible installation. From a sustainability perspective, the carpets are Declare Red List Free, Green Building Council compliant, hold Environmental Certification Level 4 (maximum level), and are ISO 9001, ISO 14001, and ISO 45001 certified, as well as PVC, BPA, and Phthalate Free. They also offer fast and cost-effective production in an Australian factory, with no design fees, smaller minimum orders, and flexible pricing. #AbdallahAlayan #DesignerJetTechnology #CustomCarpet #ArchitecturalDesign #TextileInnovation #MonasteryOfVarlaam #AbstractArt #SustainableDesign #InteriorProducts

The Dutch design studio Scholten & Baijings has collaborated with New York textiles brand Maharam to create a unique collection of interior fabrics, distinguished by a large-scale pattern repeat designed to upholster an entire sofa without visual repetition. This innovative approach addresses a common challenge in textile design for large furniture pieces, where patterns often repeat noticeably. The first two designs in this series are named Blocks and Grid, and they are part of an ongoing partnership between Scholten & Baijings and Maharam Design Studio. The genesis of this project involved a detailed exploration into modern color blocking by Stefan Scholten and Carole Baijings. Their research led them to conceptualize and develop two extensive compositions, specifically scaled to accommodate the typical amount of fabric needed for a full sofa upholstery. Both Blocks and Grid textiles feature an impressive nine-meter pattern repeat, ensuring a seamless and non-repetitive aesthetic across large surfaces. Despite this extensive repeat, the fabrics maintain a standard width of 142 centimeters. A key aspect of the design process was ensuring that the textiles would be equally compelling both as standalone patterns and when applied to furniture. Scholten emphasized the importance of a nine-meter piece of fabric being as visually engaging as a single meter, highlighting the careful consideration given to the overall composition. Baijings drew a parallel to Mondrian paintings, noting that while Mondrian's compositions are contained within the canvas, upholstery fabric design demands a different methodology to maintain interest across an expansive surface. To overcome these design complexities, Scholten & Baijings employed their characteristic method of using multiple scale models during development. This allowed them to meticulously refine the patterns and test their visual impact at various scales. The textiles primarily consist of 92 percent wool and 8 percent nylon, and the design duo focused on how color perception translates when woven into wool. The fabrics are also designed to complement each other, allowing for cohesive integration within interior schemes. Blocks showcases Scholten & Baijings' signature color juxtapositions, creating vibrant and dynamic visual effects. Grid, on the other hand, builds color densities through the interplay of parallel and perpendicular lines. Scholten explained that the density of the grid influences the perception of color, lending a lighter, more ethereal appearance compared to a solid monochromatic plane. This nuanced approach to color and pattern ensures depth and visual interest. Blocks and Grid first premiered in "The Dinner Party," an installation at the V&A museum during the 2013 London Design Festival, and were also featured in the Art Institute of Chicago’s "3 in 1: Contemporary Explorations in Architecture and Design" exhibition. These designs are slated to appear in another exhibition of Scholten & Baijings' work at the Villa Noailles in Hyères, France, over the summer. Furthermore, both textiles have been acquired for the permanent collection of the Cooper-Hewitt National Design Museum, recognizing their significant contribution to textile design. A third textile, Tones, is anticipated to be unveiled at NeoCon 2014 and launched by Maharam in Spring 2015, further expanding this innovative collection. #TextileDesign #FabricInnovation #ScholtenBaijings #Maharam #InteriorDesign #ColorBlocking #UpholsteryFabric #DesignCollaboration #WoolNylonBlend

