View allAll Photos Tagged Reweaving
INFN-PIX-4-18.RAWALPINDI, March 18, 2017: An elderly man is reweaving a chair with strands of plastic string while sitting on the street as he works.—INFN Photo by Zubair Abbasi.
Time you enjoy wasting, was not wasted.
- John Lennon
I spend at least a half-hour nearly every day patiently reweaving these morning glories to go where I want them to go. And they spend the other forty-seven half-hours destroying that plan.
It's a lovely partnership. An off-beat dance that only requires minimal interaction between us.
Amit Aggarwal, 2017
Upcycled Patola saris sourced from the Patan region of Gujarat and polymers
Repurposed Patola sari
This dress was once a rare type of sari called a Patola. Only a handful of master artisans in the Patan region of western India can make double ikat Patolas, a complex process involving tie-dyeing the yarns with the pattern prior to hand-weaving. Designer Amit Aggarwal sourced used Patolas, then employed intricate craft techniques and new materials to highlight the craftsmanship behind the original sari.*
Reclaimed
Fashion is one of the most polluting industries in the world. Driven by ever-changing trends and a constant desire for newness, the fashion industry produces around ten percent of global greenhouse gas emissions. It also creates significant waste: an estimated 92 million tonnes of clothing are thrown away every year.
Sari designers are responding to the urgent need for the fashion industry to rethink its systems. Their innovative approach is to reclaim, restore and re-weave used saris into new garments. Drawing on a philosophy inherent to Indian material culture, these designers show us that ‘used’ does not have to mean ‘disposable’, and that waste can be not only valuable but inspirational.*
From the exhibition
The Offbeat Sari
(May – September 2023)
A major exhibition celebrating the contemporary sari. Curated by our Head of Curatorial, Priya Khanchandani, this exhibition unravels its numerous forms, demonstrating the sari to be a metaphor for the layered and complex definitions of India today. It brings together dozens of the finest saris of our time from designers, wearers and craftspeople in India.
Worn as an everyday garment by some and considered by others to be formal or uncomfortable, the sari has multiple definitions. Conventionally an unstitched drape wrapped around the body, which can be draped in a variety of ways, its unfixed form has enabled it to morph and absorb changing cultural influences.
In recent years, the sari has been reinvented. Designers are experimenting with hybrid forms such as sari gowns and dresses, pre-draped saris and innovative materials such as steel. Young people in cities who used to associate the sari with dressing up can now be found wearing saris and sneakers on their commutes to work. Individuals are wearing the sari as an expression of resistance to social norms and activists are embodying it as an object of protest.
Today, the sari in urban India manifests as a site for design innovation, an expression of identity, and a crafted object carrying layers of cultural meanings. The exhibition unravels the sari as a metaphor for the complex definitions of India today.
[*Design Musem]
Taken in the Design Musem
Ella is another one of my latest dolls she is a ultra long with dyed red hair.
I purchased her in a lot of 6 dolls, she was the first reweave I have done on a doll.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
Amit Aggarwal, 2017
Upcycled Patola saris sourced from the Patan region of Gujarat and polymers
Repurposed Patola sari
This dress was once a rare type of sari called a Patola. Only a handful of master artisans in the Patan region of western India can make double ikat Patolas, a complex process involving tie-dyeing the yarns with the pattern prior to hand-weaving. Designer Amit Aggarwal sourced used Patolas, then employed intricate craft techniques and new materials to highlight the craftsmanship behind the original sari.*
Reclaimed
Fashion is one of the most polluting industries in the world. Driven by ever-changing trends and a constant desire for newness, the fashion industry produces around ten percent of global greenhouse gas emissions. It also creates significant waste: an estimated 92 million tonnes of clothing are thrown away every year.
Sari designers are responding to the urgent need for the fashion industry to rethink its systems. Their innovative approach is to reclaim, restore and re-weave used saris into new garments. Drawing on a philosophy inherent to Indian material culture, these designers show us that ‘used’ does not have to mean ‘disposable’, and that waste can be not only valuable but inspirational.*
From the exhibition
The Offbeat Sari
(May – September 2023)
A major exhibition celebrating the contemporary sari. Curated by our Head of Curatorial, Priya Khanchandani, this exhibition unravels its numerous forms, demonstrating the sari to be a metaphor for the layered and complex definitions of India today. It brings together dozens of the finest saris of our time from designers, wearers and craftspeople in India.
Worn as an everyday garment by some and considered by others to be formal or uncomfortable, the sari has multiple definitions. Conventionally an unstitched drape wrapped around the body, which can be draped in a variety of ways, its unfixed form has enabled it to morph and absorb changing cultural influences.
