WEFT
ISSUE I SPRING 2012
WEFT
IN THIS ISSUE.....
issuu.com/weft
EDITORS MEREDITH ARNOLD ELAINA BETTS
ART INSTALLATIONS
KAILEY POWELL
08 CHRISTO & JEANNE-CLAUDE 14 JENNIFER JENKINS 18 SEBASTIEN PRESCHOUX
MEGAN RUITER
FASHION FORWARD 26 30 42 44 48
TECH 56 STELLA X ADIDAS 60 CRAILAR 62 EVE KOUSOUROU 66 ONAO
SANDRA BACKLUND MOLLY SHEA JULIAN ELI ROBAIRE EMILY DAWN LONG SAMANTHA SHANKS
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ON THE COVER photography by dylan shaw designer molly shea model gia d’orazio stylists meredith arnold & megan ruiter assistant carson sanders
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a
b
o
u
t a letter from the editor
WEFT is a digital magazine that showcases the high end aspects of the fibers industry, making it the “go to� source for both young professional and aspiring artists alike. The readers of WEFT seek a magazine that not only keeps them currrent but has the ability to help propel them forward within their fibers career. This fresh and innovative e-zine features fibers within fashion, fine art installations, and editorials on street fibers as well as technological developments.
As the editors at WEFT, we are excited to launch our very first issue. Our deepest hope is that you are not only informed but also inspired. We scouted and handpicked every article and editorial with you, are readers, in mind. We’d like to give many thanks to all of the individuals who aided in the production of this issue. We look forward to continuing to create the magazine you love to read for many years to come. Xo, The editors
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christo & jeanne by Kailey Powell
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Christo and Jeanne-Claude were born in the same hour on the same day, June 13, 1935. Christo Vladimiroy Javacheff was born in Gabrovo, Bulgaria, of a Bulgarian industrialist family. Jeanne-Clade Denat de Guillebon was born in Casablanca, Morocco, of a French military family. Meeting first in Paris in 1958, the two ended up having their only child, the poet Cyril Christo, who was born May 11, 1960. Four years later in 1964 the artists moved to New York City, which has continued to be their home ever since. The worked of Christo and Jeanne- Claude have been displayed on four continents, and have been seen by millions. Between these two individuals they have inspired the world with their art. They have collaborated on realizing their art, which has impacted and transformed common notions of space, or more rather, the experience of a space. The collaborations between these two became communal events, during construction and after. “The Umbrellas,” installment brought enormous numbers of viewers simultaneously in Ibaraki, Japan, and at the Tejon Ranch in Southern California in 1991. Another large installement that brought a huge crowd during the two weeks that the work lasted, was “The Gates;” which was a series of flapping blanner-like panels installed in Central Park in 2005.
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In
Their
Own
Words
“We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful,’ Jeanne-Claude said in a 2002 interview. “The only way to see it is to build it. Like every artist, every true artist, we create them for us.” Christo: “We are artists; we do things for no particular reason – no particular purpose. It’s like painting on a white canvas – you cover it with paint; there is no reason to explain why you want to cover it with paint, or why you use blue and yellow or other colors.” Jean-Claude: “Our works have elements which are social, political, environmental, and economical of the walks, the roads, and even the rivers as in the Reichstag and the Pont Neuf.”