Older, a design brand founded by Letizia Caramia and Morten Thuesen, initially focused on revolutionizing hospitality uniforms. The duo, who met at Alexander McQueen, launched Older in 2013 to address what they perceived as a lack of ideology, sustainability, and imagination in the fashion industry. Their unique approach blended their interests in architecture, gastronomy, and wine, leading them to create utilitarian yet stylish uniforms. Older quickly gained recognition for its asymmetric silhouettes, high-quality bespoke bio-cotton fabrics, and meticulous attention to functional details like fastenings and pockets, all while prioritizing sustainability in their design and production processes. Over the years, Older has secured commissions from prominent clients, including Restaurant 108 in Copenhagen, Copenhagen Contemporary, Tate Modern, the Snøhetta-designed Under restaurant, and Massimo Bottura’s Refettorio. A significant project involved designing uniforms and accompanying objects for Olafur Eliasson’s Fjordenhus in Vejle, Denmark. This collaboration, which included textile sculptures and specially engineered napkins, profoundly influenced Caramia and Thuesen, inspiring them to expand their creative scope beyond uniforms. Their recent endeavor is "Wide Eye," a debut furniture and objects collection developed in collaboration with Danish artist Alexander Vinther. The collection reflects the designers' passion for radical Italian movements, such as those of Superstudio and Archizoom, the postmodern aesthetics of Afra and Tobia Scarpa, Carlo Mollino’s craftsmanship, and the Gesamtkunstwerk concepts of Joe and Gianni Colombo. Milanese curator Valentina Ciuffi, known for her work with Nilufar and Alcova, assisted in presenting the collection through an exhibition and a book. Ciuffi lauded Older’s profound understanding of the fashion system, their detached approach from its fast pace, and their impressive architectural sensibilities, noting how they conceptualize garments as wearable architecture. With "Wide Eye," Caramia and Thuesen reversed their initial design philosophy, transforming uniform concepts into sculptural and functional furniture pieces. The collection subtly incorporates references to the human body and clothing. For example, the "Wide Eye" sofa is upholstered in the same washable Limonta nylon fabric used for their uniforms, while the "Zhora" chair features a PVC covering reminiscent of a character from *Blade Runner*. Other pieces, like the "Papi" table, subtly allude to anatomical forms. The designers exhibit a deep commitment to craftsmanship, partnering with emerging artisans like Tuscany-based Francesco Basini Gazzi for their marble pieces and a manufacturer previously associated with Tobia Scarpa for their sofa. They recently relocated from Paris to Milan, establishing a hybrid live-work space that will serve as the backdrop for the "Wide Eye" collection's launch on September 29th. The launch will feature a set designed by curator Joseph Grima, emphasizing raw materials to highlight the furniture's forms. The "Wide Eye" collection also carries a significant pro-European message. Its title is derived from the ancient Greek etymology of "Europe," and a nylon band on the sofa displays the slogan "Wide Eye Wake Up." This political agenda was influenced by the rise of populist parties in the 2019 European elections, prompting the designers to create furniture that advocates for a tolerant, open, and united Europe, aiming to infuse their designs with a conscious and revolutionary spirit. #FurnitureDesign #UniformDesign #SustainableDesign #ItalianRadicals #BladeRunnerInspired #EuropeanArtisanship #MilanDesign #PoliticalDesign #TextileInnovation

Najd is a new textile collection, designed by architect and designer Tristan Auer for Lelièvre Paris, drawing inspiration from Saudi Arabian design. The collection's distinctive natural and earthy color palette is directly referenced from the Najd desert, which also provides the collection with its name. The creative process behind Najd involved Tristan Auer's deep dive into the traditional architecture of the central Saudi Arabian region, translating its colors and structural lines into textile designs. The Najd desert, characterized by its vast expanses of natural earth and clay hues, served as a primary muse. This inspiration manifests in the striking interplay of orthogonal architectural structures and the organic, flowing lines of the desert's endless dunes. This juxtaposition of structured forms and natural fluidity is a core theme throughout the collection. The Najd textile collection offers a variety of designs, incorporating both geometric patterns and diverse textured surfaces. These visual and tactile elements are designed to evoke the rugged yet refined aesthetic of the desert landscape and its historical built environment. The collection is fabricated using a range of materials, including cotton Jacquard, linen, and high-performance fabrics, catering to various applications and functional requirements while maintaining the collection's aesthetic integrity. The use of these materials ensures both durability and a luxurious feel, aligning with the brand's commitment to quality. This collection, available through Dezeen Showroom, is positioned as a sophisticated option for interior design professionals and enthusiasts seeking to incorporate elements of exotic, culturally rich aesthetics into contemporary spaces. The colorways, while natural and earthy, are presented in a manner that allows for versatility in different design schemes, from minimalist to more ornate settings. By offering a blend of traditional inspiration and modern material technology, the Najd collection aims to provide textiles that are both aesthetically compelling and practical for everyday use. Lelièvre Paris emphasizes that the collection not only captures the visual essence of the Najd region but also its spirit, making it more than just a decorative element but a narrative piece within an interior. The choice of Tristan Auer, known for his work in luxury interior design and architecture, underscores the collection's high-end appeal and its potential to elevate diverse living and commercial environments. The collaboration highlights a bridge between traditional cultural motifs and contemporary design sensibilities, resulting in a textile offering that is both timeless and relevant. #TextileCollection #TristanAuer #LelièvreParis #SaudiArabianDesign #EarthTones #GeometricPatterns #TexturedFabrics #InteriorDesign #HomeDecoration

