British Textile Week 2021: Humphries Weaving

The British Textile Week 2021 showcases the latest Autumn/Winter 22/23 collections from various British mills, highlighting innovations in textile design, composition, and application. The collections feature a range of fabrics suitable for fashion, suiting, jacketing, and interior applications such as upholstery and drapes, demonstrating the versatility and craftsmanship of the British textile industry. Marton Mills presents its 'Derwent' range, a 100% Wool Tweed that incorporates bright color flecks and large-scale repeats, offering a fresh take on traditional tweed. William Halstead introduces a Wool/Mohair Denim, a new addition to their modern classics, designed to align with the contemporary trend of smart casual wear. They also feature a resilient twill suit fabric made with mohair in the weft and a 2-ply worsted warp, known for its clean surface achieved through a flaming process. Stephen Walters showcases semi-solid jacquard color blankets, with compositions ranging from cotton and silk blends to pure silk and wool-silk blends. Another offering from Stephen Walters is the 'Revival' range, featuring a blurred floral design with a blend of Viscose, Wool, Polyester, and Silk. Laurent Garigue presents a pastel mohair check, composed of Mohair, Wool, and Nylon, alongside a mohair over-checked tweed made primarily of Wool and Mohair with a touch of Nylon. John Foster expands its Oxbridge Flannel family with new jacketing and suiting fabrics, emphasizing the beauty of woollen yarn and a double mill finish. These fabrics include contemporary windowpanes, traditional gun club, and shepherd check designs, complemented by semi-plains in classic and complementary tones. Their Oxford Flannel collection, made from 100% Super 120’s Wool, offers graphic elegance and timeless designs with modern color inspirations for jacketing fabrics. Samuel Tweed features a classic windowpane design on a semi-sheer white ground, made from Mohair, Wool, and Nylon. They also re-color their best-selling 'Malcolm' tartan design, maintaining the Mohair, Wool, and Nylon composition. Taylor and Lodge, under their Arthur Harrison brand, introduce the '2080' range of 100% wool worsted flannel (420gms), presenting new stock-supported plains and a selection of new designs within this range. Maison Henry Bertrand's AW22-23 collection, 'Oceanic' and 'Cosmos,' utilizes various yarns and compositions of mainly natural fibers to create diverse effects. David Walters contributes to interior design textiles with a 'Bird' design jacquard fabric, highlighting an illustrative drawing style using Viscose, Cotton, Polyester, and Flax, suitable for upholstery. They also feature a 'Geo' design, 'Perspective Geo,' a wool blend (Wool, Cotton, Viscose) currently being woven for showroom lengths and scheduled for an October launch. MYB Textiles prepares for Proposte 2022 with a tropical pineapple design, fresh off the loom. Humphries Weaving presents an 18th Century “Abberton Damask” in custom silk and linen shades, derived from their extensive textile archive and suitable for upholstery, curtains, and drapes. These selections highlight the ongoing innovation and rich heritage of British textile manufacturing across various applications. #BritishTextileWeek #TextileInnovation #AW2223Collections #WoolTweed #MohairBlends #JacquardFabrics #UpholsteryTextiles #FashionFabrics #InteriorDesignFabrics

