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Print works BRIGITTE SINGH LIVES AND WORKS IN IMPRESSIVE SURROUNDINGS
Nestled in Narad ka Bagh, on the outskirts of the rose pink city of Jaipur, is the home of Brigitte Singh. Hidden behind bougainvillea this haveli-style house is the perfect refuge for this gifted textile designer.
03 KarenElson. D ollyand'ScissorsBoy' . Fitzrovia,London,2008,British Vogue.04GuinevereVanSeenus.GlenhamHall,Suffolk,England,2006,British Vogue.
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Photography by Claire Richardson
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On a summer's day, when the streets are packed with gallery-goers, it’s hard to imagine that this was the lonely spot where the Pilgrims first set foot.
They sailed on, but at the end of the 19th century, another colony was
established in this one-time fishing village. Impressionist painter Charles
Hawthorne came from New York, and was captivated by the extraordinary light
that gilds all it touches. He formed the Cape Cod School of Art and by 1916 there were six art schools. In the 30s, the Modernists appeared, Franz Kline and Mark Rothko were at work; and Jackson Pollock held his first exhibition of abstract expressionism. In 1961 the natural beauty of the area, which had drawn these artists, was permanantly protected by a bill signed by President Kennedy which forbade development along a 30 mile stretch of the Atlantic Coast. Today the Provincetown Art Museum offers courses and the Provincetown
Art Guide will help you find the galleries tucked among the weathered salt box
cottages – the Berta Walker gallery often features artists working in fibre. There
are over 40 galleries to see; to keep your energy up, buy an ice cream cone
from Lewis Bros on Commercial Street – black raspberry or peppermint stick are the first of many flavours. www.provincetown.com
The old village of St Ivesin Cornwall is a place of contrast, at once as quaint
as the cobblestones that pave the streets, and as contemporary as Tate's 1993
building that is wrapped in glass for a wall to wall sea view from its perch on the hill. Tate's St Ives outpost capped the long artistic tradition here, from the early 19th century when Turner was attracted by the dramatic effects of sea and sky. In the 1880s a new artistic generation arrived seeking the simple life in the old fishing town. They were dubbed the Newlyn school, painters like Stanhope Forbes and Frank Branley who followed the Impressionists' credo, to observe real life, and to work outdoors, en plein air. The last wave of artistic settlement came in the 20th century, when the modernists discovered the inspirations of St Ives, a group
that included Ben Nicholson and sculptor Barbara Hepworth, whose studio and
sculpture-studded garden are open to visitors.
Art remains the focus of a town that once lived on the fishing fleet. The lanes are lined with shops of all qualities – it may seem all too easy to find a seagull made from a rock, for instance, but look a little farther and discover a thriving community of artists in their studios and galleries working in a broad range of media and method. Finish the day with a stroll along the Coastal Walk, then find a restaurant that buys from the fishing fleet that provided so many artists their subject, and travellers their dinner. www.stives-cornwall.co.uk
The short voyage from Vancouver to Salt Spring Island offers natural beauty on all sides, bathed in light reflected off the water, the hillsides a maze of greens, from pine
to grasslands, sail boats darting along the shore. Salt Spring Island is a blend of these
beauties, with an atmosphere that has drawn visitors and settlers for many years. It has
evolved as a haven for those seeking an independent life to pursue their dreams,
whether it's an ecologically correct farm, or baking the best ever banana bread, or capturing nature's greens and blues in a woven tapestry. All this comes together each Saturday in the town of Ganges where the waterfront Centennial Park blooms with 150 locals offering their wears for sale. Hundreds wander among the booths, where artists and artisans, bakers and tie-dyers, farmers and chutney-makers unpack their goods from eight in the morning, “Make it, bake it or grow it” is the rule.
Artists are scattered throughout the island, with open studios on many days; get
a Studio Tour map, and follow the sheep-shaped signs. ArtCraft offers a year round
juried display of the best at the historic Mahon Hall gallery in Ganges. Food here is
an art in itself; with so many farms on the 70 acre island, the raw ingredients are first rate. And there is the island itself to explore. www.saltspringisland.org
Salt Spring Island evolved as a haven for those seeking an independent life...
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Just outside Melbourne, in the suburb of Eltham, stands what seems to be a
small European village, a collection of roofs, turrets and half-timbers. The
dozen buildings resemble rural France but their origins lie in the Australian artist and architect Justus Jorgensen whose first trip to Europe left him with an accomplished painting style and a longing to recapture what he had seen. Jorgensen was a leader of a bohemian artistic set. There were artists living in Eltham, and he was determined to build here. With grand ideas and a small budget, he turned to traditional Australian building methods, like mud bricks, and scrounged stone and timber from buildings knocked down in Melbourne's push to be modern. He wanted to create a colony of artists
who would work together, in an atmosphere of tranquility and beauty.
