Meet Sophie Stone, the Textile Artist Melding Classic Crafts With Contemporary Narratives

This article highlights the collaboration between McGee & Co. and Filling Spaces, a textile company founded by sisters Deepali Kalia and Nanu Khanna. The partnership introduces a five-piece collection featuring hand-drawn, block-printed patterns, a technique deeply rooted in Indian tradition, where the sisters were raised. The collaboration is launched alongside McGee & Co.'s Holiday 2023 Collection, showcasing a blend of traditional craftsmanship and contemporary design. The article delves into the origins of Filling Spaces, which began in 2008 and grew from a passion project into a full-time endeavor for the sisters. Deepali, based in Portland, Oregon, is the primary designer, hand-sketching patterns that are then meticulously carved into blocks. Nanu, managing operations from India, focuses on building a company that champions female empowerment and oversees the creation of textiles using traditional Indian handloom techniques. A significant portion of the article features an interview with Deepali and Nanu, providing insights into their journey and values. They discuss the unique challenges faced by female entrepreneurs in India, where family obligations often take precedence over career aspirations, contrasting it with similar, though perhaps less pronounced, pressures on women in the US workforce. The sisters emphasize the importance of balancing career and family, a theme they navigate in their own lives and business. The collaboration with McGee & Co. originated from a chance encounter at a trade show in Atlanta, where Shea McGee, already an admirer of Filling Spaces' products, expressed her interest. This initial connection evolved into a design partnership, starting with a shared color palette and mood board. Deepali's hand-drawn floral designs were then brought to life by Nanu and her team in India, culminating in the current collection. The sisters articulate their desire for their products to enrich people's lives and homes, aligning with Studio McGee's philosophy of "Make Life Beautiful." They express their deep personal attachment to every item, emphasizing the heart and effort invested in each collection and pattern. Their goal is for customers to appreciate the story behind the products, respect the artisans involved, and value the raw quality of the textiles. The production process is detailed, beginning with Deepali's hand-drawn patterns, which are then translated into hand-carved blocks in India. Color testing follows, with iterations until a cohesive collection of designs is achieved. Fabrics are hand-loomed and then block-printed in small batches, ensuring quality and minimizing waste. The entire process for a single collection typically takes six to eight weeks. A core pillar of Filling Spaces is its commitment to zero waste. The sisters explain that this philosophy extends beyond fabric to include dyes and printing materials. Due to the hand-block printing method, only about 20 yards of fabric are produced daily, tailored specifically to order fulfillment. This approach prevents misprinting and excess production. Any leftover fabric is repurposed through their "Katran project," where it is transformed into unique items like pillows, throws, or gift bags for customers, underscoring their dedication to sustainability and resourcefulness. #TextileCollaboration #HandcraftedTextiles #FemaleEntrepreneurship #IndianCraftsmanship #SustainableDesign #HomeDecor #BlockPrinting #McGeeAndCo #FillingSpaces

Sylvie Johnson, a self-taught weaver born in Dakar, has carved a unique niche as a "starchitect's couturier" in Paris, creating bespoke, one-of-a-kind textiles for elite architects and decorators. Her work, characterized by its minimalist rigor and painstaking handmade construction, combines the aesthetic of abstract art with the craftsmanship of haute couture. Johnson’s design philosophy, influenced by modern art and her late maternal grandmother, Marie-Augustine, emphasizes the inherent poetry and beauty of materials over excessive ornamentation. She believes in the transformative power of simple things, echoing her grandmother's sentiment that "Water is not always just water. If you put it in a beautiful glass, it becomes something else." Based in a small studio in Saint-Germain-des-Près, Johnson's space reflects her artistic sensibilities, filled with primitive art and antique curios, which inform her textile designs. Her samples include exquisite materials such as raffia, horsehair, and raw silk, meticulously woven into pieces that evoke a deep connection to nature and a sense of movement. This unique approach has garnered her a prestigious client list, including renowned architects Annabelle Selldorf and Peter Marino, and interior designer Axel Vervoordt, all of whom seek her out for textiles that transcend the ordinary. Johnson's journey into textile design began after studying economics at Sciences Po and working in the art world for Galerie 54. She later took a year to apprentice with a couturier who had worked for Christian Lacroix and Chanel, ultimately launching her own company in 2003 with 30 samples. Today, her collection has expanded to 500 suggestions, with each textile custom-made to order, often requiring extensive weaving time—sometimes yielding less than eight inches of fabric in eight hours. The turnaround time for her bespoke creations is typically two to three months. While the majority of Johnson's work graces private homes, some of her creations can be found in public spaces, such as the custom silk curtains she wove for the Royal Mansour hotel in Marrakech. Her collaborations with architects like Annabelle Selldorf have resulted in diverse applications, from wool and angora floor coverings to high-relief silk and linen headboards, and even a sofa upholstered in a fabric made from cotton and cork strips. Selldorf praises Johnson’s ability to inventively combine different textures, creating textiles with a subtle, understated quality that is nonetheless brilliant. Despite the extraordinary nature and cost of her textiles, Johnson notes that clients rarely encounter issues that cannot be resolved through dry-cleaning, though she humorously acknowledges that pets can pose a challenge. Her work stands as a testament to the enduring value of bespoke craftsmanship, artistic vision, and the profound impact of carefully chosen materials in interior design. #SylvieJohnson #TextileDesign #BespokeTextiles #HauteCouture #InteriorDesign #LuxuryTextiles #ArchitecturalCollaboration #ArtisticWeaving #SaintGermaindesPrès