Textile manufacturing holds a significant place in Britain's history and continues to thrive today, thanks to a diverse array of homegrown fabric and textile designers. These designers are instrumental in preserving the crafts, skills, traditions, and quality that define the British textiles industry. For individuals looking to update their homes, whether through reupholstering furniture, refreshing window treatments, or revitalizing sofa cushions, engaging with these British designers offers an opportunity to support local craftsmanship and businesses, aligning with contemporary trends in sustainability and upcycling. Leading British textile designers draw inspiration from various sources, ranging from historical movements like the British Arts & Crafts to global cultures and natural environments. Ellen Merchant, for instance, blends William Morris's aesthetic with her unique perspective, creating hand-drawn botanical forms using traditional craft skills. Chelsea Gem, founded in Chelsea, produces abstract fabrics and wallpapers inspired by local life, all hand-drawn, cut, and printed using natural, sustainable, and locally sourced materials. Chelsea Textiles, established by Monica Perlhagen, specializes in recreating antique embroidery and incorporating authentic materials for traditional interiors, with collections that also feature Scandinavian influences and collaborations with renowned designers and hotels. Christopher Farr Cloth is recognized for its commitment to high-quality materials and traditional craftsmanship, offering playful and colorful designs influenced by diverse cultures and 20th-century artists. Clovelly Cloth draws from Victorian botanicals and the Arts and Crafts era, producing hand screen-printed designs in gentle mineral colorways that also extend to wallpapers. Cole & Son, founded in 1873, is celebrated for its bold and imaginative wallpapers and fabrics, characterized by vibrant patterns, colors, and global influences. Colefax & Fowler, a leading name in British textile manufacturing since the 1930s, balances traditional English roots with evolving designs, offering a wide range of fabrics and wallpapers beloved by interior designers. Designers Guild, founded by Tricia Guild in the 1970s, is a favorite for its versatile and stylish designs, such as the Minakari collection, which reinterprets florals with glamorous jacquards and printed velvets. Fermoie, launched by Farrow & Ball founders, uses natural dyes for its collections, emphasizing sustainability with natural raw materials and eco-friendly packaging. George Smith, a renowned furniture maker, also offers responsibly sourced, sustainable, and British-made upholstery fabrics with classic, understated designs. GP & J Baker, a Royal Warrant holder since 1882, boasts an extensive archive of designs from leading arts and crafts designers, skillfully adapted for modern tastes. House of Hackney, created by Frieda Gormley and Javvy M Royle, is known for its quirky, colorful, and distinctive patterns, often collaborating with other creatives. Jessica Osborne's fabrics are inspired by wild and natural environments, featuring vibrant, repetitive patterns printed on 100 percent linen. Madeaux produces charming fabrics and wallcoverings inspired by vintage tapestries and British wildlife. Nina Campbell's textiles are easily identifiable by their playful, feminine patterns and timeless appeal, ranging from traditional florals to bold contemporary designs. Osborne & Little, a brand since the 1960s, is celebrated for its imaginative approach, quality, and creative innovation, offering a mix of contemporary and classic designs. Parker & Jules, founded by Nancy Parker and Juliet O’Carroll, creates fabrics inspired by traditional British homes and diverse global influences, using pattern and maximalism to re-energize interiors. Penny Morrison's distinctive, characterful patterns are a staple in stylish homes, with collaborations that expand her extensive portfolio of bright colorways. Rapture & Wright specializes in hand-printed designs, utilizing traditional craft methods and operating a sustainable printworks. Rose Uniacke offers an organic and recycled fabric range, inspired by William Morris and 1920s patterns, with a focus on environmental principles. Sanderson, established in 1860, is known for its elegant hand-drawn designs, bold floral patterns, and highly pigmented colors, drawing inspiration from the English countryside and global influences. Soane Britain offers a range of furniture, upholstery, lighting, and distinctive fabrics and wallpapers, often inspired by antique textiles and made in British mills using traditional methods like block and screen printing, with custom service options available. #BritishTextileDesigners #InteriorDesign #FabricDesign #HomeDecor #SustainableTextiles #Craftsmanship #Upholstery #Wallcoverings

Woven fabrics contribute significantly to interior design by introducing softness, warmth, and a subtle textural element that printed cloths cannot fully replicate. The inherent tactility of woven textiles often gets lost in two-dimensional images, making it challenging to distinguish them from printed patterns. However, woven cloth possesses superior strength and offers a comforting quality due to its integrated design, ensuring its longevity. Ireland, with its rich history in weaving, continues to host several long-standing companies that are adapting to modern demands. Foxford Woollen Mills, established in 1892 in Co Mayo, exemplifies this adaptation. While traditional blankets have seen a decline in popularity due to the rise of duvets, throws have experienced a resurgence, particularly during the Covid-19 pandemic. Joe Queenan of Foxford Woollen Mills notes an increased demand, attributing it to both a surge in outdoor dining and a consumer desire to support Irish businesses. He highlights that in times of crisis, consumers gravitate towards reliable, ethically produced goods, willing to pay a premium for quality. This trend is evident in the popularity of Foxford’s high-end cashmere throws, as well as the renewed interest in mohair products. Similarly, John Hanly, a family-run business since 1893 in Ballyartella, Co Tipperary, primarily known for supplying international fashion houses, also offers a contemporary homeware range. Their collection features throws in lambswool, cashmere, and mohair, showcasing vibrant colors. While they rarely receive requests for upholstery fabric, Brian Hanly, the current head, expresses openness to exploring such opportunities, acknowledging the rigorous testing required for durability and fire resistance in upholstery. The viability of short production runs for upholstery fabric, however, remains a challenge. Mourne Textiles in Co Down stands out as one of the few Irish weavers providing upholstery fabric by the meter. As an artisan company specializing in hand-woven products, they accommodate smaller production runs, which impacts pricing. In contrast, Botany Weaving, founded in 1934 with factories in Dublin and Donegal, caters to large-scale contracts. They supply woven textiles for aircraft upholstery, curtains, and carpets for over 120 airlines. Recognizing a shift in market demand, Botany Weaving has expanded into contract furnishing. David Lawson of Botany Weaving mentions that some of their durable, well-designed, and predominantly wool fabrics could be suitable for residential use, often sold under other furniture brands rather than their own. Interior designer Oisín MacManus of Ollas Design emphasizes the role of woven textiles in adding texture to interior spaces. He notes that woven items, typically incorporating multiple colors and materials, invite interaction and add depth to a room, unlike flat surfaces. MacManus uses a sofa upholstered in Glen Marsh from Botany Weaving as an example, highlighting how its varied colors create visual interest and texture. Margo Selby, an English weaver and textile designer, collaborates with industrial mills while also creating her own woven artworks. She stresses the craft inherent in setting machines to produce fabric and the skill of textile technicians. Selby is launching a collection of 23 curtain and Roman blind fabrics with Hillarys, a British brand known for its fitting and consultation services. Her designs are geometric, featuring a mid-century color palette, and are specifically tailored for contemporary homes. Selby observes that people often struggle with selecting window dressings for modern builds, often opting for generic solutions. Her collection, available in ochre and silver, teal and green, and indigo and ink, offers strong yet minimal patterns designed to complement contemporary architecture and add a vibrant touch to interiors. The collection is set to launch on October 12, with prices starting from €289 for curtains and €189 for Roman blinds, inclusive of measuring and fitting services. #WovenFabrics #InteriorDesign #TextileDesign #IrishWeaving #HomeDecor #MargoSelby #FoxfordWoollenMills #JohnHanly #BotanyWeaving

