Tom Dixon uses tufting, printing and embroidery to create textile collection

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

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 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

Dorothy Cosonas, creative director at KnollTextiles, is a significant figure in contemporary textile design, recognized for her ability to blend historical tradition with forward-thinking aesthetics. With seven of her designs, including four of her own creations, inducted into the Cooper Hewitt, Smithsonian Design Museum's permanent collection, Cosonas upholds Knoll's legacy of modern textiles for contemporary interiors. Her approach deviates from the rigid Modernist textiles historically associated with Knoll, incorporating deep colors, patterns, and ornaments. This nuanced aesthetic is a result of her extensive experience and unique design philosophy. Cosonas's career began after graduating from the Fashion Institute of Technology, where she honed her skills in fine arts and textile design. Mentored by Sina Pearson at Unika Vaev, she developed a keen understanding of the textile industry and a talent for modern design. She rose to Vice President of Design at Unika Vaev before joining KnollTextiles in 2005, taking the helm of the textile division established by design icon Florence Knoll Bassett. Her tenure at KnollTextiles is marked by a deep respect for the brand's heritage, as she currently delves into the company's archives in preparation for its 70th anniversary. She emphasizes the importance of maintaining Knoll's reputation for aesthetic, principle, and refinement, viewing her role as a continuation of a lineage of distinguished designers. Andrew Cogan, Knoll’s CEO, praises Cosonas for consistently setting the pace in the industry, highlighting the limitless opportunities for groundbreaking designs through new technologies, innovative weaves, architectural applications, and collaborations with guest designers. The competitive nature of the industry demands five to six new collections annually, and Cosonas meticulously oversees the 12- to 14-month development process. This includes extensive research, selecting appropriate mills, and multiple rounds of prototyping. Her challenge lies in creating designs that are current, slightly ahead of trends, yet timeless, ensuring they do not quickly become outdated. Fashion serves as Cosonas’s primary source of inspiration, evident from her office's pinup board adorned with photos, clippings, and swatches. She expertly translates motifs, textures, and details from high fashion, such as Chanel and Alexander McQueen, into textiles suitable for modern interiors. Matilda McQuaid of the Cooper Hewitt notes Cosonas's masterful ability to transform inspirations into original contract textiles, exemplified by her design "Topography," which, though inspired by Missoni, evolved into a unique interpretation resembling geological strata. This talent for hybrid design also extends to her collaborations with other designers, such as Irma Boom and David Adjaye, and high-end fashion designers like Proenza Schouler and Maria Cornejo, ensuring their visions are translated effectively into fabric. Cosonas's personal history also influences her work. For the 2016 Odyssey collection, she drew inspiration from her Greek heritage, modernizing embroidery motifs from her grandmother’s 1913 handwoven rug. This collection, featuring fabrics like Andissa, Vatera, and Yeni, alongside solid upholstery fabrics, represented a unique challenge in adapting traditional elements to a contemporary context. Her foresight in anticipating trends was affirmed when similar Old World–meets–modern embroidery themes appeared in fashion collections shortly after her line's development. Cosonas attributes her success to trusting her instincts and relentlessly pursuing the right design. Ultimately, the greatest reward for her is seeing Knoll's textiles integrated into real-world spaces, a testament to the chosen quality and design in a saturated market. #TextileDesign #KnollTextiles #DorothyCosonas #InteriorDesign #FashionInfluence #DesignInnovation #ModernDesign #Craftsmanship #DesignCollaboration