This article features a Q&A with Joanne O'Rourke, an eco-textile designer who participated in Ocean Talks 2025. O'Rourke's work is characterized by the use of natural dyes, marine plants, and sustainable practices to create unique textiles. Her textiles are developed through a multi-layered process that combines eco-friendly materials, handcraft, and low-impact innovation. She starts by hand-painting with eco-dyes, including pigments extracted from natural seaweed, to produce unique artworks. These artworks are then scanned, lightly refined, and printed onto deadstock fabrics using eco-inks and waterless dye technology, which helps preserve the painterly detail while minimizing environmental impact. Additionally, O'Rourke directly incorporates real seaweed by brushing it with eco-inks or dye and pressing it onto fabric to capture the intricate forms of marine life. She also employs shibori pole-wrapping, a traditional resist dye technique, with a natural indigo vat to introduce layered patterns and depth. Each piece is influenced by nature, a deliberate slow creative process, and a commitment to sustainable methods. O'Rourke's inspiration stems from the complex and tranquil ecosystems of coastal and marshland areas. She finds a meditative quality in working slowly and by hand, which deepens her connection to the materials and their natural origins. By utilizing seaweed, natural pigments, and traditional dye methods, she crafts textiles that encapsulate memory, not only through imagery but also through rhythm, movement, and a sense of place. The specific technique of printing directly from seaweed using marine plant imprints originated from a simple experiment: boiling a piece of seaweed to assess its potential as a natural dye. This led to a deeper fascination with seaweed's color, texture, and raw material potential. She began imprinting real seaweed onto fabric using eco-inks, a process she named TideMark, which preserves the delicate forms of marine life through touch, texture, and pigment. Her work further evolved to include experimenting with seaweed as a biomaterial, blending it with ingredients like spirulina and biochar for new surface applications. O'Rourke emphasizes that seaweed is naturally regenerative, requiring no land, freshwater, or fertilizers, and actively absorbs carbon and excess nutrients from the ocean. When harvested responsibly, seaweed can support marine ecosystems and offer a significantly more sustainable path for design and material innovation. Her creative process begins with sustainable foraging of washed-up seaweed, followed by sketching or hand-painting with eco-friendly dyes. Natural inks are brushed directly onto the seaweed and pressed onto fabric to capture its texture and form. The work is then scanned for subtle digital refinement and printed onto deadstock cloth using waterless dye methods. Concurrently, she uses shibori pole-wrapping in a natural indigo vat, adding visual language and meaning through traditional resist techniques. This approach results in a collaboration between craft, ecology, and time. O'Rourke acknowledges challenges inherent in her process, such as the sensitivity of seaweed to changing tides and seasons, and the delicate, unpredictable nature of indigo dyeing. Balancing these organic methods with digital refinement while maintaining sustainability is an ongoing adaptive process, which she finds keeps her work vibrant. Her collaboration with the Hyatt Regency Hotel, initiated through Norwich University of the Arts, involved exhibiting a textile and painting focused on marshland biodiversity, created using her natural dye painting process. She found it meaningful to introduce handcrafted, nature-connected art into a hospitality setting, encouraging guests to engage with materials that convey memory and care. Looking ahead, O'Rourke plans to develop a collection of wall fabrics and sustainable textiles utilizing her seaweed imprint and eco-dye methods, targeting slow and thoughtful interiors where material quality is paramount. She is also researching seaweed-based biomaterials and experimenting with natural composites for surface and sculptural applications. Her work is transitioning towards small-batch pieces, and she is keen to explore how these materials can continue to bridge design, ecology, and well-being. At Ocean Talks, she will present TideMark, a collection of textiles featuring seaweed imprinting, eco-painting, and natural indigo dyeing, including large fabric panels, interior textile samples, and digitally refined cloth. These pieces are designed to be tactile and emotional, inviting reflection on the ocean's strength and fragility, with some floral patterns evoking underwater biodiversity. She aims to translate these designs into interior products and a future clothing range, grounded in slow craft, natural materials, and environmental care. O'Rourke's key message on ocean conservation is that the ocean is integral to human sustenance. Her practice employs low-water, low-impact methods, circular materials, and craft processes that honor this connection. As a member of Green Grads UK, she believes design must transcend aesthetics to actively contribute to ecological care, as people protect what they feel connected to, and design can foster that connection. #EcoTextileDesign #NaturalDyes #SeaweedArt #SustainableDesign #OceanConservation #Handcraft #InteriorTextiles #Biomaterials #ShiboriTechnique