This report details observations from the Interwoven fabric show, held from May 7-9 in High Point. The event showcased upcoming trends and designs in fabrics and leathers that are expected to influence the marketplace in the latter half of the year and early next year. Fabric manufacturers and importers presented their latest collections, offering insights into the business and fashion trends poised to appear on upholstery frames and drive retail traffic. Culp introduced new designs featuring a mix of textures, colors, and patterns, aiming to provide unique narratives for retail presentation. Sunbrella also presented a wide array of new offerings, catering to diverse style preferences among consumers with its broad design palette. Richloom's booth attracted visitors like Aamir Thobhani of Innnotex Solutions USA, who explored the new fabric selections. Key industry figures were present, including Bob Meloy of Big House Fabrics, who met with Bob Gorman, vice president of sales and merchandising at PMT Fabrics. R. Sackett Wood, CEO of Moore & Giles, showcased the company's new leather collections. J. Allen Fabric highlighted its Revive performance fabric line, with Miron Yaghoubi, partner and CEO, discussing new additions with Mike Willoughby, senior vice president of sales and marketing. Nice Link unveiled eight new collections, including Waters Edge, totaling 60 patterns and 600 SKUs, demonstrating a wide range of colorways. RM Coco displayed its comprehensive line, encompassing multipurpose solids, prints, wovens, embroideries, silks, performance and outdoor fabrics, sheers, decorative trimmings, and hardware, located in the fifth-floor Pavilion area of Market Square. Nassimi LLC, represented by Executive Vice President Iwan Nassimi, presented new vegan leathers, featuring commercial-grade fabrics designed for both style and durability in residential applications. Z-Wovens showcased a diverse mix of indoor and outdoor fabrics from its core Z-Wovens and Sunbelievable lines, engaging customers with its extensive offerings. Valiant Fabrics also exhibited in the fifth-floor Pavilions of Market Square, where attendees gathered information on their latest fabric introductions. The show provided a platform for participants to observe and understand the evolving landscape of textile design and material innovation within the home furnishings industry. #InterwovenShow #FabricTrends #TextileInnovation #HomeFurnishings #UpholsteryFabrics #LeatherCollections #PerformanceFabrics #RetailTrends #HighPointMarket

Susan “Rabbit” Goody, founder of Thistle Hill Weavers in Cherry Valley, New York, has dedicated her life to the meticulous reproduction of historic textiles. Her workshop, established in 1989, specializes in creating fabrics that faithfully replicate the weave, texture, weight, and color of historical materials for a diverse clientele including filmmakers, television producers, historic houses, and high-end furniture and clothing companies. Goody’s unique skill set makes her an indispensable resource for costume designers seeking unparalleled historical accuracy in their productions. Goody's journey into textiles began in her teenage years, driven by a fascination with the weaving process. After earning a degree in cultural anthropology and ethnomusicology from Bennington College in 1972, she moved to rural New York, where she initially supported herself through farm work. In 1975, she purchased a 150-acre farmstead and, with her first husband, built a home inspired by a 1690 Connecticut house. She developed a successful hand-weaving business, selling cashmere-and-silk scarves to stores like Saks Fifth Avenue. Her expertise grew during her tenure as head of the domestic arts program and curator of textiles at the Farmers’ Museum in Cooperstown, where she became a recognized authority on early American textiles. Goody also founded the Textile History Forum, an annual conference that convenes researchers, museum professionals, and scholars. In 1989, she moved her operation into an old feed mill, later expanding to a purpose-built facility next to her home. Today, Thistle Hill Weavers employs seven individuals trained by Goody to operate nine mechanized shuttle looms, some dating back to the 1890s, alongside archaic equipment like warp winders and quillers. Goody’s commitment to authenticity is evident in her approach to acquiring and maintaining machinery. She has salvaged looms from closing textile mills across several states, often from the legendary industrial loom-maker Crompton & Knowles, and has taught herself to repair and operate them. This dedication ensures that her workshop can produce textiles with historical integrity. Her fabrics have graced numerous film and television productions, including "The Gilded Age," _Cinderella Man_, _Master and Commander_, _No Country for Old Men_, _Noah_, "John Adams," and "Turn: Washington’s Spies." She even hand-wove a replica of a fragment of the original Star-Spangled Banner for a Smithsonian event. When a costume designer approaches Thistle Hill, Goody employs a blend of historical knowledge and modern technology. She uses a computer-attached loom to experiment with weave patterns and selects threads to match specific weight, texture, and color requirements. Her process involves creating small woven samples, which are then expedited to clients for review. This meticulous attention to detail is crucial, as even subtle changes in yarn weight or color can significantly alter a fabric’s character, impacting an actor's movement and the overall authenticity of a period piece. For instance, a fabric she produced for Tom Hanks’ overcoat in _Road to Perdition_ had to be re-woven with lighter materials for rain scenes due to its original, historically accurate weight making it too heavy when wet. Goody’s reputation as a historian and her practical skills make her an invaluable collaborator. Costume designers like Joanna Johnston, who worked with Goody on Steven Spielberg’s _Lincoln_, praise her weaving abilities and extensive historical knowledge. Goody recreated Abraham Lincoln’s shawl for Daniel Day-Lewis based on a detailed study of the original held by the Smithsonian. Beyond film, her work extends to historic preservation, such as creating delicate white dimity curtains for Emily Dickinson’s bedroom and a brightly striped Venetian carpet. She also produces custom fabrics for diverse applications, including a 'Mandalorian' cloak, demonstrating the versatility of her workshop. At 72, Goody remains actively involved in her mill and farm, displaying no plans for retirement, driven by her passion and the unique, irreplaceable skills she possesses in bringing the past tangibly to life through textiles. #TextileHistory #HistoricTextiles #CostumeDesign #FilmProduction #ThistleHillWeavers #RabbitGoody #LoomWeaving #TextileConservation #CulturalHeritage