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Q+A
WEFT’s Elaina Betts had a chance to sit down and speak with Jennifer Jenkins, an undergraduate professor at SCAD. Jennifer’s work in both printmaking and fibers acts as a large part of the essential foundation of her unforgettable, colorful and abstract installations. EB: How would you categorize your work? JJ:I’m not sure really. I know that I enjoy process and need a certain amount of labor to go into a piece before I feel that it has value to me. If a piece comes along too quickly or easily I tend to discount it’s relevance in my studio practice. I need time with a piece. That is one aspect that tends to tie all of my interests together, mainly fibers processes and printmaking processes. EB: What differentiates your work, aesthetic and overall take on fibers, from that of the mainstream stereotype of this industry? JJ:Since the end of graduate school I have not really involved myself as much in fibers as I have in printmaking even though in my mind they are very relatable. I can’t say that I have a current understanding of the mainstream stereotype of the fibers fine art world, only a bit of an outdated understanding. I am not driven as much by a particular material or process but am finally at a point in my practice that I can pick and choose what best suites my current idea. This is probably the way it always should have worked but it’s taken me until now to finally work in a way that allows the concept to dictate the right material/process choices rather than the other way around. 14
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EB: Of all possible mediums, why is it that you prefer to use fibers to create your installations? JJ: For large-scale installations I prefer fibers processes because I can fill a space with a lot of texture, color and complexity, which aside from color, tend to be important aspects of my work regardless of scale or process. Fibers processes and materials are just more malleable when working three dimensionally. Printmaking I reserve for the image, fibers I reserve for space and metaphor. EB: Where do you find inspiration for your work and what was the inspiration behind the ‘combined” exhibit shown previously in Pei Ling Chan Gallery? JJ:I am most inspired by form and shape. I seek out awkward forms whether they come from animals, humans, natural elements or human constructions. I look for a shape or a three dimensional form that moves me in a visceral way. The forms that tend to do this have a broken beauty to them. I call them odd bodies. They are soon to be puppets! The show at Pei Ling Chan consisted of a combination of my Fibers works from 2005 – 2010. The show was tied together more by formal aspects, rather than by inspiration and content. The show represented many starts and stops in my studio practice from graduate school until present. As mentioned earlier there is a consistent presence of detail, time and labor. Outside of that the conceptual underpinnings were varied and searching. EB: How does the exhibition previously shown in the Pei Ling Chan gallery relate to the installations on the ceiling of the SCAD museum? Are they a series of works? JJ:They are two versions of the same installation. Of course each space is different and the piece feels different depending on the space it is confined to, but essentially it is a variation on a theme. The version that exists now at the SCAD museum is the 6th version, 6th installation. 16
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SEBASTIEN PRESCHOUX
by Kailey Powell
Self-taught artist Sebastien Preschoux, a French artist, has woven a stunning series of thread installations art works that fuse creativity, geometry, and night photography. With a camera and some well set lighting, Preschoux captures his string sculptures to share to the rest of the world. These images are the result of carefully placed and stretched lengths of thread that yield visually brilliant works of art.
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Textile arts are all about using threads and bringing them together to make cloth, thus that thread ultimately becomes a part of a larger object. Just by threading, Sebastien Preschoux makes these larger thread installations all around the natural surroundings that his work begins to take from. His thread installations are allcompleted, each by hand, with his belief being that art done by hand is more valuable than work that is easily reproduced. Preschoux also goes on stating that he believes that the time and effort that goes into a beautifully hand-made object is a priceless quality. His pieces are slightly contradictory, a series of geometric patterns placed in an environment that is occupied by organic shapes. With his work Sebastien tries to realize shapes with gradational materials and tools that the computer can realize within seconds with reference to this, he calls himself Man vs. Machine. His flat works and wall installations use the ethereal lines to create those same intricate and hypnotic patterns in a variety of colors and scales. He works mainly in three dimensions, using colored yarn to create these patterns in space. Sebastien’s best pieces of work happens to be in the most unexpected places; those being at the forest at night when the strings reflect light and creat bright vectors bursting from the center point. These outdoor installations that Sebastien Preschoux creates is one of a perspective-shifting experience in the view that defies expectations.
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Preschoux’s yarn installations arise from his graphic work and from the observation of the sunlight in nature. “With my work I concentrate on the line and its repetition. With these installations wanted to reproduce he sunbeams with colored cotton yarn,” Sebastien explains.
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BREAKING M AT E R I A L I S T I C B O U N D A R I E S By Elaina Betts
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SANDRA BACKLUND
has broken the barrier between the fibers and the high fashion industry by uniting them with her structural take on knitwear. Through the merging of these two industries, Backlund has been able to set herself a part, season after season from any other knitwear designer. Her knitwear designs compel her audiences to view knitwear, and the use of textile fibers in a fashion oriented way, which is rarely ever seen. As a member of Città delĺ arte Fashion, Backlund has agreed to take the initiative in her daily life to promote sustainability within the world of fashion. This Bio Ethical Sustainable Trend was initially instilled by Fondazoine Pistoletto (Pistoletto Foundation). The organization’s message was later unveiled to the public on September 22, 2009 by Italian Vogue’s editor-in-chief Franca Sozzani and artist Michaelangelo Pistoletto. Backlund’s unique take on this bio ethical endeavor within the high fashion industry has impacted the public, designers, and students alike; in way that it has surpassed any impact the Fondazoine Pistoletto could have ever hoped for. Her work each season still remains completely original, yet unyieldingly faithful to this concept of sustainability. Almost as though each collection is just another installment into this original experiment that has single handedly merged the fibers industry within fashion.
