The photos were taken during the FLORIADE, Green Emotion, Horticultural World exhibition, Fashionclash Fashion Procession (*photography Fashionclash), Seat-element, Cacis El forn de la Calc, Sculpture XL, CUBE Design Museum and the Dutch Design Week.
In 2018 I was inspired by the templates of architect Pierre Cuypers. During my project, inspired by these templates, I studied old and new textile techniques, spinning, embroidery, laser cutting and industrial knitting with “factory yarn”. I have collaborated with various workshops including SparkLab in Den Bosch and the TextielLab, TextielMuseum in Tilburg. As part of the project I worked with the TextielLab to produce a shawl with gift packaging in a number of color combinations. This is ready for launch in the Dutch Design Week 2019 in Eindhoven.
In the old techniques I have developed and spun yarns manually. The starting point for making yarns was to keep the structure of the original sheep fleece visible. There are more than 400 sheep breeds, all with their unique fur. There are with special looks in the coat, curls, long strands. If a thread is made, carded and spun by machine, there is not much left of these outer features of the structure of the fur. She thought this was a shame and saw it as a challenge to make the yarn in such a way that the outer characteristics of the fur remain visible. It is possible, but it is a labor-intensive process.
I use the wool in combination with other, mostly natural materials. This stimulated me so much that, as a textile designer, I wanted to combine my skills in the craft of making deviating yarns with contemporary (machine) production methods. I have sought in-depth knowledge in this section, with the aim of making three-dimensional textiles. I experimenting with hand spun yarn in combination with a new technique, in this case machine knitting. This has resulted in samples that form the basis for fabrics and / or objects of textile in modern architecture. Apart from being decorative, these also have a functional value, namely an acoustic effect and insulating capacity. As far as colors are concerned, I have adhered as much as possible to the original colors of the sheep breeds. The natural elements such as the sun influence the color of the fur, in fact it is a “coupe soleil”. This gives a beautiful color palette. They are not painted and therefore less stressful for people and the environment. The rough coats usually come from landscape grazing.
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