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Call for Applications: Cockpit Arts / The Clothworkers’ Foundation Award 2015

SMALL.Amor La momposina.4About The Award:

Applications are invited for the Cockpit Arts / The Clothworkers’ Foundation Award 2015. The Award is only open to weavers who have graduated within the last 5 years.

The Award aims to assist emerging weavers to set up in business by providing studio space and business support provided by Cockpit Arts as well as shared use of looms.

There are Two Awards available and the selection panel (including the acclaimed ikat weaver and designer, Mary Restieaux) will be looking for individuals who demonstrate entrepreneurial spirit as well as creative excellence and craft skills.

The Award contributes to the cost of a place at Cockpit for one year from July 2015 and will include a space in a shared studio equipped with 3 looms, Leclerc and Louet, and the following benefits:

  • Studio space and use of looms within the creative community of Cockpit Arts at Deptford, London, SE8 with access to office facilities and resource centre.
  • Business and professional development services including on-site coaching, a personalised development plan, access to finance, workshops and events.
  • A range of selling and promotional opportunities including Cockpit Arts Open Studios selling events.
  • Award worth £2,000 with the remaining £2,000 fee being provided by the Award winner, payable on a monthly basis.

How to apply:

  •  Please request a “Clothworkers Award” application pack from
  •  Deadline for receipt of applications is Monday 18 May, 12pm
  •  Interviews with shortlisted applicants will be held on Tuesday 26 May

Text & image: Copyright Cockpit arts

Job: Tibor

img002Graduate Full Time Position: Production Manager/Personal Assistant
The opportunity:

To work on the relaunch of Interior and Lifestyle brand ‘Tibor’ founded by Tibor Reich in 1946.
For more information see
Tibor is based in Notting Hill London.

The Role:
Liasing with textile maufacturers ( weavers, spinners, dyers) Liasing with interior designers and furniture manufacturers Helping to organise the |Tibor Reich retrospective exhibition at The Fashion and Textile Museum-London and Whitworth Manchester in 2016 Helping to compile a 300 page book on Tibor Reich’s life in design
General Admin and day to day running of the company
Knowledge of and working on social media, look books. Website, photography
Organising the Tibor Reich archive
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Première Vision report: Fiona O’Keefe

Fiona O’Keefe is a second year weave student at Central Saint Martins, University of The Arts London. This is the account of her first visit to Premiere Vision.

LanyardSporting the all-important lanyard and armed with a free guide, Première Vision was at first, and at the very least, overwhelming. Attending the trade fair as part of a class trip, we had been given various tips and tricks to aid our maiden voyage, but negotiating the maze of elevated, opaque stands was something that can only be experienced first hand.

Thanks to an immediate coffee-break and an avid perusal of the surprisingly helpful maps, the day at Première Vision looked somewhat more surmountable. The exhibition halls were vast, but the forums that were scattered throughout each were accessible and offered students a hands-on opportunity to get a feel for what was at the fair.

The biggest forum, situated in Hall 6 Fabrics, boasted a miscellany of mainly-woven samples that were assorted into different trends. Placed side by side, ’Bathrobe’ and ‘Spongey Languor’ attracted much attention as hands reached in from all angles to clutch at the cushiony samples.

Italian mill Mantero Seta had a take on this trend which stood out from their cotton, lilac and chartreuse counterparts. The silk alternative they offered in a blush pink with playful flashes of primary colour created a squashy but sophisticated newness. The feeling here was simultaneously soft and lively.

Teeming It was the vivacity in colour, mood and texture that recurred within another trend titled ‘Teeming’, which visibly proved popular among those who came across it. Clusters of colour dotted in and around graphic shapes cropped up on samples from both Ratti and Malhia Kent who used jacquard weaving to produce busy, illustrative patterns.

This energy extended as far as their stands and at Malhia Kent getting past their front desk was akin to gaining entry at an exclusive night club or fashion show. Large, scribbly and dazzling samples in shades of neon green and glittering gold had been tossed artfully over the walls of the stand, and the constant groups of hopefuls milling around it generated a definite buzz.

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