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xo,
mo
photographer
dylan shaw
designer
molly shea
model
gia d’orazio
stylists
meredith arnold & megan ruiter
assitant
carson sanders
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“I want these pieces to beautify the feminine form by embracing every curve and embodying what it means to be a woman. I want these pieces to be irresistible to the touch because of the textural surfaces. I want these pieces to bring joy to the woman that wears them, because they are made of things I love: lace, sequins, crystals, beads, feminine colors, and handmade details. I want these pieces to reference couture silhouettes from our past and epitomize the fashion we love today. I want these pieces’ laborious craftsmanship and careful details to reveal that the only choice is to covet them and I want [them] to be able to turn some one’s day around just by putting them on.” –Molly Shea, Fibers BFA student, class of 2012.
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m o l l y s h e a For our artist spotlight, WEFT wanted to choose a student from the Fibers department at SCAD who is vastly approaching graduation and is ready to take on what comes after school finally wraps up. We searched for a student who was ambitious, dedicated, and most of all exceptionally talented. Molly Shea has established herself as a respectable artist with much devotion to her schooling, which is reflected through the art she has created. With a background in fashion design, she has been able to understand the construction of garments and the way the body works in order to create beautiful and unique pieces of clothing for the feminine, fashionable woman today. After getting the opportunity to shoot some of her work in the studio, we were able to actually see up close and feel the garments she had created. It is evident that what Molly does is extraordinary with her attention to detail and the amount of time it takes to complete each piece. In a short interview, Meredith Arnold was able to sit down with Molly to pick her brain about a few different things regarding her work, as well as what comes next for the young artist.
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Q+A
WEFT�s Meredith Arnold had a chance to sit down and speak with Molly Shea, the designer majoring in Fibers at SCAD. Here’s what went down....
MA: I understand that you used to major in Fashion design. When did you decide to make the switch from fashion to fibers? MS: I am a very detail oriented person, so when I began in the fashion program, I enjoyed creating the garment, but I always wanted to keep adding little details to them. I took a few fibers classes and realized I could merge fashion and fibers together to create the pieces I love.
MA: How has your experience in fashion design played a role in your work in fibers? MS: It has made me a more of a well-rounded designer. They both inform each other in my work. My fashion and fiber skills and knowledge are what got me an internship at DVF last summer where I used both to help design embellishment for the collection
MA: Could you elaborate on the process of making all of those embroidered bloomers?
MS: The embroidered blooers took about two months to finish all five pairs. I draped and drafed the pattern first. Then I individually stretched each pattern piece and embroidered it. Finally, all the pieces got sewn together to create the finished bloomer. 38
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MA: And the chevron beaded lingerie with the lace?
MS: The beaded lingerie took 15 weeks to create. The pattern was hand draped and drafted, and then the bra was sewn and beaded. The lace and leaves were created separately using free motion embroidery and dissolving fabric. Finally all the pieces were sewn together to create the finished set.
MA: Is so impressive the amount of time that gets put into each garment as well as the different techniques that you put together to create a beautiful and unique piece of art. How do you get inspired to make these pieces?
MS: My favorite things in life inspire me, and that is usually where my ideas come from of what I want to create. The bloomers were originally inspired by my love of cutoff jean shorts and then evolved from there, and beautiful lingerie always makes my day better. I am a southern girl; so much of what I create is informed by the south.
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JULIAN ELI ROBAIRE by
Megan
Ruiter
Julian Eli Robaire makes garments, which express political concern, achievement and other social commentaries. A senior at the Savannah College of Art and Design, Julian Robaire hopes to inspire an audience’s social awareness through concept art and fashion containing commentary on relevant social issues. After studying patternmaking in an industrial setting, Julian decided to shift his focus to garment construction as he is most interested in the challenges of bringing a sketch to a tangible nature. Julian has used sheet metal and wire to create a futuristic look. The capes he created for the Witching Hour, an editorial feature in PaperCut Mag, are made from actual human hair. His use of intriguing materials and fibers are showcased in this fashion film ‘Peccati Capitali’. Enjoy.