The article details Kirkby Design's 'Underground Vol II' collection, a collaboration with Transport for London (TfL), which was launched at the London Design Festival. The collection features contemporary patterned woollen textiles, specifically upholstery velvets, inspired by historical moquettes from TfL's seating fabric archives dating back to the 1930s. Creative director Jordan Mould explains that the idea for the first 'Underground' collection originated when he observed the unique fabric designs on a tube carriage during an empty late-night journey, sparking the idea for a partnership with TfL. The 'Underground Vol II' collection reinterprets these vintage designs by adjusting their scale, texture, and color palettes to create a more sophisticated and luxurious aesthetic suitable for modern interiors. While the essence of the original designs is maintained, the updated color combinations are trend-driven. Each design in the collection is named after the London Underground line it was originally featured on, which helps customers connect with the historical aspect of the textiles, often evoking fond memories of their travels around London. Mould highlights 'Northern,' a design from 1965 by Marianne Straub, in the 'Biscuit' colorway, as one of his personal favorites from the new collection, appreciating its graphic statement. The article suggests that there is a vast amount of material within TfL's archives, hinting at the possibility of future collaborations. The collection is available from £89 per meter through Kirkby Design and was featured in the October issue of ELLE Decoration. This initiative represents a fusion of historical public transport design with contemporary interior textile trends, transforming functional patterns into high-end decorative elements. #KirkbyDesign #LondonDesignFestival #TextileDesign #UpholsteryVelvets #TransportForLondon #InteriorTextiles #DesignCollaboration #MarianneStraub #HomeDecor

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 Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

