Posts tagged ‘textiles’

September 10, 2012

MOHAIR 2013/14

Lidewij Edelkoort has just presented her new 2013/14 forecast for Mohair South Africa at Maison & Objet in Paris. for a full report and to download the Colour Forecast go to Trendtablet Mohair 3 A forecast of deep hues for the nomadic interiora sandy neutral, cumin green, camel brown and an important new henna. Bright accents such as Jaffa orange, Persian saffron, mustard green and turquoise blue will show how intense mohair’s saturation can become, contrasted by jet black and slate grey.

“This year’s stand is inspired by the travelling tribes: Nomadism animates a timeworn style that is faded by age, crafted by hand and coloured by beautiful dyes. This roaming spirit is now reflected by our flexible and wireless existence today and a revived interest in living closer to the floor; a yearning for natural materials like straw, clay, wood and flax, but also animal fibres such as mohair collected from the noble Angora goat.”

via MOHAIR.

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July 8, 2011

Art, Design and Architecture » ‘Twist’ reports on Huddersfield success

The June issue of Twist: The International Magazine for Luxury Fabrics, Yarns and Fibres, reported that the University of Huddersfield has recently been identified as a centre of excellence by the Worshipful Company of Weavers.  One of the benefits of this, is that the University will receive a grant to improve and update materials and machinery in the Weave area.

I’ll certainly be keeping an eye on Twist for more reports on the University of Huddersfield, as well as other articles of local interest.  Twist is published on a monthly basis by the World Textile Information Network WTIN, along with titles such as Future Materials, International Dyer, and Knitting International. Copies of all of these magazines can be found in the Art and Design area on floor 3:

For Students and Staff, University of Huddersfield, It’s also possible to keep up to date with new articles appearing in these titles, or search for previously published reports by using the Textile Technology Index- an International database of journal articles in the field of Textiles. For more information about how to access and search this database, take a look at the entry on our A-Z List of Resources. you can also access  WTIN via  our Electronic Resources

via Art, Design and Architecture » ‘Twist’ reports on Huddersfield success.

March 4, 2011

Smart textiles survive the spin cycle

New ‘smart’ fibres could be woven into your clothes to give them special properties, such as the ability to clean themselves, or recharge your mp3 player. It’s the fist time these kinds of fibres have been designed to survive washing at high temperatures. “Until now, such multifunctional applications have been limited by the ability to spin important materials into yarns and make sure they stay there even after washing,” says Ray Baughman of the Alan G. MacDiarmid NanoTech Institute at the University of Texas in Dallas.

 

To solve this problem, his team set about making a yarn that could be peppered with “guest” particles of interest – titanium dioxide to create self-cleaning fabrics, for instance – and hold onto them through a hot dunking in detergent.To find out more about this technology, you can read the full news story via the link below  -from the New Scientist –

via Nanotube yarns let smart clothing survive the laundry – tech – 06 January 2011 – New Scientist.

January 21, 2011

Textile World Increased Global Organic Cotton Production

According to a new report released by the Lubbock, Texas-based Textile Exchange — a nonprofit organization, formerly known as the Organic Exchange, that facilitates expansion of the global organic cotton and sustainable fiber marketplace — global organic cotton production steadily increased in 2009-2010. …..

According to Textile Exchange, some $4.3 billion worth of organic cotton and home textiles products were sold globally in 2009. “Manufacturers, retailers and consumers, and most importantly, farmers, all signaled their continued interest in supporting organic cotton production and the risks that came with it despite the recession,” said LaRhea Pepper, senior director, Textile Exchange.

Read the full report @ Textile World – Textile Exchange Report Shows Increased Global Organic Cotton Production.

October 25, 2010

A Flickriver badge from the Textile blog

The Textile Blog - View my most interesting photos on Flickriver

October 16, 2010

Premier Vision Report from a craft point of view AW11/12

One craft lecturers personal view of Premier Vision

Please find below my rambling report and thoughts on those things I saw at Premier Vision, Sept 2010.
PV / Indigo: Sept 2010 report, Nicola Perren.

Please find below an overview of my observations from trend shows (I always find strange as they are basically a round up of what is already in full manufacturing process! Still it is an overview of the work that sits on the edge / forefront of production). It was, as ever, inspiring not only to see the work but to have ‘textiles is a huge industry’ blast you in the face – and only a representation of those who can afford and are focused at the fashion industry.