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EMILY DAWN LONG by Elaina Betts 44
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It is often assumed that these two studies of media are separate industries; fibers as one and fashion as another. However, it is apparent that the two industries go hand in hand seamlessly. Emily herself states that in saying “almost everything in fashion has been done before, and it is how you can change it up to make it different, and honestly the only real innovative way to change a design is through fabrication.” That being said, it is the fabrication of Emily’s collection that allows her to truly utilize her textile skills such as the incorporation of beautifully handcrafted bamboo weavings as well as the manipulation of altered and digitally printed 70 + yards of naturally assorted silks and cottons. Emily has an indisputable love for working with her hands and it is this hand crafted aesthetic strengthens her work tremendously by adding originality that cannot be seen elsewhere. Thus, her work not only conveys her inspiration, but her aesthetic as well. The passion and diligence that this designer has for her craft is undeniably seen in every stitch of her garments, her ability to tacitly make her own fabrics, apply censorship, and care are conveyed as the fabrics weave in and out in varying color and intensity of her apparel designs. Fashion designer Emily Dawn Long’s knowledge of fibers cannot be categorized solely as background knowledge alone; as it is her double major in both fibers and fashion that allow her garments to function as designed. Emily’s inspiration originated through a trip she took to visit her brother in Amsterdam. While visiting her brother, the designer was constantly traveling and experiencing all that the country had to offer from museums to bike rides across the countryside. Throughout the duration of her trip, there was a great variation in the climate such as it may rain one day, become windy the next and then extremely hot on the third. With that in mind, Emily wanted to create “a collection of interchangeable outerwear the can be wore up to ten different ways; forwards, backwards, inside out, and even upsidedown.” Her refined eye for construction, passion for handcrafted fabrication and her personal aesthetic cumulatively come together to ultimately create a successful début collection. Many of Emily’s personal attributes aided in the development of her début collection, as it would with any designer imprinting their heart and soul into their garments. One of those attributes is the constant influence fabric has over her when designing. She is one of the few artists who begins their design process by first finding her fabric and allowing the properties of the fabric such as the weight, texture, color and the overall feel of the fabric to then influence her designs. This process of allowing the fabric to decide the design is a definite strength as it pertains to Emily’s collection. The fabrics that are structurally woven have a configured asymmetric nature to their silhouette and drape. Yet her chosen color palette of playful elements such as canary yellows, poppy reds and soft blue cheque fabrics are balanced out with minimalistic mauves, wickers and natural olive greens, which then add an organically playful nature to her structural design. Furthermore, though the design as far as the cut is concerned is structural and geometric, her draping and her ability to let the fabric decide the designs aids in the fluidity shown in each garment. WEFT believes that her passion for fabric and her knowledge of how to manipulate that fabric aids in the design of the garment and way the in design is received by an audience. This innate censorship and refined eyed for fabrication began with her study in fibers and was furthered through knowledge of fashion. 46
When asked what message she would give to fellow fibers students who are looking to branch out and take their work within fibers in a more fashion oriented direction, Emily had this to say “ Be Innovative, It has to be wearable but also creative.” These words could not be paraphrased, as they are the foundation of this collection and ultimately the call of action to those wishing to aid in both Emily and fellow classmate designer Samantha Shanks attempts at bridging the mental gap between fashion and fibers.
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century by
Elaina
girl Betts
The first ever collaborative collection between a fashion designer, Samantha Shanks, and fibers artist, Zachary Sauer, has taken the fashion world by storm. With their naturally appealing aesthetic of molding futuristic elements in a timeless manner, the brand “Egan+Wallace” has been put on the radar of several influential members of the fashion community. The designers have not only received positive reviews from Elle magazine and were rated in Savannah Magazine as one of future stars of Fashion, but they have also received interview requests from the Savannah News and met the exceptionalapproval of their colleagues, fellow students, professors and fashion lovers alike. Sam and Zack’s ability to recognize the strengths of their separate backgrounds and utilize them harmoniouslyis the foundational element behind the compelling and cohesive nature of their “Century Girl” inspired Collection.