Margo Selby, a celebrated designer-weaver, has been at the forefront of innovative textile design for over a decade, distinguishing her work through the creation of colourful, three-dimensional fabrics that form the core of her vibrant cushions, throws, rugs, and various home accessories. Her signature style, characterized by strong graphics and intricate patterns, originates from her Kent studio, where she utilizes a 24-shaft dobby loom to develop her unique hand-woven textiles before they are put into production by specialized mills. Selby's artistic journey is deeply rooted in her family's tradition of textile craftsmanship, with her grandmother, Edith Selby, having taught her crocheting and cross-stitching. This early exposure to textile arts naturally led her to pursue a focus on textiles during her foundation studies at Chelsea College of Arts, where she also explored graphic design, sculpture, and three-dimensional design. Her formal education continued with an MA in woven textiles from the Royal College of Art, followed by a fellowship at The Ann Sutton Foundation. During her fellowship, Selby engaged in projects that included developing products for Shetland wool and designing dobby fabrics for the interiors fabric industry in Yorkshire, establishing her initial connections with industrial mills. It was through these experiences that Selby began to bridge her hand-woven concepts with industrial manufacturing processes, leading to the development of her brand's hallmark silk and Lycra fabrics. The inspiration for her innovative three-dimensional fabric concept stemmed from her fascination with surface and texture, particularly the desire to emulate the tactile quality of bubble wrap packaging using silk. This pursuit involved extensive research into different fibers that would shrink when exposed to heat, which she then wove in combination with silk to achieve the desired three-dimensional surfaces. Selby's design philosophy is intrinsically linked to the art of weaving, which serves as the primary source of inspiration for all her creations. Beyond her personal handloom work, she actively explores global trends in woven textiles, drawing stimulation from highly decorative designs rich in pattern and color. Recent collections reflect an appreciation for indigenous and tribal fabrics, including techniques such as Japanese dyeing and African prints. The design process for her fabrics begins with the careful planning of the warp, which forms the structural backbone of the fabric on the loom, allowing for experimentation with different structures and weft yarns until a satisfactory product is achieved. This methodical and contemplative approach allows the fabric to evolve one row at a time, providing ample opportunity for design refinement. Once a fabric design is perfected through numerous developmental warps, Selby explores its potential for industrial production, collaborating with mills. For her flooring collection, her woven patterns were adapted into carpet constructions, manufactured in the UK. Operating from an open-plan studio in Whitstable, Selby immerses herself in a creative environment filled with materials, yarns, and inspiring imagery. Her daily routine involves addressing emails and collaborating with her team before dedicating the majority of her day to weaving at her loom. Her collaborations extend to companies like Alternative Flooring, for which she developed wool carpet and runner designs inspired by her deflected double-weave hand-woven cloths. Selby sources yarns globally, with Japan and the US being notable for their vibrant hand-weaving communities, and emphasizes selecting the most skilled weavers for specific material types. The business, which began in her bedroom, has expanded significantly to a bustling textile studio employing eight full-time staff and additional piece workers in Whitstable, focusing on bespoke textiles for a diverse range of applications. The handloom and the traditional craft of weaving remain central to all her products. The current re-emergence of carpet and color in fashion presents an exciting opportunity for her designs, particularly the translation of soft silk and wool fabric designs into large-scale, recolored flooring options. Selby's future plans include developing interiors fabrics for sale by the meter and expanding her accessories range to include bedlinen and towels. #TextileDesign #MargoSelby #WovenTextiles #HandloomWeaving #ThreeDimensionalFabrics #InteriorDesign #HomeAccessories #Craftsmanship #IndustrialCollaboration

Julie Paterson, the founder of Sydney-based Cloth Fabric, is an English-born textile designer whose work is deeply inspired by the Australian bush. Her creative process emphasizes the journey and the immersive experience of design. Paterson, who arrived in Australia twenty-five years ago with a textile design degree, initially freelanced, creating European-style designs for manufacturers. However, driven by a desire to produce something uniquely Australian and to challenge the perception that overseas designs were superior, she transitioned to hand-painting and hand-printing fabrics, drawing inspiration from the Australian landscape. Today, all of Cloth Fabric's manufacturing is local, reflecting Paterson's commitment to sustainability and environmental responsibility. She collaborates with skilled craftspeople, utilizing natural fabrics such as high-quality upholstery-grade hemp and linen, which sets her work apart from lighter hand-printed textiles. The fabrics are screen-printed by hand on a thirty-metre-long table in a tin shed, highlighting a low-tech, artisanal approach. The Cloth Fabric retail space in inner Sydney, formerly a prestige car showroom, now showcases a wide array of fabrics, lampshades, cushions, and features a small in-house workroom where piece goods are created. Beyond fabrics, Paterson licenses her designs for wallpapers, rugs, and bed linen. However, her greatest joy lies in collaborating with designers and architects on various projects, which she considers her primary passion. Her studio in the Blue Mountains serves as a sanctuary where she downloads ideas from her notebooks, identifying recurring themes that evolve into lino prints or painting series. These then inform her fabric designs. Paterson's "Natural" collection exemplifies this process, directly drawing inspiration from the Wollemi pine and grey ironbark trees, as well as the bark, stone, and clay found in her Blue Mountains garden and its surroundings. In a further extension of her artistic vision, she has partnered with a local potter to develop a range of clay pieces that complement her furnishing fabrics, offering a cohesive and distinctive interpretation of the Australian landscape. The article was published on March 4, 2014, with words by Deborah Niski, and also appeared in the December 2013 issue of Houses magazine. #JuliePaterson #ClothFabric #TextileDesign #AustralianBush #HandprintedFabrics #SustainableDesign #LocalManufacturing #InteriorDesign #BlueMountains #NaturalCollection