In recent years, the sari has been reinvented. Designers are experimenting with hybrid forms such as sari gowns and dresses, pre-draped saris and innovative materials such as steel. Young people in cities who used to associate the sari with dressing up can now be found wearing saris and sneakers on their commutes to work. Individuals are wearing the sari as an expression of resistance to social norms and activists are embodying it as an object of protest.
Today, the sari in urban India manifests as a site for design innovation, an expression of identity, and a crafted object carrying layers of cultural meanings. The exhibition unravels the sari as a metaphor for the complex definitions of India today.
[*Design Musem]
Taken in the Design Musem
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
SOLD TO JENNA!
She needs a good bit of work. A major face lift, depill, and a hair reweave and styling is needed. She also has a small hole in her nose that needs fixed. She is a very lovely girl despite her faults, and is the perfect project for an MC restorer. I simply am not able to fix her at this time, and I have no idea when I could. She is a US 88 ponytails girl, original makeup, no heart. Gorgeous face. Clothing and bows not included. Please make a reasonable offer. If no interest, she will go to ebay.
Thanks!!
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
My current project , reweaving her hair ! , she is a very clean girl and make up is original. Only fault is a cracked right eye but you can only see it if you look down from the top of her hair ! Only just noticed it my self.
The Last Names "Wilderness" out on vinyl 10/2/2012.Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
Millennium Gallery, Arundel Gate, Sheffield.
Exhibition.
Pioneers: John Ruskin, William Morris and the Bauhaus.
Thu 19 October 2023 - Sun 21 January 2024.
Wall Hanging 'Jacquard'.
Gunta Stölzl (1897-1983).
Reweave by Katharina Jebsen (b1982).
Textile, 2019-20.
Gunta Stölzl (1897-1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus' staff and the first to hold the title of "Master".
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John Ruskin, William Morris and the students and masters of the Bauhaus shaped our understanding of art and design. They were united by a common belief – that design and making can improve everyday life.
During its early years, the groundbreaking German art school championed the ideas of Ruskin, the Victorian artist and writer, and Morris, the celebrated designer and craftsman. Each shared principles of making, community and excellent design for all – before shifting its focus to embrace mass production, handcraft was a central pillar of the formative Bauhaus philosophy.
Artist | Aki Inomata (b.1983 in Tokyo, Japan)
Title | Why Not Hand Over a "Shelter" to Hermit Crabs? (Bangkok) (2010)
3D printed resin
3.8 x 5.7 x 6.4 cm
Occasion | Bangkok Art Biennale - Nurture Gaia
Focusing on the act of "making" is not exclusive to human beings, Inomata creates artworks with various species "collaboratively." She investigates relationships between animals and human beings and the creation emerging from them. The concept of her exhibition is to reweave the holistic worldview of humans, living things, and objects, and to depict this worldview on a global timescale of past, present, and future. Inomata's basic method is to communicate with living things through objects such as shells. The technique of making "hermit crabs" that they like, the history and whereabouts of money that began with shell money, 3D printed shells that bring extinct ammonites and octopuses of the same ancestry together, and so on. These may refer to Bruno-Latour's actor-network theory. Viewers are invited to experience a multilayered story of Gaia, humans, objects, and living things, including new ways for people to interact with living things, the human history of shells and money, and the long history of biological evolution. Inomata is widely presented at MoMA, NY, La Triennale di Milano, Thailand Biennale, Krabi and Musée d'arts de Nantes.
BAB049
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
The Last Names "Wilderness" out on vinyl 10/2/2012.
Each record comes in a limited-edition hand-woven jacket complete with extra paper strips and patterns for reweaving.
Artist | Aki Inomata (b.1983 in Tokyo, Japan)
Title | Why Not Hand Over a "Shelter" to Hermit Crabs? (New York City) (2019)
3D printed resin
7.2 x 7.8 x 4.8 cm
Occasion | Bangkok Art Biennale - Nurture Gaia
Focusing on the act of "making" is not exclusive to human beings, Inomata creates artworks with various species "collaboratively." She investigates relationships between animals and human beings and the creation emerging from them. The concept of her exhibition is to reweave the holistic worldview of humans, living things, and objects, and to depict this worldview on a global timescale of past, present, and future. Inomata's basic method is to communicate with living things through objects such as shells. The technique of making "hermit crabs" that they like, the history and whereabouts of money that began with shell money, 3D printed shells that bring extinct ammonites and octopuses of the same ancestry together, and so on. These may refer to Bruno-Latour's actor-network theory. Viewers are invited to experience a multilayered story of Gaia, humans, objects, and living things, including new ways for people to interact with living things, the human history of shells and money, and the long history of biological evolution. Inomata is widely presented at MoMA, NY, La Triennale di Milano, Thailand Biennale, Krabi and Musée d'arts de Nantes.
BAB051