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Q+A
Weft’s Elaina Betts had a chance to sit down and truly hone in on not only the inspiration of this collection but how it was strengthened and truly conveyed through the merging of these two industries.
EB: What was your inspiration for this collection? SS: Initially we began by looking at different topics. We started looking at Doris Eaton, she was from the Zeigfield Follies; she was an entertainer and she actually lived for more than 100 years. We wanted to look at all the different things she would’ve seen throughout that time period, she was born at the turn of the century and died after the millennium. So it was interesting to think about what all she’s seen. ZS: Exactly, She’s lived through all these great changes of new technology: new vehicles, cars, planes, spaceships yet she still kept her own sense of identity and feminity.
SS: It was both actually. Especially the silhouettes; we looked at a lot of dropped waists, dropped yolks and twenties silhouettes as far as the lengths go. But it also translated into the prints because we wanted to take the technological side of it too so all of these prints were created using different coding and computer programming.
EB: How does that inspiration translate throughout your collection, is it the silhouettes transitioning throughout the time period or your patterns as they relate to technology?
EB: you
Zachary, how would normally
does do
this within
differ from a fibers
what class?
ZS: It differs a great deal actually. In fibers it is very craft focused, we learn all of these different processes but there isn’t always a lot of time for us to make something that is a translation of those. We do a lot of samples, a lot of knitting, crochet’ or embroidery samples so we learn those technical skills. But there are not a lot of people who take it to a fashion standpoint or a more high end standpoint. A lot of the pieces within the department can tend to look homemade. A lot of people are interested in making small runs of handmade craft items or even fine art pieces. There are some interests within fashion but not a lot. 50
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EB: In opposition to the small runs of handmade craft items or fine art pieces that are normally seen within fibers, what made you interested in Emily’s collection? ZS: Well, she needed to do senior collection and we have known each other a really long time. At first, it started out with me doing the prints but it evolved into us co-designing everything together, a lot of the prints we actually co designed. SS: Exactly, It really did turn into a completely collaborative effort such as him helping to designing silhouettes and a lot of bouncing ideas back and forth. It turned into all nighters together all the time so it wasn’t just me being here sewing. He was very hands on, he was here hand sewing, or certain things like cutting our patterns. EB: The prints were created through technology, but let’s take a deeper look at the fabrication of the collection such as the embellishments shown and the different types of leathers being used. Where do they come in as far as your inspiration?
SS: Throughout the collection, most everything has a synthetic nature to it. The collar is real lamb skin leather but for the most part everything is synthetic manmade. Polyurethane rubberized jersey which is the white covering, Faux Lambskin which is the metallic gold color fabric shown here which all just takes on an artificial nature, which is what we wanted stay true to as well. EB: Zach, what would you say to fibers students who are looking to go in a fashion oriented direction? Where would they start? ZS: I would definitely say try to network, make friends with some fashion people. If you are not comfortable with garment construction yourself then there are always options to find someone else who is more proficient to work with a tailor or something. Because I think that what defers a lot of people that some fibers majors do not have a good understanding of construction which makes it very intimidating. EB: What do you see next for you all? SS: Zach has a few quarters left here. I’m heading to Macy’s for a while. But we are going to keep going with this and keep it on the side for now. But once he comes up to New York we are going to triangle it around.
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STELLA & ADIDAS By Meredith Arnold London based designer, Stella McCartney is really shaping things up in the world of athletics. Known for her signature style of excellent tailoring and feminine beauty, McCartney has also become a key player in sports performance collections. The designer started collaborating with Adidas in September of 2004 and has since then created a long-term partnership. McCartney’s collection for the sportswear company has successfully expanded to include clothing for running, gym, yoga, tennis, cycling and more. What sets McCartney apart from other sportswear designers is her intrigue of creating fashionable wear for athletes by usinginnovative designs and technologically advanced fabrics. The latest addition that McCartney has added to the Adidas collection is the new performance bra that includes a built in miCoach device that tracks your cardio stats in real time. Not only that, but this high-tech racerback also includes Adidas’s ClimateLite technology that wicks away the moisture from your skin to the surface of the fabric for quicker evaporation.
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Stella McCartney for Adidas performance bra climatelite technology.