American artist, educator, and messenger Nick Cave has introduced a new collection of home fabrics and wallcoverings in collaboration with Knoll Textiles. This collection, which showcases Cave’s distinctive artistic vision, translates the essence of his renowned artworks into tangible textile forms. The collaboration is a significant milestone, marking Knoll Textiles' first partnership with an artist. It comes after a busy period for Cave, including a career-spanning survey exhibition titled 'Forothermore' at the Museum of Contemporary Art Chicago, which will later travel to the Guggenheim in New York. This exhibition features new additions to his iconic 'Soundsuits' series and rarely seen early works, emphasizing his commitment to creating spaces for marginalized communities. Cave's work consistently challenges traditional art boundaries, as evidenced by his monumental mosaics in Manhattan's subway stations—'Each One', 'Equal All', and the earlier 'Every One'—which collectively form his largest permanent public artwork to date. These mosaics, inspired by visual themes from his 'Soundsuits', demonstrate his dedication to public engagement and social commentary. The collaboration with Knoll Textiles emerged from this period of intense creative output, reflecting Cave's long-standing connection to textiles, tracing back to his graduate studies at Cranbrook Academy of Art where he was influenced by Knoll's historical designs and the Arts and Crafts movement. The Knoll Textiles collection, developed in close dialogue with Cave and his partner Bob Faust, features ten ambitious designs, including four upholsteries, three draperies, and three wallcoverings. Each design meticulously captures the dimension, color, and movement inherent in Cave's original pieces. For instance, the 'Until' drapery is an airy, web-like textile inspired by an installation of the same name, created by embroidering on a water-soluble ground. The 'Buttons' drapery is a photorealist digital print that mimics the hand-beaded buttons found in his 'Soundsuits', achieving an ombré effect. Another drapery, 'Heard', draws inspiration from a fringed 'Soundsuit', with individually sewn ribbons that echo Cave's handcrafted approach. The upholstery fabrics are equally innovative. 'Guise' combines knitted, space-dyed, and chenille yarns to replicate the intricate top layer of his beaded 'Soundsuits'. 'Vert' is a variegated design based on the 'Architectural Forest' installation, capturing the perfectly imperfect qualities often seen in his work. 'Puff' is a cozy faux shearling, available in 13 colors inspired by a rainbow fur 'Soundsuit'. The 'Doily' upholstery fabric utilizes two techniques to create a multidimensional effect, reflecting the tactile nature Cave desires in his creations. The wallcoverings include 'Wire', a digitally printed fur pattern; 'Forest', a vertically dynamic design also inspired by 'Architectural Forest'; and 'Big Floral', which recreates antique beaded flower patterns from a 'Soundsuit' on a larger scale. These wallcoverings are available in vibrant and grayscale tones, offering both aesthetic appeal and a tactile experience. Beyond their design, these textiles carry a profound significance, serving as representations of original artworks that advocate for social justice. Cave emphasizes the collective nature of his work, highlighting its purpose in fostering reflection, mourning, and finding calm amidst turmoil, ultimately striving for accountability and hope. #NickCave #KnollTextiles #TextileDesign #HomeFabrics #Wallcoverings #ArtCollaboration #Soundsuits #SocialJustice

This article highlights the top fabric stores in Chicago, catering to a range of needs from apparel to home upholstery and various DIY projects. The selection includes establishments that offer extensive inventories, competitive pricing, and opportunities for skill development through classes. These stores serve a diverse clientele, from fashion students and professional designers to hobbyists and individuals embarking on their first sewing projects. Textile Discount Outlet in Pilsen is presented as a massive discount warehouse with a vast selection of apparel, upholstery, drapery, specialty, and outdoor fabrics at low prices, making it a popular destination for fashion students and designers. The Needle Shop in North Center is noted for its focus on modern fabrics and a variety of classes, including sewing basics, upholstery, and hand embroidery, and also offers wholesale pricing for businesses. Leonard Adler & Company, established in 1903 in Albany Park, specializes in garment construction supplies, offering thousands of buttons, zippers, and threads, alongside a smaller selection of menswear fabrics. This establishment is a preferred provider for local design programs, schools, and universities, indicating its reputable standing in the industry. Fishman's Fabrics in West Loop, with over a century of experience, is recognized for its high-end apparel and interior fabrics, offering a 10,000-square-foot warehouse and showroom. The store provides free samples and custom orders for specialty fabrics. New Rainbow Fabrics in West Loop is a family-owned store favored by design students and sewing enthusiasts for its friendly service and fair prices on apparel fabrics, including lace, cottons, chiffons, and silks, available by the yard or bolt. JoAnn Fabric in Bucktown, a large chain store, offers a wide array of fabrics, machines, patterns, supplies, and classes covering sewing, home decor, jewelry-making, and quilting, known for its low prices and extended hours. Chicago Fabric Yarn & Button, located downtown, provides a convenient option with a large, though sometimes disorganized, selection of fabrics. Supreme Novelty Fabrics in West Lawn, with over 80 years of business, stands out for its unique custom fabric printing services, extensive bridal fabric collection, and intricate beaded laces. The article underscores the accessibility of resources for both novice and experienced sewers, emphasizing the local establishments that foster creativity and skill development in textile arts. #FabricStores #ChicagoShopping #SewingSupplies #DIYProjects #TextileArts #HomeDecor #UpholsteryFabrics #ApparelFabrics #CraftStores