Fashion designer Raf Simons has collaborated with Danish textile company Kvadrat to introduce two new upholstery fabrics, Helia and Silas, expanding his ongoing collection for the brand. Simons' objective for this collection was to explore and push the boundaries of conventional upholstery textiles, drawing inspiration from haute couture fabrics and techniques to achieve unusual textures from natural materials such as linen, wool, and viscose. This collaboration highlights a continued partnership where Simons injects his distinctive blend of colors and materials into Kvadrat's textile offerings. The Helia fabric is primarily composed of new wool, with supplementary acrylic, viscose, and nylon. Its design meticulously mimics the texture and structure of astrakhan fur, which is derived from fetal or newborn lambs. The fabric, characterized as a bouclé textile, presents a woven interpretation of this fur, featuring an organic, structured appearance. The use of yarn-dyed fibers contributes to Helia's melange quality, providing a subtle depth and variation in color. Silas, the second fabric in the collection, is crafted from new wool and nylon, and is distinguished by its soft, voluminous feel. The creation of Silas involves a sophisticated finishing process where the velvet-like texture is repeatedly unraveled and beaten. This technique causes the fabric to swell and then return to its original shape, before undergoing a steam treatment. The result is a textile that evokes the appearance of unravelled velvet, offering a unique tactile experience. Simons expressed his particular interest in experimenting with woven versions of traditional haute couture materials and techniques, such as furs and knits, for this collection. He noted that this exploration led to the development of two sensuous textiles, both featuring heavily textured yet extremely soft surfaces, underscoring his commitment to innovative material development within the upholstery sector. In addition to the two new fabrics, the collection is augmented by three cushions made from the Silas fabric. Simons also refreshed the color palette of his existing Sunniva 3 fabric, demonstrating a holistic approach to his textile design for Kvadrat. Raf Simons, who trained in industrial design and established his menswear brand in 1995, has a notable career in fashion, including roles as artistic director at Jil Sander and, since January of this year, co-creative director at Prada alongside Miuccia Prada. Kvadrat, founded in 1968, has a rich history of collaborating with prominent designers to produce innovative textiles and products. Recent collaborations include the Maya and Jaali fabrics designed by London studio Doshi Levien and a energy-reducing roller blind developed with Ronan and Erwan Bouroullec, reflecting the company's ongoing commitment to design innovation and strategic partnerships. #RafSimons #Kvadrat #UpholsteryFabrics #HauteCoutureInspired #TextileDesign #IndustrialDesign #MaterialInnovation #FashionDesignCollaboration

Mina Abouzahra, a Dutch-Moroccan artist and designer, has curated an exhibition titled “The Soul of a Rug” to highlight the artistry and cultural significance of Amazigh (Berber) weaving traditions. The exhibition, on display at the Palais Bahia in Marrakech until June 30th, features a selection of weavings and tapestries from the weavers of Taznakht, alongside contemporary furniture and objects designed by Abouzahra, some of which incorporate vintage weavings as upholstery. The display also includes photographs, looms, and yarns, allowing visitors to engage with the tactile aspects of the craft. A virtual reality film further immerses viewers in the daily life of the women and the village of Taznakht. Abouzahra's journey to this project began with her exploration of Moroccan craftsmanship, initially through her work as a chef and food stylist. She later transitioned to furniture design, studying woodworking and cabinetry, and undertaking an internship in Essaouira where she discovered the rich textile heritage of Morocco. This led her to establish her own interior label, integrating vintage Moroccan textiles with contemporary furniture. She developed a profound understanding and appreciation for Berber rugs, recognizing them as repositories of stories and rituals unique to their communities, with distinct colors, sizes, and techniques influenced by local resources and traditions passed down through generations. This exhibition builds upon Abouzahra's previous work, including “One Square Meter Berber” in 2019, also held at the Palais Bahia. That exhibition aimed to draw attention to the financial disparity faced by weavers, who are often paid by the square meter, by displaying individual 1-square meter rugs alongside photographs of their creators. This initiative sought to humanize the craft and advocate for fair compensation. During this period, Abouzahra also facilitated a residency program in Taznakht for Dutch designers, fostering an exchange of creative ideas between them and the Amazigh weavers. Following the pandemic, Abouzahra spent several months living in Taznakht, deepening her connection to the community and their weaving practices. This immersive experience revealed the spiritual dimension of the craft, such as the ritual of smashing sugar on a new loom to imbue it with a "sweet soul" and covering it with a black cloth to ward off the evil eye. “The Soul of a Rug” is the culmination of over a decade of Abouzahra’s dedicated research and engagement with Berber weaving. The exhibition not only celebrates ancestral craft, cultural preservation, and female empowerment but also underscores the benefits of collaborative work and the shared connection fostered through community and creativity. After its run in Marrakech, the exhibition is scheduled to travel to Amsterdam, showing at Hotel Arena from August 22nd to September 21st, and at Glue, the Amsterdam Design Fair, from September 18th to 21st. #MinaAbouzahra #BerberRugs #TextileArt #MoroccanCraftsmanship #CulturalPreservation #FemaleEmpowerment #Exhibition #InteriorDesign #TaznakhtWeavers