In an increasingly commoditized market flooded with generic products, establishing a unique brand identity and achieving customer recognition is paramount for designers. Textile designer Beatrice Larkin has successfully cultivated a signature style in her woven textiles, accessories, and interior products, making her designs instantly recognizable through their distinctive blurred edges and broken geometrics. Her creative process begins with hand-drawn sketches, where the initial marks, intricate patterns, and blotches made with pen and ink are deliberately preserved and celebrated in the finished fabric. This artistic approach ensures a consistent aesthetic across all her woven creations. The production of Larkin's textiles involves a collaborative effort with skilled manufacturers in the north of England. She works with a Jacquard mill in Lancashire to produce small runs of her woven designs, which are then washed and finished in the Yorkshire Dales. The process begins in her Margate studio, where she engages in extensive mark-making with inks, envisioning the final product's scale and application. These initial designs are then refined using Photoshop to determine fabric repeats and optimal sizing. Currently, her collection features two primary materials: fine Merino wool, typically used for throws, cushions, and accessories, and recycled cotton, a more robust option suitable for cushions, upholstery, and curtains. The Merino wool, known for its softness, is sourced from spinners in Italy. Similarly, the recycled cotton collection utilizes rejected fabrics from the clothing industry, which are re-spun and repurposed, also originating from Italian spinners. These yarns are then sent to the Lancashire mill for weaving, brushing, and washing before being returned to Larkin. The final products are then sewn either in her studio or by local Margate makers, though fabric is also available for purchase by the meter. This meticulous production chain underscores her commitment to quality and sustainable practices. Beatrice Larkin's entrepreneurial journey recently received significant recognition with the Start Up Award as part of the Women’s Launch Lab Incubator 2024. As one of ten female entrepreneurs selected from hundreds of applicants, she participated in an intensive three-day program. This program provided access to expertise from innovative female entrepreneurs, growth and marketing strategists, and public-speaking coaches. The experience culminated in pitching her business to venture capitalists and angel investors, including notable figures such as Alison Cork MBE, Akshata Murty, and Judy Naake MBE. Larkin emphasized that this experience offered valuable perspective and a significant confidence boost. Her business was founded in 2013, immediately following her Master's degree from the Royal College of Art, where her final collection garnered interest from prominent buyers like Heal’s. After graduating, she sought a British mill capable of producing her designs at scale. In 2015, Daylesford Organic provided funding for her initial fabric run, which was woven in the Cotswolds and Yorkshire. This collection was sold at Daylesford and served as a crucial launchpad for future manufacturing endeavors. By spring 2017, she began selling at Heal’s and unveiled her first collection at Clerkenwell Design Week. Larkin's immersion in the fabrics industry was a natural progression, deeply influenced by her upbringing. Her father owned Gordon Larkin Fine Wallpaper & Fabric in Canterbury, and her mother was also a textile designer, ensuring a household constantly surrounded by fabrics. Childhood memories of accompanying her father to design shows in Chelsea Harbour and exploring fabric showrooms further solidified her connection to the industry. She attributes her entrepreneurial spirit and the ability to forge her own path to observing her parents' lifestyle as business owners. Three years ago, Larkin relocated to Margate, drawn by its vibrant creative community. Since then, she has expanded her client base, with local stockists including Turner Contemporary and Harbour & Tide. Her brand, Beatrice Larkin, has also been embraced by renowned establishments such as Made, Studio Ashby, Conran and Partners, Tate Modern, and Piglet in Bed. Her journey reflects a blend of inherited passion, formal education, strategic partnerships, and a clear vision for her brand's aesthetic and ethical production. #TextileDesign #BeatriceLarkin #MargateDesign #WovenTextiles #InteriorProducts #SustainableMaterials #BritishManufacturing #Entrepreneurship #WomenInBusiness

Inter-Weave, located in Auckland, stands as New Zealand's sole commercial wool weaver, demonstrating resilience and adaptability in a challenging textile production landscape. The company, which has been in operation for nearly 50 years, manufactures a diverse range of wool products, including upholstery for airlines like Air New Zealand, Queensland Rail, and a US wholesaler, as well as blankets with Māori designs for local businesses. The factory also produces fabric for safety-wear and collaborates with local farmers to turn their spun wool into blankets for sale. Tracy March, managing director and co-owner, highlights the necessity of diversity for the mill's survival. Unlike European textile factories that specialize in a single process, Inter-Weave manages all stages of textile production—from weaving to wet and dry processing—under one roof. This comprehensive approach requires significant investment in various machinery sourced globally, emphasizing their self-reliance in New Zealand's isolated textile trade. The business, though profitable, faces continuous challenges. March recounts how the mill was initially established by Peter Woods, founder of Woolyarns, as an outlet for his spun wool. March, who began as a designer almost three decades ago, now co-owns the company and focuses on both reactive and proactive design strategies to meet client needs. The company either develops designs for market sale or translates client ideas into finished products. Despite New Zealand's abundance of wool, Inter-Weave often needs to import certain yarns, such as worsted yarn from India for upholstery fabric, because it is no longer produced domestically. However, March ensures that any imported wool is either Australian or New Zealand sourced. Recent challenges include the impact of Cyclone Gabrielle on East Coast farmers and wool scourers, which affected raw material supply. The most significant ongoing hurdle for Inter-Weave is attracting and retaining skilled workers. The firm employs 23 people, some of whom have been with the company for decades, like 73-year-old Soo Tutai, a weaver. Inter-Weave addresses the staffing issue by multi-skilling its workforce and training new employees to ensure continuity of operations. The article introduces Ray Porter, a dyer with 40 years of experience who recently joined the firm, noting the lack of formal training programs in the country for such specialized roles. Porter believes that women, with their keen eye for color and meticulousness, would excel in the dyeing profession despite the physically demanding nature of the job. Additionally, Caitlyn Jones, a textile graduate from Massey University, joined the company to gain experience in commercial weaving, expressing her surprise at finding such an opportunity in New Zealand. March emphasizes the need for young, passionate individuals who are dedicated to fabrics and wool to ensure the future of the industry. #WoolIndustry #TextileProduction #NewZealandManufacturing #InterWeave #WoolWeaving #SkilledLabor #LocalEconomy #SustainableTextiles #HomeDecor