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The fibers are responsibly treated in an enzymatic bath and then are entered into a specialized process which spins the straw-like fibers into soft, white fibers. The desired outcome is a yarn with the same feel and warmth organic cotton, but with “characteristics, such as textile strength, that organic cotton simply can never achieve.” Sounds like Crailar may be the new stand-in for the conventional cotton fiber, and with its new joint partnership with Hanes, it is likely that it will become a household nameforapparel knit products internationally.
C r a v i n g Cr a i l a r. by Meredith Arnold
An
eco-friendly
twist
on
cotton
It’s not news to our reader that cotton has recently getting a bad rap. Not only that, the Organic Trade Association (OTA) considers the fiber “the world’s dirtiest crop” due to its heavy use of insecticides. And to add to that, the cost of raw cotton is continuing to soar rapidly. So with all of the new information being released on cotton, new opportunities to promote natural fibers for apparel and textile use have emerged. Among these fibers is something called Crailar. Crailar is a flax fabric that was created in a four year long process by Naturally Advanced Technologies (NAT) in collaboration with the National Research Council of Canada. According to NAT, Crailar fibers are “the building blocks for the first truly sustainable yarn in the apparel industry.” 60
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EVE KOUSOUROU Eve Kousourou, a junior at the Savannah College of Art and Design, has created intriguing repeat pattern designs in her most recent CAD class. CAD stands for computer aided design. CAD is part of a whole new world in the fibers industry. Taking what artists used to do by hand and putting into the computer format. Eve Kousourou’s main focus in fibers thus far has been weaving. Weaving is a traditional, hands on approach to creating pieces in fibers. The two processes seem opposite from one another and produce two totally different outcomes. Working with CAD allows Eve to digitally perfect her work, while if done by hand it could take hours to fix a mistake or worse, the piece could be entirely ruined. CAD surface for fibers is ideal forcreating patterns for studio production, fashion, or interior spaces. CAD woven for fibers allows you to create structures to weave digitally. CAD woven is a good balance between the computer and hand aspect of design.Showcased here are Eve’s most recent repeat patterns made using CAD. by Megan Ruiter
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Artist Statement I am inspired by unusual things, things that are not necessarily beautiful to the eye. For this cad collection I drew inspiration from rashes and skin conditions. Skin cells are fascinating to me the way they spread and multiply and create a pattern on someone’s body. I admire that they are not controlled and act how they please. I chose the mudded hues to compliment the diseases in large.
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Super Naoron\nah ö·re on\ by Meredith Arnold
ONAO is a Japanese paper or “washi” maker who recently teamed up with industrial designer Naoto Fukasawa to produce the SIWA series. The name SIWA is an anagram for the word washi and also a word that means “crinkle” in Japanese. The team created a paper that had a special texture, didn’t tear easily, and was ideal for designing everyday goods that are individually crafted. The first material is called Soft Naoron, a paper developed from polyolefin and woodpup which utilized the washi-suki paper manufacturing method. Naoron is flexible, soft, and highly waterresistant. It also does not emit noxious fumes when it is burned.
h t t p : / / w w w . o n a o . c o . j p / s i w a / p r o d u c t _ e . h t m l #
The second material is RPF Naoron, or Recycled PET Fiber Naoron, which is created using the washi-suki method from recycled polyester fibers taken from used plastic bottles and textile products. It too is highly waterresistant, sturdy, and has the distinctive texture of paper. It can carry heavy items: has been tested for loads of up to 10kg Wet items such as umbrellas can be put inside without fear of tearing Fashionably designed with a range of totebags, overnight bags, wallets, coin purses and more. 66
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JOIN
THE
CONVERSATION
WEFT
When weaving a beautiful tapestry it is the weft that is the final yarn drawn through the warp in order to create the cloth, making it the most essential part of the cloth fabric development process. WEFT is the most essential part of educating the fibers installation artist, it is through the use of WEFT that the fibers artist stays not only current but is propelled further within their industry in a way they cannot be anywhere else.
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W E F T thanks Carson Dylan Gia Molly Samantha
Sanders Shaw D’Orazio Shea Shanks
Will
Foster
Zachary
Sauer
contributing photographers Peter Farago Jake William Hamilton Rockie Nolan Viviane Sassen Alana Al Sayed Dylan Shaw ShopSCAD
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