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 serves as a comprehensive guide for individuals seeking to purchase fabric online for various home decor projects. It addresses the common challenge of finding specific furniture pieces, curtains, or pillows, and proposes that buying fabric to create custom designs or update existing ones is an effective solution. The piece highlights the convenience of online fabric shopping, detailing a curated list of 15 online stores that cater to diverse budgets and aesthetic preferences. The featured stores range from well-known platforms to more specialized retailers, offering a wide array of fabric types, patterns, and price points. Spoonflower is presented as an online marketplace utilizing on-demand digital printing, featuring designs from artists globally and allowing users to shop by category, color, and fabric type. Annie Selke, while primarily a home decor and furniture retailer, also offers a selection of fabrics by the yard, including both patterned and solid options. NY Designer Fabrics is highlighted for its extensive collection, encompassing silky and metallic fabrics as well as cotton prints. Rifle Paper Co., known for its stationery, also provides a selection of fabrics by the yard, often adorned with floral and nature prints. Decorator's Best is introduced as a premier destination for designer-favorite fabrics, stocking brands such as Schumacher, Brunschwig & Fils, and Kravet. Marimekko is recognized for its bold floral patterns, offering fabrics by type and pattern, including iconic florals, retro, animal, and abstract prints. Etsy is identified as a valuable resource for both new and vintage fabrics, allowing for specific searches or browsing individual shops. Fabric.com boasts a vast inventory, including options from typically trade-only designers like Fabricut. Minted, primarily known for stationery, also offers home products, including fabrics with designs submitted by independent creators. Bolé Road Textiles specializes in handwoven fabrics from Ethiopia, featuring bright and neutral colors, as well as unique textural patterns, all made from 100 percent hand-dyed cotton. LinenMe is recommended for linen enthusiasts, providing a wide selection of linen fabrics in various colors. JOANN is presented as a go-to destination for fabric at different budget levels, offering a massive online selection. AphroChic is noted for its smaller but distinctive collection of fabrics, featuring unique patterns like subtle silhouettes. Calico Corners offers a broad range of home textiles, with fabric being a central focus, allowing customers to filter by color, type, pattern, and designer collections. Lastly, Loom Decor is highlighted not only for its fabric selection but also for its custom upholstery services, enabling customers to design their own window treatments, pillows, and bedding with chosen fabrics. #FabricShopping #OnlineFabricStores #HomeDecor #DIYProjects #InteriorDesign #Textile #CustomUpholstery #DesignerFabric #CraftSupplies

