Texprint 2017: Weave Designers

Texprint interviews, mentors and promotes the UK’s most talented textile design graduates with the support of industry professionals worldwide.

Those selected are introduced to buyers, press and sponsors at the Texprint London event, and at Europe and Asia’s leading yarn and textile exhibitions.

Texprint is entirely funded by the generous sponsorship of industry and by British charitable foundations, who believe wholeheartedly in supporting textile design talent and in encouraging design innovation and excellence.

The following Weave Designers were selected for 2017, and their work can be seen at Première Vision Designs, Paris, Europe’s leading textile design specialty show, where the designers will exhibit their unique textile design collections, meet international buyers and make contacts.

The Texprint Awards Presentation, promoting the talent of British-trained textile designers to an international audience, takes place in the Texprint ‘village’ in Hall 5 and is attended by industry guests and press.  The 2017 Prize Presenter in Paris will be star Japanese designer Yuma Koshino.:

Julia Lidell ( Top image)
The Hen Folk Dress Collection. Hen is a new Swedish word referring to he or she. This is used when the gender is unknown or has no significance for the comunicated message.

Hen Collection is a lifestyle collection, made applicable to gender neutral fashion and accessories, as well as interiors.

The collection explores both heavy and light designs that celebrate the potential of wool and natural materials. Research into the wider heritage of Scandinavia: garments and ships from the viking age, folk dress and craft techniques that are still used today, has inspired a multi-functional collection. This collection is inspired by objects that hold a history and traditional Scandinavian craft techniques as a tool for contemporary design.

I have a wide passion for crafts and materials. Textiles have always been an interest of mine, previous to my woven textiles degree in London, I studied tailoring and design for three years at college in Sweden. Textiles has become my specialism but I have a wide interest for many different crafts, ceramics, silversmithing, embroidery. The key for me is the authenticity of materials and the value of old craft technique.The last year I have been focussing on creating delicate but heavily textured contemporary woven designs, with a high wool content in earthy grounded colours, inspired by objects that hold a history, and by traditional techniques.

E:julia.lidell@gmail.com

Holly Goldsmith
Rhythms of Light is a collection of woven fabrics that embodies both the subtle and striking illusory qualities observed in the play of light. The shifting relationship between light, colour and shape is explored through incidental and constructed forms of light, carried out in natural and controlled environments.

Light has been observed through shadow, refraction and manipulation, using acetates and distortion to reveal an indirect interpretation of a subject. Removed from their context, these light interactions challenge the way in which objects and surroundings are perceived, placing emphasis on the experience of light and colour.

Radiance, rhythm and illusion are expressed in fragmented linear and geometric abstractions, exploring a bold juxtaposition of shape and vibrant colour resulting in a harmonic and interactive balance. Colour blocking and proportion are combined with minimalistic approaches to convey the temporality and fleeting softness of light. Shadows and subtle background shapes are displayed through gradient and painted warps. Top warps have been cut away to reveal dominant shapes and significant colour from the base warp, while yarn windings assist in the translation of the complex relationship between colour, proportion, layering, shape and linear detail, into a woven realisation.

Lightweight silk, cotton and lambswool are used independently and in combination, to produce a versatile woven collection, with the potential for both a fashion and interior application.

I apply a creative and experimental approach not only with weaving, but also photography, painting, collage and yarn windings. These processes play a crucial role in the inspiration and development of my designs. I have a strong interest in sustainable methods of production and ethical design within the textile industry, and use natural or recycled yarns for my collections.

For my final collection, I have enjoyed weaving with finer yarns such as Silk. I found that the tightly woven structures created by silk allowed the bright colours to have a greater impact, while silk’s lightweight flowing qualities echo the dynamic shape and colour interactions on the surface of the woven cloth.

I have developed a strong interest in textiles for interiors and always design with space and scale in mind, exploring colour proportion and composition in a way that could bring energy or calmness to an interior space.
E: hollygoldsmith@hotmail.co.uk

Joe Whitbread

Using traditional woven techniques as a solid foundation, Joe Whitbread creates intricate and unusual takes on classic textiles. Combining rich colour and complex yarn textures create a new palette and aesthetic, which trick the eye and challenge perceptions. Block drafting and inlay work sit against delicate jacquard designs that showcase a fine illustrative style and attention to detail. Starting his training at Falmouth University, Joe Whitbread is a highly skilled hand weaver and bases all his technical ability on the dobby loom first. This has influenced his ability to create new fabrics and technique with the jacquard loom to balance illustration and graphic motifs.

Biography: 2009 – 2011 Foundation, CSM (UAL)
2011 – 2014 BA (Hons) Textiles, Falmouth University
2015 – 2017 MA Textiles, RCA

Bryan Lam
Circuito da Guia 1999, is a playful yet personal collection that is inspired by the prestigious car racing event – The Macau Grand Prix. Growing up in Macau, car racing had been a vital part of my childhood; I was obsessed with everything car related, the clean looks of the cars, the driving suits, the colours and so much more. I decided to explore this theme for my graduation project to curate a story that showcases both my identity as a designer and as an individual to the audience.

