Without fabric there would be no fashion. Whether woven, knitted, printed, embroidered or bejewelled, textiles are crucial to the eloquence of apparel and fundamental to the fashion design process. We are presenting very few textile designers who work mostly in the fashion industry. Their designs can be seen on the catwalks of all major worldwide fashion shows and fashion showrooms.
Africa is a great and varied continent of wide horizons and clear blue skies, which has long held a fascination for those born outside its bounds. Over the centuries its wealth of minerals, animal products and manpower has drawn in colonists and traders, slavers and missionaries alike. Its huge population is of diverse origin: people of Arab and Berber descent in the north, Khoisan-speakers and European colonists in the extreme south, Nilotic-speaking peoples in the north-east, and south of the Sahara a rich mix of groups who speak one of the Bantu languages.
At the beginning of May in Textile Museum of Canada in Toronto was opened an excellent exhibition Artist Textiles: From Picasso to Warhol. This major international exhibition offering a fascinating overview of 20th-century textile designs from some of the the world’s most renowned artists. Through pattern design and industrially manufactured textiles made for the mass market, artists found ways to make their work less elitist and more accessible to broader audiences. Before arrived in Toronto, the textiles were exhibited in London (UK), Tilburg (The Netherlands) and Lowell (USA).
Considered to be the mother of yarn bombing, Magda Sayeg’s work has evolved to include the knitted/crocheted covered bus in Mexico City, as well as her first solo exhibit in Rome at La Museo des Esposizione in the summer of 2010 . What is ‘yarn bombing’ anyway? It has many other names such as guerrilla knitting, kniffiti, urban knitting is a type of street art similar to graffiti, but instead of paints and spray cans uses yarn and textile materials.
Perhaps it is the less formal aspects of art education that have the most
profound long term implications for creativity, for much of Michala’s work is rooted in her childhood experiences of rural Northamptonshire, and above all in play. She recalls her childhood playing in the fields, woods and park, collecting raw material from the landscape, pulling shreds of wool from barbed wire fences, weaving with grass and twigs, building dens and climbing into the stacked logs of the felled elm trees that once lined the roads.