It was busy but I found every stand I visited, accommodating, welcoming and openly pleased to discuss modes of practice, the state of the business and to hear that we have students from a variety of courses who I feel have something new to bring.I am rounding it up in our key specialism’s but I did find that some idea’s crossed all area’s and will just repeat those. My text is a round up of words that came to mind / open dialogue rather than wonderful prose…. (sometimes I also mention a craft student name – can point them out in catalogue if you do not know their work).Please excuse any dreadful misuse of terminology…


OVERVIEW ROUND UP –

key words:Doubled up (double cloth, two sided, multi process)Timeless (chanel, fine (oriental) paisleys, liberties in scale of pattern)Chain effect (open weaves, grids (structurally), lace)Faking it (printed knit structures, embroidered lace effects, embroidered dogtooth check effects, printed embroidery, printed water drip marks!)Tame Laura Dowey – but subtler (all mixed up: plaids with florals, thickly printed process on fancy wovens, oriental fights paisley)

COLOUR (from prediction forum):Night time (rich, space, silky, velvety)Foody (olives, satay, smoked tea, cookie, quince)Landscape (leaden horizons, ambiguous landscape, full bodied coldness)
Overview – fullness, roundness, rigorous, elegant, warm, desirable, nourishing.
KNIT.Fairly plain but when there was something else it tended to have an ornamental feel – usually through cabling (hand knit) in a mid chunky state, nothing overtly chunky / oversized. Jersey fabic to die for in terms of touch, it felt soft, luxurious but not at all synthetic, raw silk feel (slightly dirty?!). Design studios a plenty had knit with an emphasis on small scale patterns (sorry but my knowledge is limited in terms but could point out a picture!), hand knit cables and crochet. The crochet tended to be used as on overlay on plain woven cloth – adding surface textures.Mohair / fluffy surfaces but the BIG thing (everywhere) was lace from sophisticated beauty – vintage fine to quite simple and open (knitted open squares). There was some interesting mixes – knitted laces cut into strips and stitched onto knitted laces – DOUBLES.What was missing (across the board) was the 80’s, this may be translated differently by the fashion designers but it was not clearly evident in the textiles or colouring. If anything it almost felt timeless, moving towards classic, vintage in process but not the ‘vintage’ look (no tea staining!).There was a lot of knit presented in Indigo by british companies, but my observation was that what was being shown in there was not in PV itself – possibly be there next year but not too convinced of that. Possibly these knit design are manufactured in process’s that avoid shows such as PV – i.e. out sourcing, home industries? Chris / Ruth could answer this I’m sure.Over all, on the knit front – v. positive, lively, real.

EMBROIDERY.Kirsty Lyle!! Just think our Kirsty – not sure if this is really going to work, but somehow…– certain pieces were clear – architectural process (not sure of name – couching?), black on white!Quite a lot of quilting (but not in V&A exhibition way) but two fabrics stitched together with wadding in middle. Various play’s on this – double sided: leather / fur, nylon / felt, also – stitching that holds it together was done in an ornamental manner with a wool / mohair which was subsequently felted resulting in felted overlays on sporty / crisp nylons – interesting and quite a bit of it in forums.Overscale broderie anglaise, cross stitch effects – small stitches building up a large scale repeat. Stitched lace look.Woven bases – worsteds, felts, moiré effects, velvet, voile, netting.Sequins – heavy application but then with chunky over hand stitch, patched sequins on fake furs which are then printed on.Giant home made sequins – foam discs with patent surfaces – glued onto cloth – not stitched.

PRINT.So so so soft, sumptuous, melting, INKY, rich (but soft), old tattoos, bleeding, brush marks, fluid – stunning. There did not seem to be edges as such, bleeding, water drips, ink applied to wet cloth – think star steamer gone wrong with an impatient hand painter…. but the effects were quite breath taking and EVERYWHERE.The print seemed on the surface – not saturated (double sided effect?), not much devere but I did see a few pieces that used a students technique of ours who was selected for texprint a few years ago (name avoids me) – a new technique apparently where the print remains in the devore’d parts – devore was structured chunky stripes with small floral prints.Printing onto silks, voiles, velvets, obvious weaves (!) – (chanel and paul smith types).If there was a vibe at all it was mainly apparent in print it was for 60’s / 70’s softness – oriental paisleys, Laura Ashley meets Liberties at some washed out hippy festival (?) – I can smell the campfire smoke and patchouli coming off them (faintly).
With regards to indigo there was once again so much print it made you giddy – to pick out anything in particular was impossible. What I did notice was the colour – it was intense, there was no time to breath / stop: it just seemed like a colour overload with pattern to be honest. There were some quieter places where it became very graphic and clean (Peagreen) alongside companies selling vintage samples from sample books (included a lot of weave).Animal prints (a la Robyn Lyndsay) – large scale but photographic (not hand drawn) – eagles, deer with big antlers – powerful, digitally printed and tones of grey. Power – not cute.

WEAVE.The least represented but maybe held the greatest changes / movement (possibly a personal opinion). There was little in Indigo (except Paul Vogel) but it was clearly evident in it’s use as alternate bases for printing / embroidery and crochet overlay.DOUBLE CLOTH madness, very clear differences in sides – nominated for virtually all the PV awards. From uber fine synthetics and silks to textured chanel derivatives and worked fur base cloth. Fur (tufted) was structured – carved / cut (embroidery technique whose name totally escapes me). Sheens in plain, nylon jacquards with wool and subsequently felted (pretty much only sign of jacquard).Dobby was king & queen: mohair plaids (quite open – reflecting similar moves in emb / knit), non twist – very thick – chunky extra’s, loop yarns – solid woven,.Oversized to medium dogtooth / houndstooth – cotton / fur combo’s – contrasting yarns.
– Finally – two more observations from indigo (probably mainly useful to crafts).