This comprehensive guide explores the best online fabric stores, making it easier for sewers and crafters to find the perfect materials for their projects, especially when physical access to fabric stores is inconvenient or local selections are limited. The article highlights that online shopping for fabric offers a broader range of choices compared to brick-and-mortar stores, and many online retailers also provide sewing notions and supplies, creating a convenient one-stop shopping experience. Before making a purchase, several key factors should be considered, including the specific type of fabric needed for a project (e.g., clothing, upholstery, quilting), paying attention to the fabric's weight, content, and width. The article also advises on understanding how fabric is measured and sold (by yard or meter, with varying minimums). Swatch availability is another crucial consideration, as it allows customers to assess the material's look and feel before committing to a larger order, though swatches may be limited for deadstock or vintage fabrics. The potential for bulk discounts is also discussed, which can be advantageous for large-scale projects. The availability of notions and sewing supplies on the same platform adds to the convenience for many crafters. Furthermore, the article emphasizes checking shipping costs and return policies, as these can significantly impact the overall purchase experience. For environmentally conscious consumers, the guide points out stores offering recycled or deadstock fabric, which promotes sustainability by reducing waste and carbon emissions. Customer reviews are presented as an invaluable resource for gaining insight into a fabric's texture, feel, and any discrepancies between its description and the physical product. The article then presents its top picks for online fabric stores, detailing their unique advantages and considerations. Mood Fabrics is named the best overall for its extensive selection, diverse textile range, search filters by skill level and project, and a fabric quiz, along with live chat support. Amazon is highlighted as the runner-up for its streamlined shopping experience, affordable prices, and 2-day delivery options for Prime members, offering a wide array of fabrics for various uses. Spoonflower is recommended for the best design selection, featuring thousands of unique designs from independent artists and the option to upload custom photos or designs, although prices are generally higher. Queen of Raw is identified as the best for deadstock fabric, providing a marketplace for discontinued materials that minimizes environmental impact, complete with Impact Footprint Reports for each purchase. JOANN is recognized as the best for crafts and quilts due to its wide selection of novelty and themed fabrics, extensive sewing supplies, and in-store pickup option. Etsy is also considered for its unique and vintage fabric offerings from individual sellers, allowing buyers to support small businesses and find one-of-a-kind materials. The article concludes by providing practical advice for navigating online fabric purchases, such as utilizing search functions, reading reviews, ordering samples, and understanding the cost variations based on fabric type and quality. It also addresses frequently asked questions, including how to find the right fabric, where designers source materials, what constitutes high-end fabric, and the rarity of certain textiles, along with information on bulk discounts. #OnlineFabricStores #FabricShopping #TextileIndustry #SewingSupplies #CraftingMaterials #HomeDecorFabric #UpholsteryFabric #SustainableFabric #DIYProjects

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

Hella Jongerius, a renowned designer, has consistently explored color and textiles throughout her extensive career, applying her innovative approach to diverse projects ranging from KLM airline interiors to custom upholsteries for Maharam. As design director of rugs at Danskina and art director of Vitra’s Colour and Material Library, she developed systems for matching colors and materials within their vast collections. Jongerius's work extends beyond industrial demands, driven by a critical perspective on the design industry's limitations and a strong social and political agenda. She advocates for integrating craft and the human touch into industrialized processes, celebrating imperfections, and promoting a diverse, light-reactive color palette. Collaborating with design critic Louise Schouwenberg, she co-authored the manifesto “Beyond the New,” urging designers to prioritize experimentation over hyper-consumerism and the industry's relentless pursuit of market share. Her recent focus has shifted towards exhibitions to share her research, following "Breathing Colour" with "Interlace" and "Woven Cosmos," which delve into the potential of weaving, particularly 3D weaving. Jongerius explains her choice to focus on weaving over knitting by highlighting knitting's already advanced state and ease of programming, unlike weaving, where software often remains outdated. She took a sabbatical year to immerse herself in the entire weaving process, aiming to understand its full potential beyond industrial efficiency demands. Jongerius critiques how automation, particularly the Jacquard loom, while initiating mass production, has simultaneously diminished the creative aspect of weaving, reducing the versatile hand loom to a mere robot. She laments the textile market's shallow state, blaming globalization and fast fashion for accelerated production cycles and increased pollution. She notes that complex weaving constructions have been replaced by simpler plain weaves, and material options have become standardized, limiting warp choices to black or white and restricting weft options to fast-running yarns. To challenge this, Jongerius and her team began building their own 'human looms' to create 3D weaving structures and explore possibilities unattainable in industrial settings. These efforts culminated in the "Interlace" exhibition at Lafayette Anticipations, where the entire building was transformed into a gigantic loom, serving as a workshop for weavers, designers, and artists to experiment with various weaving and braiding techniques. Upon receiving an invitation from the Gropius Bau in Berlin, Jongerius expanded her research to investigate the cultural and spiritual meanings of weaving and explore the future of 3D weaving, asking what new constructions could emerge and how they might benefit textiles, design, and other disciplines. Her studio is a hub of innovation, where a team of textile engineers and programmers combine digital programming with manual work on a digital Jacquard machine. They utilize the TC2 loom for experimentation rather than just sampling, allowing for on-the-fly changes in weft, diverse yarns, and varying thicknesses. Jongerius discusses the evolution of her "Seamless Loom" from Paris, which aimed to develop the skin of a three-dimensional object, to a rebuilt version in Berlin. In Berlin, they developed new know-how, including hacking their four-part loom to return to a flat loom, enabling multi-axial weaves and creating woven windows as a personal research project. This same loom allows for spatial work, where instead of weaving around a structure, they build spatial structures from the ground up by shifting the warp in multiple layers. This method creates "sandwiches" of double-faced or layered fabric, which can be cut open to unfold into three-dimensional structures, similar to pop-up cards. This innovative approach involves deconstructing traditional weaving hierarchies, questioning the conventional roles of warp and weft. Jongerius sees potential applications for her research in various fields, including the biomedical field for morphing membranes and vascular prostheses, and in carbon fibers for the automotive and aerospace industries. She envisions a future of "pliable architecture" made from 3D-woven architectural structures that are strong, lightweight, and offer a reduced carbon footprint. Such textile architecture could integrate insulation, regulate climate, and allow for personalized colors, creating pleasant and adaptable environments, all within a single "brick" material. #HellaJongerius #WeavingArchitecture #TextileInnovation #3DWeaving #DesignCritique #SustainableDesign #Craftsmanship #ArchitecturalTextiles #JongeriusLab