Taschen's "The Book of Printed Fabrics. From the 16th century until today" is a significant publication that offers an in-depth exploration of printed textiles. This two-volume work showcases the extensive collection of the Musée de l’Impression sur étoffes (The Museum of Printed Fabrics) located in Mulhouse, France, which is renowned as the world's most important repository of printed textiles, featuring contributions from four continents. The museum, established in the 1800s, stands as a testament to the thriving fabric printing industry of its time. The book, meticulously compiled by author Aziza Gril-Mariotte, comprises approximately 900 images spread across 888 pages. It includes accompanying texts in English, French, and German, designed to provide a comprehensive and enriching experience for both casual readers and researchers. The first volume delves into a wide array of international designs, highlighting textiles from regions such as India and Japan. This volume features a diverse range of patterns, from intricate floral motifs to abstract designs, including classic paisleys and sophisticated batik-inspired gradients. A notable section in this volume explores the profound impact of industrialization on the evolution of printing processes and, consequently, on fabric design. Moving into the second volume, the focus shifts to the advanced techniques and creative innovations in fabric production during the nineteenth and twentieth centuries. This section reveals how many designs, color palettes, and methods from these earlier periods possess a surprisingly contemporary aesthetic, often appearing as if they could have originated in the digital age. Examples such as the Ground Patterns created by Mizzi Ebert and Adele Bettelheim in 1904, alongside dress fabric samples from 1880, demonstrate a foresight in design that resonates with modern sensibilities. The book is currently available for pre-order through Taschen's online store, priced at 200 USD. This publication is not merely a collection of images and historical data; it serves as a valuable resource for understanding the artistic, cultural, and technological journey of printed fabrics. It underscores the enduring legacy of textile design and its continuous influence on aesthetics across different eras. The work emphasizes the historical significance of the Mulhouse museum's collection, positioning it as a crucial reference for anyone interested in the history and development of printed textiles. #TextileHistory #PrintedFabrics #TaschenBooks #MuséeDeLImpressionSurEtoffes #FabricDesign #DesignHistory #TextileArt #MulhouseMuseum #ArtBooks

The article introduces Inner Child, a home decor brand founded by Michelle Pham, which specializes in colorful, handmade, maximalist decor. The author, Tori Polizzotto Jones, shares her personal journey from a minimalist aesthetic to an appreciation for maximalism, influenced by sentimental family heirlooms. This shift in personal style led her to discover Inner Child, a brand that resonates with her newfound love for vibrant and expressive home furnishings. Michelle Pham, the founder of Inner Child, explains her inspiration for starting the brand. She observed a gap in the U.S. market for accessible, handmade textiles and crafts, which are often found only through extensive travel. Her aim was to bring these unique, artisanal items to a broader audience. Inner Child's products are distinguished by their 100% handmade nature, encompassing fabrics, patterns, and textures. The brand offers a variety of home linens, including blockprint tablecloths, napkins, placemats, and table runners. Additionally, Inner Child has developed a sustainable practice by creating recycled paper goods from leftover cotton textile production. The brand's name, 'Inner Child,' reflects Pham's philosophy that joyful and whimsical decor should not be outgrown. She notes that while adult tastes often lean towards muted, minimalist palettes, children instinctively gravitate towards color and experimentation. Inner Child seeks to reintroduce this playful approach into adult homes, encouraging consumers to embrace delightful and colorful items. The brand continuously innovates, transforming new design ideas into stitched realities quickly to meet consumer desires for vibrant home aesthetics. Among Inner Child's bestsellers are the Ocean Wave Waste Bin, made from hand-marbled and block-printed recycled cotton papers. This collapsible, sustainably made bin serves both as a waste receptacle and a chic storage solution. Another popular item is the Araminta Toiletry Bag, available individually or in sets of three. These bags are designed for functionality, featuring four inner pockets and a wipeable plastic liner, with fabric hand-block printed by an eighth-generation artisan team. The Purple & Blue Checkered Reversible Sujani Quilt is another standout, crafted by one of only two remaining families globally practicing the Sujani weaving technique. These cotton-filled quilts take over 16 hours to handloom and offer a unique 'puff pillow' effect. Pham's inspiration stems from her childhood experiences, including reading extensively about crafts and textiles, and traveling widely in her twenties, which exposed her to diverse crafts and ways of living. Her mother, a talented seamstress, also instilled in her a deep appreciation for colors, patterns, and fabrics from an early age. Living in New York City further provides daily inspiration from fashion and people's choices. Pham also sheds light on the realities of running a small business with handmade products. She single-handedly manages all aspects of Inner Child, from design and production to warehousing, shipping, and marketing. This hands-on approach has given her comprehensive mastery over her business operations, from recognizing ideal shipping boxes to understanding fabric compositions and maintaining daily communication with artisans. Despite the immense workload, she finds the work highly rewarding, emphasizing that it is a constant, demanding endeavor rather than a typical nine-to-five job. The brand's core message is to promote the accessibility of handmade items and to encourage adults to embrace joyful and whimsical home decor that allows for self-expression and happiness, regardless of age. #HomeDecor #MaximalistStyle #HandmadeProducts #SmallBusiness #MichellePham #InnerChild #TextileArt #SustainableDesign #Entrepreneurship

