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Inspired by Berlin based label Studio Nono, students were asked to design a collection suitable for Spring/Summer 19 collection. The outcome was 4 hand painted designs and 2 metre screen printed fabric length.
Studio Nono is a fashion and textiles label working to produce unique feminine textiles ad accessories. Inspired by Japanese and Northern European design, they aim to create their own visual language through unique prints on natural materials. Designing for this label I aimed to create a delicate feminine colour palette and aesthetic using stylised fruit, floral and plant imagery. Other techniques explored were embroidery and beading.
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. June: Beaded Buttons
We also had a selection of work from a participatory project run by artist Carol Parker called 'From Lincolnshire and Back.'
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
For my textile techniques I've decided to work with swirls and circles so I worked with certain materials such as leather rings, denim, yarn and glitter. I've never really worked with them before and now due to my experimentation I know what it is like to do so. I began developing them in an 'overlapping' style, involving beading in the centre of the rings as I felt that something was missing and from there I started producing more of them to create a specific pattern. I consider this as something I'd need to do more of to see what it would look like if I were to continue that choice of pattern later on.
Next, due to the fact that my topic for this assignment was 'Jewellery' i thought about what I could do to carry it on through these techniques so I came up with and idea of linking glitter onto it for a little sparkle on the fabrics to prevent it from looking so tedious. I needed to make these look like I put in a lot of effort using such a short period of time and in my opinion, I think it has been achieved predominantly successful.
Furthermore, once I completed my first technique with the yarn wrapped around the leather rings, I was intrigued to find out where I could put them if I was making a garment or how the detail could be structured. In this case, I got a classmate to model them around the body. I selected the shoulder, the wrist cuff and the neckline. I felt that these places fitted ideally and perfectly with what I had prepared with as an idea for any future decisions.
- Stephanie Ferreira
- BTEC Level 3 Fashion Design and Textiles Subsidiary Diploma at Barking and Dagenham College
In this four-day workshop, youth used special thread and miniature computers to create electronic fabrics such as a bracelet, bookmark and other items. Youth learned a code for stacking cups that they wrote instructions for other youth to carry out the steps in the code. Instructor: Nebraska 4-H staff
Some textiles being delivered in Dongdaemun-gu, the fashion district of Seoul, Korea.
(Taken with one of my many 35mm point-and-shoots.)
Gemma Ormrod - Textiles
Degree Shows 2010
Wednesday 23rd - Tuesday 29th June 2010
Norwich University College of the Arts
Norwich, Norfolk, England, UK
These samples reflect on my mom's travel's through Africa, Saudi Arabia and America when she was nursing- hence surgical equipment. I used Calico and Cotton stained with tea and coffee as i felt it was appropriate to the theme.
Screen printed using printex and buff binder. Also printed images onto cotton, features machine embroidery.
6 day project
During the photo shoot, I snuck around with my camera and couldn't resist taking photos of all the yummy textiles that were laid about...
This pile of lucious textiles exploded out of someone's suitcase - i can't tell you how brilliant the colors were!
perhaps it is the heat, makes me long for the ceiling fan in my room at the taj, and a bowl of fresh mango.
For this outcome I used a variety of different zips and contrasting fabrics in order to connect them in an unusual manner. Inpspired by John Galliano (Mood Board Research).
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
Two different pieces of textile design, relating to a 'Colour, Surface, Texture and Pattern Project', in which I had to explore and represent a "Discarded Glove".
The piece of textiles on the left was just a trial run, and getting to know the sewing machines. However I feel it has really good graphic quality, and relates to how text is read and set out, significantly.