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Weaving Futures: Week 2 | Central Saint Martins BA Textile Students

michael-woods-mg_8645Weaving Futures is an exhibition at London Transport Museum highlighting the importance of woven textile design to the London Transport system. The exhibition explores the process and making of digital woven textiles, as part of the Museums’, Designology season.

Each week, visitors will be able to see invited designers/artists in residence in the Designology studio, who will be working on a project brief and interacting with a weaver. The weavers will be interpreting the residents work live into digital woven textile prototypes and final works on a state-of-the-art TC2 digital jacquard loom. 

Week 2 features: Textile Students from Central Saint Martins BA ( Hons) Textile Design Course, who road tested the data brief for the Weaving Futures Season in May 2016. Four overall winners were chosen to have a residency in the Designology Studio at London Transport Museum.

Residency dates: 30th Nov  – 3rd December 2016
Activity days: 30th Nov & 2nd December 2016 

The Designology, Weaving Futures Studio is open at all the times the museum is open. Vistors very welcome

Weaving Future exhibition dates: 22 November 2016 to 18 February 2017

Michael Woods

(image above) As a designer, I find myself continually looking at the elements and surfaces that I encounter everyday.The style of my work often combines a background surface, layered on top with other elements, whether that is found materials, oil paint or a variety of mark making. My work is about contrasts between colours, textures and light.

For this project, I was inspired by the symbols and signs that we all encounter in the urban environment, especially in a rapidly changing city like London but that we unconsciously ignore.

I noted the variety of symbols and marks found on the road and pavements that provide fragments and information left behind from construction work, a visual language on the streets that few of us can make sense of.

Lily Thornton

Lily Thornton is a final year woven textile student at Central Saint Martins. She generates ideas through found and assembled fragments of everyday using Situationist methods of derive, interested in themes surrounding the overlooked and chance procedure.lily-thornton-ltm-images

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Weaving Futures: Week 1 – Wallace Sewell

wallace-sewell-overground-moq-swatchWeaving Futures is an exhibition at London Transport Museum highlighting the importance of woven textile design to the London Transport system. The exhibition explores the process and making of digital woven textiles, as part of the Museums’, Designology season.

Each week, visitors will be able to see invited designers/artists in residence in the Designology studio, who will be working on a project brief and interacting with a weaver. The weavers will be interpreting the residents work live into digital woven textile prototypes and final works on a state-of-the-art TC2 digital jacquard loom. 

The first residents in the ‘Weaving Futures’ Studio are Wallace Sewell

Residency dates: 21st – 26th Nov 2016
Activity days: 22nd & 26th Nov 2016

The Designology, Weaving Futures Studio is open at all the times the museum is open. Vistors very welcome

Weaving Future exhibition dates: 22 November 2016 to 18 February 2017

About Wallace Sewell
UK based British design studio, Wallace Sewell, was established by Harriet Wallace-Jones and Emma Sewell after graduating from The Royal College of Art in 1990. Their diverse portfolio includes scarves for the Tate museums as well as moquette fabric designs for Transport for London’s underground seating.

When exhibiting for the first time in 1992, their pieces created much enthusiasm and interest, particularly from Barney’s, New York who placed an order for scarves. This proved instrumental in kick starting the Wallace Sewell brand. Barneys are still buying today and Wallace Sewell now supply over 200 stockists in 20 countries.

They have worked with various boutique hotels, designing and producing bespoke bedspreads and more recently have been invited to be guest designers for an international retail brand. Working from their studio in London and their Dorset outpost, this progressive design duo pioneers excellence and originality within their woven products.

Combining innovation with practical solutions, Wallace Sewell is known for their use of colour, structure and yarn in surprising geometric formats. Inspired by paintings, they create individual contemporary fabrics with strikingly bold, asymmetric blocks and stripes of varying scales, which bring together a plethora of elements within one piece.
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Job: Moquette Project Curator


wallace-sewell-tram-loomAn opportunity has arisen for a Project Curator to work for London Transport Museum. The Project Curator is required to develop and deliver clearly defined projects within the curatorial department. Application closing date 22.11.2016

London Transport Museum (LTM) is seeking to appoint a Project Curator to develop and deliver a Heritage Lottery Fund (HLF) funded project to timetable and on budget – Celebrating Britain’s Transport Textile will uncover and share the holistic story of the commissioning, design, manufacture and use of moquette. Selected by the public as a design icon of London and used on buses and trains across the UK moquette is a durable, versatile fabric with a rich design history. The project aims to uncover, understand and share the story of every moquette made for London’s public transport.