Colours, graphics and proportions are the three main elements in this project, the fabrics demonstrate a sense of confidence in colour placements, intricate warp designs and bold graphics that are inspired by Josef and Annie Albers and the Bauhaus textiles.

The main collection is woven with monofilament, silk as the warp and mostly merino wool as the weft. The use of these three very different materials has resulted in a sturdy fabric quality that is suitable for upholstery, interior and fashion. The fabrics are hand woven with the compound technique in tapestry weaving which creates a jacquard/Ikat effect and the warp design allows alphabets to be woven onto the fabrics.

The side collection is woven with linen and merino wool with weft and warp faced twills to mimic the look of denims, creating light weight mock denim that has a very nice fashion fabric quality. This section of the collection played with the idea of incorporating functional quality in the designs. Pleats are woven onto the cloth to create pockets for tools; a simple idea that resonates the aesthetics and utility quality of workwear.
E:bryanklam@outlook.com

Eve Gibson
Combining new material processes with traditional woven structures and hand-dyed natural fibres to create designs with exotic pattern, rich colour and lush surfaces.

The woven designs, complimented by print developments, consider scale, composition, fabric drape and finishing processes appropriate for both the fashion and interiors market.

Eve graduated from Loughborough University with a First Class BA (Hons) in Textiles; Innovation and Design. She completed a Diploma in Professional Studies; gaining experience in a number of design companies both in the UK and abroad. She has a love for art, design exhibitions and travel provides the source of inspiration behind each woven design collection.

Her achievements and awards include:

  • The Worshipful Company of Weavers Scholarship
  • Ede and Ravenscroft Travel Prize
  • Highly Recommended by the Textile Society
  • Bradford Textile Society Design Competition Commendation
  • Multiple Designs sold internationally during placement year
  • Shortlisted for ComOn; design internship in Italy as part of Texprint 2017

E:esgibson@btinternet.com

Charlotte Des’Ascoyne
Having studied Print Design at Chelsea College of Art I took time out to work in the industry before applying to the Royal College of Art. I spent three years as a bespoke textile designer to the private clients of a menswear tailoring brand. The brand was rooted in Ghanaian textiles and motifs and it was mu job to align these with a modern market. After leaving menswear i transitioned into Womenswear, but instead of doing bespoke pieces i was designing for ready to wear and catwalk collections.

My work is a reflection of the dissolution of femininity and how it has become to be regarded as superfluous and un-necesary for both sexes. I believe that by owning our softness we define our strength and my work will seek to enforce this.

I want to evoke the sense of play and childlike abandon experienced when young in direct relation to personal experience of my brother as his alter ego “Lucy” who soon disAppeared when thrust into a masculine world. I want to create an experience akin to trying on your mothers or grandmothers clothes and shoes when young, and feeling the strength from their femininity, the magical feeling of being “Other”.

Pink, pastel, light and dreamy.The golden age of Hollywood and fourth wave feminism are at the root of this collection, which explores the desire to be feminine, expressive, open and powerful; to give permanence to femininity and establish a solid physical base for it. Sheer, draped peignoirs are the perfect shield to cover you from the harshness of the world, with stiff armour plating for protection. Con- trol your own nudity and reveal what you want to the world, showcase the bold brilliance of your skin. Neon, acid green shouts to proclaim your toxicity to unnecessary misconceptions of your femininity with Snakes as the totems of the new Priestesses.

Rosie Moorman

My work revolves around the creation of a collection of fabrics embracing multiple disciplines of weaving. The foundations are formed through interrogative drawing and expressive painting, exploring surface and structure, which directly informs tacit outcomes.

Heavily inspired by landscapes in both a traditional and contemporary sense, my work begins with intensive primary research. I am inspired by the stunning diversity of the Earth’s form, from an aerial perspective as well as. Painting expressively and fluidly from the images of rurality informs my dyeing process, in which the silk, merino, cashmere and mohair that form my staple compositions are hand dyed. Once woven, my handwriting consists of handwoven heavy fringes, cut floats, dense ground warp patterning, and unique, expressive and bold colouration.

My work is directed at the premium, gender-neutral market place. The weight of fabrics and scale variation lends the collection beautifully to fashion, with a wonderful hand-feel and luxurious drape. Woven samples are complimented by a digitally woven Jacquards, further supported by etching and digital prints.

Rosie Moorman is a UK based multi-disciplinary designer, specialising in woven textile design and freelancing in graphic design and illustration. Having trained in Woven Textiles at the prestigious Loughborough University, I am a passionate hand-weaver with a digital twist.

All images and text are copyright of the above designers themselves. Please do not use or copy these images without permission

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