Vรกndor Krisztina Portfolio
Krisztina Vรกndor textile designer
www.behance.net/krisztinavandor hu.linkedin.com/in/krisztinavandor vandorkrisztina@gmail.com 0036-30-4649191 Budapest, Hungary
Autobiography
Personal profile As a textile designer I mostly work with different weaving and breading techniques where technology, traditional methods and combining different materials are a key element. I'm interested in structure design and experimetal fabrics as well as textile design for interiors and furniture.
Education 2014-2016 Master’s Degree Textile Designer Moholy-Nagy University of Art and Design, Budapest (Hungary) 2015 Erasmus Scholarship Craft Konstfack University Collage of Arts, Crafts and Design, Stockholm (Sweden) 2011-2014 Bachelor’s Degree Textile Designer Moholy-Nagy University of Art and Design, Budapest (Hungary) Woven textile and fashion design specialisation
Work experience 2013-2014 2012-2013 2012 2011
Assistant / Mome snitt-Fashion Backstage course Pattern designer / Manta Swim Fashion design intern / The Four Saleswoman / United Colors of Benetton
Skills Personal skills: modelling and sewing pattern making, designing woven textile patterns and structures, handling several types of looms (jacquard, digital dobby and manual shaft looms) Professional Software usage: CorelDraw, Photoshop, Indesign, Poentcarre, DBweave Autobiography
Future Traditions / 2015-2016 /
The collection consists of five blankets with different basic pattern and two additional complementary one, all of them with “székely” rug motif origins. This ornamentation is coupled with a weaving technique that is originating from the Norwegian culture. The essence of this improved weaving technique is that it preserves the shape of the basic pattern in its smaller structure and it gives the opportunity to weave largescale patterns as well. The pattern of the blankets is created by the light and dark patches from the intersection of different yarns. Like the inspiration, the motifs of the blankets are geometric, however instead of sharp contours and color differences, the edges of the shapes are eased by subtle color shades. In the collection the different variations and combinations of the basic pattern are appearing. The blankets are made of soft merino wool in dark blue and natural white colors, which clearly highlights the structure of the fabric.
Supervisor / Eszter Révész Photo / Balázs Fromm / Gergely Tarján
Future traditions / 2015 - 2016 Photo / Balรกzs Fromm / Gergely Tarjรกn
Future traditions / 2015 - 2016
Photo / Balรกzs Fromm / Gergely Tarjรกn
Maxi-mini / 2015 /
This is a woven and printed textile design collection. The collection consist of digital printed textile patterns paired with simple striped and dobby woven fabrics with rich details. The inspiration were the layers, the contrast of the handmade and machine made items and the gradient colors which came from the 2016 Interior trends. The layers and gradient colors are appearing in the collection in different ways just as if you would slice the trunk of the tree from different angles, you could see its inner growth-rings, stripes and lines.
Supervisor / Annamária Simándi-Kövér Photo / Krisztina Szalay
Fotรณ Szalay Krisztina
Maxi-mini / 2015
Photo / Krisztina Szalay
Summer! / 2014 /
This woven textile collection has been made for the summer of 2015. From the trends I chose the cheerful, joyful and vibrant colors and rich patterns. The drafts have been designed from diagonal line systems. The textile was made of mercerized bleached cotton to make soft flowing, soft to the touch fabrics. The yarn has been colored to the required lively colors in dye bath.
Supervisors / Emese Benczúr / Annamária Simándi-Kövér Photo / Krisztina Szalay
Summer! / 2014 Photo / Krisztina Szalay
Table cloth for Castro Bistro / 2014 /
Casto Bistro is located at Deák Ferenc Square in Budapest, Hungary. My goal was to make a table cloth that is lively colored, cheerful and which offsets the gloomy shade of the walls. In its patterns and structures I imagined a rich sculptural surface for which I chose the grid draft. With this I can make structured surface that is more spatial than usual but still usable as a table cloth. In materials I used thicker highly twisted cotton yarn. With this yarn, the patterns are clearly visible and still ideal to use in a cafeteria as it can withstand many washes.