To see further click here

Project Organisation – London Transport Museum
Job – Museum & Heritage
Position Type – Full Time

Job Title: Project Curator
Salary: £28,340 – £30,500
Duration: 12 months, full time
Location: Covent Garden and the Museum Depot at Acton Town.

Closing date: Tuesday 22nd November 2016 at 2359 hours

Image: Wallace Sewell Text London Transport Musuem

Chromaticity: Ptolemy Mann

A New Art Commission for Stanhope

Ptolemy Mann has made  a series of large hand dyed and woven artworks for Stanhope.

The  series of eight 2.5m high artworks illustrate her love of Chromatic Minimalism  to its greatest extent.

Chromaticity means ‘an objective specification of the quality of a colour and consists of two independent parameters, often specified as hue and saturation.’ As seen in the colours found at the nearby Stanhope developmen,t Central Saint Giles by Renzo Piano, the artworks reveal extreme colour saturation unique to hand dyeing and weaving and tell an abstract, intuitive, visual story. This series is also a play on words…a colourful city is a glorious city and London has become a place for colourful buildings to grow in unexpected and unexplored places.

The warp and weft of the cloth becomes a macro city, with warp and weft reflecting the vertical and horizontal line of built architecture. This relationship is demonstarted by the following definition of the word architecture:

straight-crop“Architecture: from the Latin, teks – to weave (as a net); also to fabricate, a root shared with text, textile, context, subtle and technology. More especially to build a dwelling with tools…”

Ptolemy  love is creating artworks and she finds, after over 20 years of weaving, that it surprises and delights her deeply. The process and method of weaving becomes increasingly more symbolic of all creative endeavors she undertakes.

dsc_5065To celebrate this fact Stanhope commissioned the photographer Darek Fortas to photograph the dyeing and weaving process during the making of this work. Mysterious and complex these images reveal part of that process. She extends great thanks to the art consultants Dickson Russell for initiating and managing the commission and to the team at Stanhope for being such exceptional clients.

If anyone is interested in buying or commissioning artworks  email: for a current list of available artworks.

Top photograph by: Justin Piperger

Tapestry workshops: Caron Penney

img_4089Tapestry Workshops, Mill Studio, Near Arundel, West Sussex.

Dates: 31st Jan – 14th March,  every Tuesday

Caron Penney will lead a series of  one day Tapestry Workshops investigating, colour theory, overlays, blending and hatching, all skills required to make contemporary tapestry.

Working on pre-warped frames, the workshops will also investigate basic warp and weft structures
and settings. By the end of each class students will have completed a small woven tapestry. It is
preferred that students have a beginners knowledge of weaving or tapestry weaving.

The workshops begin on the 31 January and run until 14 March. There are additional Tapestry
Critique half days if at the end of the 6 weeks students would like to discuss their work with a view
to further development, these are on the 28 March and 4 April. These take place in a friendly,
encouraging environment.

About the Tutor:
Caron Penney is a Master Tapestry Weaver who has worked with artists as varied as Tracey Emin,
Gillian Ayres, and Martin Creed. She studied at Middlesex University to achieve her BA (Hons)
Degree in Constructed Textiles in 1993 and studied for her PGCE in 2001 at Portsmouth
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Job: Gainsborough Fine Weavers & Dye House: Post filled, no more applications being accepted. sept 2017


gs_000157Gainsborough are looking for a technically minded, creative weaver who is eager to learn. As an historical weaving mill they need someone who has a genuine interest in the history of their company and in the extensive archive they have at Gainsborough.

The candidate should be intuitive and professional with an understanding of Jacquard weaving.

The Company
Founded in 1903, Gainsborough Fine Weavers & Dye House embodies over a century of British craftsmanship. The entire production process – from design, to hand-dyeing yarns, to weaving the finished fabrics – takes place on the site they have occupied since 1924. They received the Royal Warrant from HM The Queen in 1981.

Alongside their own collections, Gainsborough has long been the textile house for any interior designer seeking  bespoke fabrics, from contemporary, geometric styles to  damasks and pearl-embroidered silks, and their willingness to support creative craftspeople in their endeavours remains a cornerstone of their offering.

The role
Gainsborough are looking to train up a new designer as part of their small design team. The designer will be working on client-led projects recreating historical fabrics or one-off bespoke designs. They will also have the opportunity to work on internal collections, both alongside colleagues and, often, external designers.

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