The closure of all 800 JOANN Fabrics locations across the United States has left a significant gap for sewing enthusiasts and crafters who relied on the store for generations. JOANN, which first opened over 80 years ago in Cleveland, Ohio, was a beloved destination for everything from prom dress fabric to Halloween costume materials and home decor textiles like accent pillows and drapery. With its loyal customer base now seeking alternatives, this article identifies ten key retailers and online platforms where individuals can source fabric for various projects. Amazon, surprisingly, offers an extensive online fabric collection, including upholstery fabrics and quilting squares, and features major brands such as Sunbrella for outdoor projects, Télio for cotton, tweed, and eyelet fabrics, and Riley Blake Designs for quilting. Etsy stands out as a marketplace for unique, artisan-driven fabric designs that are not available elsewhere, appealing to those seeking distinctive patterns. Michael's, primarily known as a general craft store, provides a more limited fabric selection but is suitable for those also purchasing yarn, needlework supplies, or seasonal decor. Spoonflower champions independent artists by allowing their designs to be printed on various textiles, including fabric, wallpaper, and drapery, offering hundreds of unique options in diverse colorways. Molly Mahon specializes in hand block-printed fabrics with timeless, British countryside-inspired patterns and subdued, saturated colors. Hobby Lobby caters to those focused on sewing and quilting notions, with a fabric section geared towards craft and home-related projects, alongside a wide array of other creative supplies. Chelsea Textiles offers curated, high-quality fabrics with cottage-inspired florals, classic checks, and crisp stripes, often featuring exclusive designer collections. Livette's Wallpaper, known for its wallpaper, also features a farmhouse fabric section with pretty, muted prints ideal for DIY home projects. For budget-conscious crafters or those seeking unique finds, Lucky DeLuxe Fabrics operates as a fabric thrift store, offering budget-friendly fabric, notions, and mystery bundles with continuously changing inventory. Stonemountain & Daughter Fabrics, a California-based family business with over 100 years of experience, sells fabrics, patterns, and notions online nationwide. For high-end and designer fabrics, L.A. Design Concepts boasts a vast selection, including classic Schumacher and Brunschwig & Fils patterns. Finally, Blackbird Fabrics, based in Vancouver, Canada, specializes in apparel fabrics made from natural fibers and prioritizes environmentally friendly manufacturing practices, shipping to the United States. These alternatives ensure that crafters and DIYers still have ample resources for their fabric needs despite JOANN's closure. #FabricStores #CraftingSupplies #HomeDecorDIY #SewingProjects #TextileShopping #IndependentArtists #SustainableFabrics #HomeRenovation

This article, titled "Quilt school," written by Sarah Falco, delves into the historical technique of Broderie Perse, a centuries-old quilting method. The piece aims to educate readers on the origins and practical applications of this intricate craft. Broderie Perse, which translates from French as "Persian embroidery," involves cutting out motifs from one fabric and appliquéing them onto another background fabric. This technique often creates a three-dimensional effect, making the appliquéd designs appear to stand out from the surface of the quilt. Historically, it emerged as a way to utilize expensive or rare chintz fabrics from India and Persia, allowing quilters to showcase their beautiful patterns without using large quantities of the costly material. Instead of covering an entire quilt with a single expensive fabric, smaller, intricate designs were carefully cut and strategically placed. The article discusses the historical context of Broderie Perse, highlighting its popularity in the 17th and 18th centuries when trade routes brought exotic textiles to Europe. These fabrics, often featuring vibrant floral or scenic patterns, were highly prized, and Broderie Perse provided an economical yet visually striking method to incorporate them into quilts, clothing, and other household textiles. The technique was particularly favored in England and America during colonial times, where it became a symbol of status and artistic skill. Key aspects of the Broderie Perse technique are explored, including the selection of suitable fabrics and motifs. Quilters typically look for fabrics with distinct, easily cuttable designs that can be isolated and rearranged to form a new composition. The process involves carefully cutting around these motifs, sometimes leaving a small seam allowance, and then meticulously hand-stitching or machine-appliquéing them onto a base fabric. The article would likely detail different stitching methods used for appliqué, such as whipstitch, buttonhole stitch, or invisible appliqué, each offering a distinct finish. Furthermore, the article addresses the design principles behind creating an effective Broderie Perse quilt. This includes considerations for layout, color theory, and how to create a balanced and visually appealing composition using disparate elements. The placement of motifs is crucial to convey movement, depth, and a cohesive narrative across the quilt surface. Often, quilters would combine various cut-out elements with traditional piecing or embroidery to enhance the overall design complexity. The durability and preservation of Broderie Perse quilts are also touched upon, given their historical significance. Many antique examples of this technique survive today, demonstrating the longevity of carefully crafted textile art. The article may offer advice on how modern quilters can adapt traditional methods for contemporary projects, perhaps suggesting new materials or tools while still honoring the historical integrity of Broderie Perse. In summary, the article provides a comprehensive overview of Broderie Perse, from its historical origins and cultural significance to its practical application in quilting. It aims to inspire readers to explore this rich textile art form, offering insights into the techniques and creative considerations involved in bringing these historical patterns to life in contemporary quilting projects. #Quilting #BroderiePerse #TextileArt #CraftHistory #FabricAppliqué #QuiltDesign #HandStitching #HistoricalTextiles