VINTAGE: Quite a few companies had developed a Vintage department in which they ranged from selling non altered 2nd hand clothes (!) to completely restructured mixed up garments with a contemporary feel, they were re-made, mixed with new textiles and felt quite fresh – it was the idea / concept that was being sold (thinking of a great ex student from Glasgow on crafts).

HAND PAINTED: Came across a few companies who focused on hand painted (non-repeating) prints – felt very raw and canvassy – but utilised a number of base materials from cotton, silk to linen and knitted jersey. Mainly Como, Italy based. – Quite refreshing in the sea of digital / transfer prints. Did find a company in London and another in New York (Japanese, very established – so anti computers does not have a web site! – music to the ears of some craft students).

October 7, 2010

webcast – What’s unfair about the cotton industry and how can we change it?

There is a webcast from http://www.fairtrade.org.uk <http://www.fairtrade.org.uk/>  Saturday 9 Oct @ 2pm

Debate title:  What’s unfair about the cotton industry and how can we change it?

Through a panel of expert speakers you can explore what’s unfair about the current cotton industry. Taking a look at cotton farming, from the environmental issues involved in its production to the effects of trade distorting subsidies on farming communities. Why more companies have chosen to get involved in Fairtrade and what the journey was like for a Fairtrade cotton pioneer.  Our speakers will take questions from both conference attendees and those watching the discussion live on our website including cotton producer representatives who will be participating online.

Chaired by George Alagiah <http://www.bbc.co.uk/pressoffice/biographies/biogs/news/georgealagiah.shtml>

Panellists:

September 29, 2010

eponymous rugs: Nani Marquina

VALENCIA DISSENY WEEK: NANI MARQUINAby sabine7 / September 28, 2010

“Barcelona designer Nani Marquina gave a talk at Feria Hábitat Valencia today about the handmade, artisanal nature of her eponymous rugs and how materials and multiculturalism serve as inspiration.”

Handcrafting is the key factor that has led to innovation for this company that treats each piece as a work of art, as Martín Azúa, one of the company’s designers explained. Each new rug design or colour scheme can lead to a new technique, such as felting or tying on die-cut components one by one, but traditional skills are used and adapted to the contemporary patterns. Brushstrokes might not be involved, but because each element is done by hand, each rug bears the marks of many makers in countries such as India, Morocco, Pakistan or Nepal. “

more information from nanimarquina website

The history of nanimarquina is based on a very clear idea: wanting to design rugs. It’s a simple statement, a transparent declaration of intent that has become a reality by putting into practice values such as observation, innovative endeavour, communication, emotion and knowing how to contemporise traditional craftsmanship.

Since its origins in 1987, nanimarquina has been designing rugs and other textile products, paying particular attention to research on raw materials and production processes. These factors enrich the aesthetic aspect of the products, which are the true stars that give the brand its visibility and commercial success.”

via Valencia Disseny Week: Nani Marquina.

September 25, 2010

LA International Textile Show Trends

L.A. International Textile Show Special Section : follow the links for images

Paisley Tradition

Paisley patterns return, ranging from traditional prints to recolored novelties.

Indigo Mood

From jacquards and laces that seem dipped in indigo to shirtings that shift from denim to chambray shades, textiles convey an indigo mood.

Wild at Heart

Classic animal and reptile prints continue in sophisticated traditional colorways or are given a modern update with a jolt of color or a bit of shine.

Graphic Story

Graphic prints and bold knitted patterns give textiles a retro-modern makeover.

via LA Fashion Trends.

April 29, 2010

Ahimsa: Cruelty-Free “Peace Silk” That Makes for Good Karma | Ecouterre

via Ecouterre Fabrictionary

Ahimsa: Cruelty-Free “Peace Silk” That Makes for Good Karma

by Abigail Doan,

AHIMSA \ə-hĭm’sä’ \

n. 1 a: A Sanskrit term meaning to do no harm—literally translated as “the avoidance of violence”—or in the context of silk-fiber production, the ethical treatment of mulberry-eating silkworms. b: In lieu of boiling the silk cocoon to prematurely release strands of filament-like fiber, Ahimsa silk is extracted only after a metamorphosing worm has emerged from its cocoon, allowing it to complete an entire life cycle unharmed. c: A luxurious, airy, and soft-to-the-touch alternative to conventional silk, popular with the enlightened eco-fashion designers Bahar Shahpar, Bodkin, Ivana Basilotta, Minna, Mr. Larkin, and Enamore.

via Ahimsa: Cruelty-Free “Peace Silk” That Makes for Good Karma | Ecouterre.