This article highlights five textile companies based in the Hudson Valley, emphasizing their contributions to home decor with ethically produced, beautiful, and original designs. The featured companies offer a range of products from rugs and bedding to table runners, all crafted with unique artistic visions and sustainable practices. Jessica Brush, an Upstate native, founded Brush Textiles after being inspired by block-printed Indian fabric during a trip to Jaipur. Her designs incorporate patterns and color palettes from vintage 1960s and 70s magazines, creating a modern and simple aesthetic. The products, including quilts, throws, tablecloths, duvet covers, and napkins, are entirely handmade in India, from wood carving and stamping to sewing. Brush Textile quilts are specifically noted for their hand-stitched cotton thread using a 'long running stitch' technique, where the ends of each stitch are left unknotted. Alicia Adams Alpaca, founded by Alicia and Daniel Adams, specializes in soft, cashmere-like alpaca yarn sourced from their 80-acre farm in Stanfordville, NY. This yarn is woven into blankets, capes, sweaters, and pillows, forming their clothing and homeware line. The alpaca fur naturally comes in 22 different shades, and after processing, it is dyed and woven into ultra-soft knits, offering warmth suitable for harsh climates while maintaining a luxurious feel. MINNA, founded by Sara Berk, is a textile line rooted in ethical sourcing and social responsibility. Berk, with a background in graphic design, develops all patterns, often starting at the loom for inspiration. The textiles, which include rugs, throws, and duvets, are produced in collaboration with women artisans and master weavers in Mexico, Guatemala, Bolivia, and Uruguay. MINNA's designs draw inspiration from Feminist art, the Bauhaus movement, traditional crafts, and vintage textiles, reflecting a commitment to both aesthetic quality and social values. The brand maintains an online presence and a storefront in Hudson. Alison Kouzmanoff’s Palampore Fabrics & Hangings draws inspiration from the natural surroundings of her Germantown home. Her textile patterns, named after wild plants like Ground Ivy, Bloodroot, and Sumac, combine a refined, minimalist rural aesthetic with influences from traditional 17th and 18th-century Indian Palampores. These made-to-order hangings, produced in the US using water-based, ecologically safe pigments, can be customized in various sizes and colors, making them versatile for wall hangings, window panels, throws, tablecloths, or bedding. Doonyaya, led by Dunja Von Stoddard, creates colorful linens and pillows. Von Stoddard's designs are influenced by her childhood experiences drawing in her mother's Hudson Valley painting studio and her enduring appreciation for brightly colored, simple shapes. She begins with sketches, experimenting with pattern, repetition, and color, and then screenprints each piece by hand in her converted 19th-century barn studio. Her recent collections have featured elaborate patterns found in nature, such as tree rings, veiny leaves, and pine needles, rendered in a palette that reflects both the cool tones of autumn and the warmth sought in colder weather, like cranberry, pumpkin, gray, chartreuse, robin’s egg, deep teal, and onyx. Von Stoddard is primarily inspired by patterns, which she observes everywhere and uses to organize her visual world, including both natural elements and her immediate surroundings. #HudsonValleyTextiles #EthicalProduction #HandmadeFabrics #HomeDecor #TextileArtisans #SustainableDesign #UpstateNY #Craftsmanship #InteriorDesign