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TALKING TEXTILES"I am My Mother’s Only One" by 2. Prize Winner Julia Wright (Rhode Island School of Design) Trend forecaster Li Edelkoort and fellow curator Philip Fimmano are pleased to announce the continuation of their international design prize, to be awarded to a textile or fashion design student who exhibits innovative thinking and inspiring creativity in textiles. The competition is open to students from any country currently enrolled in a textile, fashion or knitting course creating original fashion, interior or lifestyle textiles. Based on creativity, innovation and aesthetics, the finalists and winner will be selected by a jury. For the second year running, the prize is proudly supported by America’s leading flooring company MOHAWK GROUP. The winner will receive $5,0. Trend. Tablet. com.
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The prize is part of Edelkoort and Fimmano’s TALKING TEXTILES initiative that promotes textile education and creativity, with the winner announced in New York on September 1. TALKING TEXTILES CONFERENCE.
The entire month of September is NEW YORK TEXTILE MONTH, a dynamic city- wide textile festival that promotes textile awareness. For more information, a full program will be available soon at www. Watch Where Children Play Online Freeform. THE DOROTHY WAXMAN TEXTILE DESIGN PRIZE honours Dorothy Waxman, the original driving force behind Trend Union and Edelkoort Inc. United States and contributing reporter to the magazines "View on Colour", "Textile View" and “Viewpoint”.
Waxman’s insatiable curiosity and discerning eye for the avant- garde has inspired Edelkoort and her team for decades. Waxman also introduced the American fashion industry to European textile partners with her work at the Fashion Group. As an avid textile aficionado, she believes that creative fabrics can change the design landscape in profound ways.
The prize’s previous winners were Piero d’Angelo (Royal College of Art) in 2. Julia Wright (Rhode Island School of Design) in 2. Deadline for submissions: June 1. Download the application form**SAVE THE DATE**TALKING TEXTILES CONFERENCE 2.
NEW YORK: September 1. Christian Aschman. The Japanese fabric Yuki- tsumugi is used to make fine- quality kimonos and has a 2,0. Japan. Making the cloth requires more than 4.
These skills have been passed down through the years, and in 2. Yuki- tsumugi production technique was inscribed on Unesco’s Representative List of the Intangible Cultural Heritage of Humanity. OKUJUN’s fabrics have a beautiful luster, exceptional lightness, and rich texture. Supreme Yuki Silk is a fabric of highest quality produced by a method descended from the traditional technique and Yuki Silk is a new fabric that preserves the fine texture but made with a more efficient production process. The secret of the incomparably soft texture of the silk resides in its raw material — floss silk, and the untwisted yarn spun tenderly by hand from floss silk while typical silk yarn is produced by tightly twisting together several filaments from separate cocoons.
Yuki- Tsumugi, silk fabric production technique is very complex. The high quality fabric is a result of the artisans’ highly skilled hand craftsmanship. FR-EE A Perfect Man Full Movie. The fabric is woven from delicate hand- spun yarn, and is a layered masterpiece of skilled hand- craftsmanship from artisans who execute all the needed procedures. It is supported by a sophisticated combination of professional instinct and dexterous artistry, nurtured through long specialized practice. A single piece of cloth is born from the hands of many master artisans. Floss silk is obtained from a cocoon and, with the use of a tool, gently stretched by hand into yarn, without spinning.
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During the process, sizing is applied to strengthen the delicate yarn. By using a traditional back- tension loom called a jibata, the hand- spun yarn is woven into cloth while applying minimal tension to the yarn. The warp is tied to the weaver’s hip and inseparable from the loom, the weaver controls the tension of the warp through the movement of the hip while weaving.
A Hia shuttle used to store weft yarn- made from an oak tree, and an osa - reed- are used to tighten the weave, to create a fine woven silk fabric. Finally, after the process of sun drying, a cloth that is light, warm and extremely soft is born. I am My Mother’s Only One (2. Julia Wright. Dorothy Waxman and Edelkoort Inc. Dorothy Waxman International Textile Design Prize: Rhode Island School of Design’s Julia Wright!
Mohawk Group has generously supported this year’s prize of easy payday loans $5,0. Julia for the visual language she employs to make her textiles talk, from the sophisticated collage aesthetics of her jacquards to the creative use of bleach and dyes applied by hand. The jury also decided to create a Jury Special Mention for the work of Christian Frank Müller, who studies at the Kunstuniversitat Linz and previews the making of patterns with a human intervention before machines weave the rest of the textile. Both works will join the other finalists on display at WANTED DESIGN this May 7 - 1.
New York: INDUSTRY CITYSunset Park, 2. Street, Brooklyn, NY 1. Jury Members: DOROTHY WAXMAN – President. ROYCE EPSTEIN – Director, Design Segment, Mohawk Group.
ODILE HAINAUT – Founder, Wanted. Design. PAUL MAKOVSKY – Editorial Director, Metropolis. MATILDA MCQUAID – Deputy Curatorial Director, Cooper Hewitt. HELEN OJI – Creative, Inspiration & Research Director, Eileen Fisher. Julia Wright (United States)Rhode Island School of Design (RISD)I am My Mother’s Only One, 2.
I am my mother’s only child, only daughter, only friend." The structure of Wright's family has shifted significantly since her parent’s recent divorce, and as such, each member of what was a three- person unit has learned to live on their own. This piece was created through Wright's reflection on childhood and her relationship with her mother, serving as a sort of necessary step for the designer to accept this new situation. Wright says her memory is driven by colour and shape, and through using the jacquard loom she was able to translate a personal photographic collage into a thick woven fabric, tangible and soft. Each cut square serves as a physical and material reminder of sweet childhood memories; the organization of which is unfixed and ever- changing. This work was created by collage and painting, and translated through Point Carre software to become woven pieces created on a Staubli jacquard loom. It is a 7- wefted weave, and has been cut apart and reconfigured.
Many pieces were painted after weaving with bleach or dye. Christian Frank Müller (Germany)Kunstuniversitat Linz, Austria. Tex. Lab, 2. 01. 5As a multi skilled designer and Ph. D student with a specialisation in textile design, Müller realises a wide range of different projects along the themes of diversity, details and simplicity with a twist. He perceives that design has a crucial influence on our lives. Good design improves our everyday lives and should be sustainable in terms of long lasting, timelessness, the use of the right materials and flexibility in use. And of course it should look good in every situation.
Design is not pure decoration, it is the right ingredients mixed together in order to create a new, unexpected experience. Müller says of his work: "I like simple things. Some people would say boring, but boring is in my opinion not bad. It’s just the absence of excitement in a world that is full of exciting things and where every new object is just trying to raise the level of excitement.”In this experimental collection, fabrics are made with different unconventional dyeing, weaving and knitting techniques. Injection dyeing is used on folded, woven fabrics before they unfold to reveal a placed pattern of bleeding spots. Dye is also injected into bobbins and knitting spools before moiré and marle fabrics are machine woven or knit. DOWNLOAD PRESS IMAGESphoto Marcella Echavarria.
Edelkoort Inc. recently presented an installation featuring Peruvian designers that embrace using natural alpaca fibre. Supported by Promperu, the Autumn / Winter 2.
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