The wonderful thread 2017 festival of textiles at Farnham Maltings is on 30 September.
There are exhibitions by students from local colleges and others, workshops (extra charge) including shibori, batik, rust dyeing and stitching, talks by Fine Cell Work, Mr X Stitch and Francis Tobin, and free drop-in making sessions.
Unfortunately, as I am one of the 55 stallholders, I won’t have the opportunity to attend these other attractions, but it certainly makes for a good day out. I did the event last year for the first time and met some great people united in their passion for textiles.
Tickets cost £5 in advance or £7.50 on the door – but I’m delighted to have a pair of free tickets to give away. 🙂
To enter the draw, all you need to do is leave a comment on this post saying what subject you most enjoy reading about in my blog.
Closing date is midnight at British summer time on Sunday 10 September.
The winner will be chosen at random after this and I will post the name of the winner in the comments on Monday 11 September – so please look out for this, as you will need to let me know the address to send the tickets to. If the winner does not respond within 72 hours I will pick another name at random.
Entrants must be 16 years or over and based in the UK.
When I first started doing indigo shibori I made quite a lot of fat quarters. However, since I started upcycling scarves and other garments I don’t make so many. I have limited time, and a hand-stitched and hand dyed shibori piece takes quite a lot of time to stitch (and unstitch!). This makes it look expensive compared with all the printed fat quarters out there.
So I was thrilled to receive some photos from Jane, a quilter who had bought some of my fat quarters, showing the end result.
Not all the indigo work is mine – she made some of her own fat quarters (very talented!). I think you’ll agree that the overall result is stunning.
It also prompted me to go and dig out some other photos sent by creative customers. A couple of custom orders via Etsy resulted in a shibori blind and a shibori footstool.
Then at thread 2016 at Farnham Maltings a visitor mused about the possibility of cutting up a linen shibori pillowcase to cover a lampshade she had just bought. I offered instead to make her a custom piece of fabric – this was the result.
Finally, of course, there was the amazing wedding dress where I provided the ecoprinted fabric and the bride’s mother made the dress.
Isn’t it wonderful seeing what other creative people do with your work!
I do wear gloves when dyeing with indigo and when rinsing the work, but it’s impossible to remove stitches and bindings when wearing gloves, so I always end up with blue hands! The indigo washes off my skin fairly easily, but my fingernails remain blue for a couple of days.
Removing the stitches from this machine stitched shibori jacket was particularly time consuming. The main threads rip out very easily, but then I’m left with lots of tiny bits of thread that have to be picked out with tweezers! Still, I think the result was worth it.
At least this ombre dyed linen cutwork dress didn’t need unstitching. The issue here was trying to match the ombre dye on the separate silk slip that goes underneath to retain modesty. 🙂
In fact I have a bit of an ombre thing going on at the moment.
And of course there are always scarves to overdye.
And more blue fingernails from unstitching these silk cushion covers.
The Textiles Fair is on Saturday 19 August, 11am-5pm, at the American Museum in Britain, Claverton Manor, Bath BA2 7BD. Entry requires a garden ticket (£7 for adults, £5.50 for over-60s).
And if you’re around East Sussex this weekend, some friends of mine are taking part in an exhibition at Marchants Hardy Plants – so you can stock up on some fabulous perennials and ornamental grasses as well as seeing some lovely textiles!
I make textiles, not clothes, as my sewing skills are somewhat basic and I’ve always been a bit intimidated by the glamorous world of fashion. But I was drawn to this exhibition because Balenciaga was more than a designer – he was a sculptor, or engineer, of fabric.
As the exhibition explains, “Most designers start with a sketch and then seek out a material. Balenciaga began with the fabrics and designed around them. ‘It is the fabric that decides’, he said.”
So he collaborated with the Swiss company Abraham to create gazar silk, a lightweight but sturdy fabric that could stand away from the body while retaining his sculptural silhouettes. However, he didn’t rely on fabric alone: as the X-ray behind show, this apparently loose, unstructured tulip dress was supported by a stiff corset and bar tacks under the arms to ensure a secure fit!
This historically inspired silk taffeta evening dress was supported by hoops, and the fabric was “bagged out” so that it filled with air to create more volume as the wearer walked. Less glamorously, the hem was secured with ties just above the knee (seen at the end of the video).
Intriguingly, many of his sculptural shapes were created from a single piece of fabric, like this evening dress.
Not all his sculptural designs were practical – only two of his famous envelope dresses were sold, and one was returned because the buyer couldn’t go to the toilet when wearing it!
Neither were all of Balenciaga’s designs minimalist. He worked closely with companies such as Lesage, who made luxury embellishments and accessories, including the stunning embroidery on this evening coat, made up of white pearls, teardrop and pink feather-shaped sequins, and Swarovski crystals.
Upstairs, the second part of the exhibition features the work of designers who have been influenced by the master, from Huert de Givenchy to Oscar de la Renta.
You sense that Turner Prize winner Chris Ofili has a bit of the devil in him. When the Clothworkers’ Company approached him about commissioning a tapestry for their dining room, he sent back a list of conditions – a non-wish list, if you will. He didn’t want to meet them, he didn’t want to see where the tapestry would be hung, and he didn’t want a discussion about the content.
When the livery company agreed to all his demands, Ofili came up with a new ruse. In a fascinating BBC TV documentary following the creation of the tapestry, he twinkles:
“I thought it would be funny to see if the weavers could actually weave water. So I found myself making the watercolour and trying to release the pigment even more and giggling at the fact that it was almost impossible for them to achieve it – there’s no way they’re going to be able to do this! So let’s just sit back and watch!”
And watch we do, open mouthed as, over nearly three years, an amazing team of weavers at the Dovecot Tapestry Studio in Edinburgh translate Ofili’s watery triptych of free-flowing colour and grazing charcoal into a shimmering fabrication of wool.
One of the weavers, Emma Jo Webster, explains: “The watercolour’s multilayered, so you’re often looking at the colours underneath to come up through the row as well. So rather than just a block of colour the mixing is very important….If you want to weave something that looks all the same colour but you don’t want it to look flat, like cardboard, you would make a mix of very close colours and then it will just gently look like the same colour.”
Viewing the tapestry close up at the National Gallery, you can see what they mean. Like an Impressionist painting, the flecks of individual colours dance before your eyes, before coalescing into luminous pools of colour bleeding into each other as you move further away.
The central scene could be seen as a modern-day Genesis, with Adam strumming a guitar while languid Eve’s cocktail glass is refilled by a somewhat abstract barman (based on footballer Mario Balotelli!) lurking in a palm tree. Storm clouds loom in the distance, presaging an imminent end to this paradise.
The setting is wonderfully theatrical, and not just because of the male and female figures on either side, holding back the curtains to allow us a glimpse of this intimate tableau.
Around the walls floats a chorus of grisaille dancers, their sinuous voluptuousness and billowing veils straight out of an Indian temple. But many have moustaches and goatee beards – another sign that not is all as it seems?