Supervisors / Emese Benczúr / Annamária Simándi-Kövér Photo / Krisztina Szalay
Table cloth for Castro Bistro / 2014 Photo / ร dรกm Polhodzik
Rain
/ 2014 /
The woven structure was inspired by the texture of roof tiles. After experimenting with different bindings the tightest ones have been chosen and made into a water-repellent surface. This way making it ideal to be used as a table cloth. On the top side is the ironable surface which has excellent absorbency, and on the other side is the non-slippery and water repellent surface which holds back the moisture and preserves the table from getting wet. The whole material is washable.
Supervisor / TĂźnde BĂŠnyei Photo / Krisztina Szalay
Rain / 2014 Photo / Krisztina Szalay
Experimental woven structures / 2014 /
The project was inspired by a yoga community were I exercise. The goal was to design a woven textile collection which is non-slippery, washable, absorbent and aesthetic. In that way providing an alternative to non--slippery yoga towels. The different single and double layered fabrics provided different thicknesses and gave the opporuniti to reach different structures. Through the transparent silicone thread the structure of the textile can be seen which is giving an interestinng expression.
Supervisors / Emese BenczĂşr / BĂĄlint Veres / Photo / Krisztina Szalay
Experimental woven structures / 2014
Photo / Krisztina Szalay
Experimental woven structures / 2014
Photo / Krisztina Szalay
Contexture / 2016 /
On the border of functionality and autonomous work in my master's thesis project I preserved the octagonal structure that is commonly used on Thonet chairs. This structure becomes part of the framework, pulling the texture out of its mere two-dimensional surface-filling existence. My masters thesis also provides a solution on how to combine functionally soft and hard materials, in this case textile and wood, where textile is used as a connecting system. With improvements in the octagonal woven structure, I also explored further possibilities within the structure itself. The developed woven pattern collection consist of eight different structures and their color variations.
Supervisor / Emese Benczúr / Eszter Révész / István Juhász Photo / Tarján Gergely
Contexture / 2016 Photo / Gergely Tarjรกn
Contexture / 2016
Photo / Gergely Tarjรกn
Contexture / 2016 Photo / Gergely Tarjรกn
Experimental structures / 2014 /
The inspiration for that project was the traditional accessories of fishing in Hungary and Norway. To make the experimental structures I used the technique of net making. The knot which was adopted to the work is girth hitch. It is a common knot to start a net. They used it also in Norwegia to make the bottom beginning of the net which holds the glass ball called “glasskavl”. Experimental structures have been made with several materials, to find the best fitting in material and size too. I found interesting the structure’s mobility and how it can be shaped. I decided to make spatial experiments to utilize this ability. My goal was to use soft material to make hard structures and on the contrary to use hard materials to make flexible structures.
Supervisor / Eszter Révész Photo / Krisztina Szalay
Experimental structures / 2014 Photo / Krisztina Szalay
Experimental structures / 2014 Photo / Krisztina Szalay
Lively chairs / 2015 /
As I went to Sweden, I decided to keep on working with textiles and wood in a three-dimensional shape but change to larger scale. I was still interested in how soft and hard materials could be combined together and my goal was to continue on creating a movable, transformable object. I was curious about people's possible interaction with these experimental pieces, how they would react to it if they could set it in motion. I decided to approach the experience of sitting as an active interaction between the body and the object. I have asked myself: what could I add as a textile designer to the theme of seating? I wanted the textile to be part of the construction not just a covering material, but still keeping its softness and flexibility. Trying out different ideas, I experimented with many shapes to find the best combination of the two materials. Merging them into one object, I expected them to strengthen each other’s characteristics in order to achieve a textile sculpture which is transformable and moving.
Supervisor / Bella Rune Photo / Krisztina Szalay
Lively Chairs / 2015
Photo / Krisztina Szalay
Lively Chairs / 2015
Photo / Krisztina Szalay
Lively Chairs / 2015
Photo / Krisztina Szalay
Supervisors Bella Rune / professor Emese Benczúr / professor Tünde Bényei / assistant professor Eszter Révész / assistant lecturer Annamária Simándi-Kövér / assistant lecturer
Photo Balázs Fromm Ádám Polhodzik Krisztina Szalay GergelyTarján
/ 2014 - 2016 /