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

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

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

The 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

This article explores the intricate world of collecting historic textiles, emphasizing the unique value derived from their extraordinary technique, artistry, and cultural significance. Titi Halle, owner and director of Cora Ginsburg, a prominent textile gallery, provides expert insights into identifying, valuing, and understanding these delicate artifacts. The limited supply of high-quality historic textiles, owing to their inherent fragility and historical use in clothing and furnishings, contributes to their allure among a dedicated community of collectors. The history of textile collecting began to gain public traction in the 19th century, with major museums establishing comprehensive textile and clothing collections by the early 20th century. Institutions like the Victoria and Albert Museum, Musée des Tissus, and the Textile Museum at George Washington University were instrumental in this movement. Private collectors also became active, with lace, for instance, being a popular item, even leading to the formation of clubs like the Needle and Bobbin Club. While European textiles once saw significant private interest, today, there's a greater focus on Asian textiles, with many collectors specializing in specific regions like Ottoman, Indonesian, or Indian, or particular types such as silks, cottons, ikats, or painted chintz. Religious textiles and attire also form a distinct collecting category. The article highlights the textile collection of the late Ann Getty, an interior designer and philanthropist, which is notable for its immense volume and diversity. Comprising over 200 pieces from the 17th to 20th centuries, her collection spans global origins, including Asian, African, European, and American textiles, as well as religious garments. This collection, to be offered at Christie's New York, demonstrates the broad scope and richness possible in textile collecting. Halle underscores the historical value of textiles, noting that in past centuries, they were far more costly and scarce than modern materials due to labor-intensive hand production. Textiles, especially royal or noble garb, could even surpass the value of precious metals. This inherent value led to textiles being continually reused and repurposed. For example, an 18th-century silk dress might be transformed into a church chasuble, then a coverlet, and eventually cushions, showcasing their longevity and adaptability. This cycle of reuse explains why well-preserved, pristine textiles are so rare today. The fragility and condition of textiles are critical factors in their current market value. Many textiles are permanently removed from circulation once they enter museum collections or are repurposed for functional items. Maintaining these artifacts requires specialized conservation efforts. Exceptional condition significantly enhances a textile's rarity and value, as survival through centuries of daily use, travel, and conflicts is considered miraculous. Irreversible damage from stains or light exposure further emphasizes the importance of condition. Identifying textiles involves meticulous examination of their structural characteristics. Clues such as weave structure, thread type (S or Z twist, single or double ply), and width can indicate origin and period. For instance, specific fabric widths often correspond to the loom technologies of certain countries in different eras. Microscopic analysis aids in identifying these details. Furthermore, historical palettes and dye types, distinguishing between natural and synthetic dyes, provide additional insights into a textile's provenance. While purists advocate for conservation to preserve textiles, their decorative potential is undeniable. Ann Getty's approach exemplified this, using diverse historic and international textiles to create opulent and unique interiors. She fearlessly repurposed items, even cutting a chasuble for a chair, and commissioned custom fabrics when necessary, demonstrating an original and bold vision for integrating textiles into design. This integration of textiles offers significant visual impact, making them a crucial element in interior decoration. #TextileCollecting #HistoricTextiles #DecorativeArts #TextileConservation #AnnGettyCollection #CoraGinsburg #TextileIdentification #WeaveStructure #InteriorDesign

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