How have textiles developed and evolved since the Industrial Revolution? How have they shaped lives? How has technology changed the production of textiles? Can textiles be used as a tool for reading social history? Do all cultures interact with textiles in the same way?
This textile history course will analyse modern textile outcomes, focusing on technological, social and cultural developments. We will explore modern material developments from the Industrial Revolution to the present day. The course will analyse at a broad selection of textile pieces and practices from a variety of disciplines, including: fashion; interiors; craft; and architecture.
If you would like to explore modern material developments, join us Tuesday evenings at SGS College, Stroud.
Fancy creating innovative, mixed-media textiles? On the Experimental Textiles course at SGS college, Stroud, we will be combining traditional textile techniques with modern materials. Join us in the great material experiment!
During the five-week course we will be applying traditional textile techniques, like appliqué, embroidery and cutwork to a variety of modern materials, from plastics and non-wovens to rubbers and metals. You will learn how to create modern multi-media textile designs for fashion or interiors. All projects will be original thanks to your material and technique selections.
Australian textile artist, Julie Ryder, analyses transcultural encounter in her research project, Generate/Regenerate. This project features in Cultural Threads: transnational textiles today (ed. Jessica Hemmings) and Julie Ryder presented her research at the Cultural Threads symposium held recently in London.
Over the next week, the SITselect blog will look at the projects discussed in the Cultural Threads symposium held at Central Saint Martins, London.
The Cultural Threads symposium marked the launch of the book, Cultural Threads: transnational textiles today (Hemmings, 2015). The publication draws on a wealth of contemporary art and design to address issues concerning cross-cultural encounter.
This post is a shameless celebration of SITSelect’s fabulous new initiative, Selected, a bi-monthly printed journal produced in celebration of makers, making and brilliant creative people who make our lives more beautiful and enjoyable.
People such as Sebastian Cox who makes very pleasing contemporary furniture from wood he coppices himself; glass artists Sally Fawkes and Richard Jackson, artist- weaver Jilly Edwards, designer maker Joseph Hartley, jeweller Mei-Ling de Buitlear, textile designers Amy Gair and Anna Gravelle, fabric and wallpaper makers Lewis and Wood, interior designers with a social conscience Nadia Oliver and Natasha Berri and collector of contemporary applied arts Charmian Adams.
I have just returned from Decorex and what an unexpectedly inspiring day it was. The theme for this year’s show was the Georgians and the organisers really did embrace the era’s spirit of innovation and craftsmanship, presenting several In the Making feature areas (I watched Watts of Westminster hand block some wallpaper and Nepalese master weavers create a rug for FRONT London) and a Future Heritage showcase.
There is so much to see at this year’s London Design Festival that my head is spinning. It will take time to digest, but in the meantime these are my highlights:
1. Xenia Moseley’s ladder for Richard and Ab Rogers. Part of the Wish List project on show at the V&A, this is a thing of simple, functional beauty with an added surprise in the shape of a leather slung seat and a folding table.
The noon day sun is still hot but the sharp early mornings are a sign that the season is changing and that means we all have an excuse to go shopping. Top of my wish list for the coming autumn is a lambswool blanket by Loophouse. (£195, 140x190cm, including fringe.)
Founded by Lorraine Statham back in 1992, Loophouse is firmly established as one of the UK’s most interesting and innovative rug companies, but this is the first time the brand has used some of its contemporary repeat prints on blankets. And what a great idea it is: the designs are bold and graphic, the colours rich and the yarns soft. Blanket perfection in other words.
I finally got myself to Tate Britain this week to see the much-praised exhibition British Folk Art. And what a joy it is. Showcasing an eclectic selection of genres and media from the 17th to mid-20th century, it has been curated as a series of loosely connected encounters. This light-handed approach works well, leaving the viewer to look on at these – mostly anonymous – artefacts with wonder and delight.