Students and friends rallied to the challenge, and in a few years of hands
on labour – students carved the corbels round the windows – produced this idyllic 12 acre retreat, with a soaring Great Hall at its centre. Artists still have studios here and the Great Hall remains the focus for exhibitions, courses and music festivals. The garden paths and fountains, the sound of splashing water and the wind in the eucalyptus interrupted by the peacocks' squawk, continue their gentle inspiration for anyone who visits. www.montsalvat.com.au
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Roses without thorns SILK FLOWERS FROM THE LEGERON WORKSHOP IN PARIS
Bruno Legeron's workshop in the centre of Paris appears, at first sight, to be a florist's paradise: each exquisite bloom is an unblemished example of floral perfection, immune to withering or fading, petal drop or leaf fall. For these flowers are destined to adorn the creations of the world's leading haute couturiers and fashion designers and are handmade, in silk, following
methods that have scarcely changed in 200 years.
Legeron, now 46, has been working here since he
was a boy and learned the art at his mother's knee. She acquired her skill from her own mother, who had been taught by her father – the founder of the family business. “We use almost exactly the same tools and methods that my great-grandfather used,” says Legeron, with pride. “And I make our own paints from pigment and alcohols, just as he would have done.” A dozen skilled employees and one or two trainees now
work beside Legeron in the busy workshop. “I used to
come here everyday after school,” he recalls. “It was a
magical environment for a child – silks, flowers and feathers in every colour imaginable filled the rooms and the skill of the artisans was mesmerising.
Here he learned to work with silks and a variety of other fabrics according to the client's wishes. The first step in the process is to stiffen the material, using starch or a similar agent. When dry, the fabric is cut into petals and leaves, following any one of the thousands of patterns, which echo the minute variations that nature imposes upon her own creations. Each shape is
then painted with meticulous observation of the natural
distribution of pigment within each part of a flower.
Hundreds of drawers, lining the walls, hold the resulting components, which await the composer's skill with thread and glue to assemble them into roses, lilies, peonies or indeed, the most far fetched and exotic of 'fantasy flowers', the likes of which would send Linnaeus spinning in his grave. “I am not a botanist!” laughs Legeron, “This is art, not nature!” But whether destined for Dior or Courrèèges, Cardin or Galliano, each
silk bloom is an individual creation; for in Legeron's
workshop, just as in the natural world you will never
find the same flower twice.•••Kirsty Fergusson Bruno Legeron, 20 rue des Petits Champs, Paris 75002 France, T: +3314296 9489, www.legeron.com
äR col la boration wi th Legeron
Teruyuki Y oshimura, © HUG O Wä
Marie Jose Jarry
Special occasion
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Join us on a private tour of VV Rouleaux’s treasure filled ‘trade vaults’ and take part in a floral trimming masterclass. The names VV Rouleaux and Annabel Lewis are synonymous with fine ribbons and gorgeous trimmings so
we are delighted to offer our readers the chance to take
part in this special event. Each guest will complete a ribbon
based project and hear Annabel Lewis’ decorating tips and
suggestions. Our masterclass will be followed by a glimpse
of the thousands of ribbons, trimmings, flowers, feathers, beads, braids, tassels, vintage bridal headdresses and veils, and other irresistible things in Annabel’s vaults. Guests will have an opportunity to buy at a special discounted price and the afternoon will
end with tea, cakes and
the chance to chat with
others who share your
passion for passementerie.
Established in 1990 VV Rouleaux has grown from a niche shop in Parsons Green to the most creative ribbon company in Europe. Annabel has
sourced styles of ribbons
never seen in this country
before, from Japanese
organdy to French wire-edged taffetas. Her experience as a
florist taught her that variety and choice were the key to tempting people to return to ribbon “to sell one begonia you should have a display of five begonias, and in a whole range of sizes and colours” explains Annabel. This wide selection coupled with her talent for colour, texture and attractive display made ribbons daring and desirable once more. ••• Selvedge Special Occasion, Saturday 6 September 2-5, VV Rouleaux Vaults, 6 Tun Yard, Peardon Street, London SW8,
Nearest train station Wandsworth Road, South London Line
from London Bridge, £30 (tea included), numbers are limited to book call T: 020 8341 0721, assistant@selvedge.org, www.selvedge.org, www.vvrouleaux.com
Claire Richardsom
industry
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In a country where the quality of light gives intensity to colours and motifs, the closed gardens and abandoned palaces of Tangier are are the perfect backdrop for a display of excess pattern. Whether straight-as-stems stripes or overdoses of roses, mixing the control of stripes with an explosion of florals creates a dense, fragrant atmoshere. This fashion hybrid combines colour-woven stripes and checks with a variety of floral techniques – from print to
jacquard, devore to embroidery – in a series of unisex
forms borrowed from traditional North African tailoring,
such as djellabahs and caftans. Layering several techniques on one fabric adds interest to these forms, in the same way layers of clothing bring visual richness to an ensemble. In the home as well as in the wardrobe inspiration can be taken from flowers, stripes, composing bouquets of contrasting colours and lines that form a heavenly whole, like the man-made structures and natural meanderings of a garden.
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01 Djellabah, a loose, hooded garment with full sleeves, Miko Sum Man Sing 02 Stripped silk fabric, Briggite Perkins, showroom, near the Jemaa el Fna, Marrakech, appointment only, T: +00 212 2437 7416, hanbel djellabah made from an antique tapestry, Abdou Ghirdou 03 Natural woven and embroidered background, Boutiquèè Majid, T: +011 212 3 993 8892, www.boutique majid.com, ground cloth, Lina Audi for Liwâân, 8, Rue SaintSulpice, 75006 Paris. T: +01 4326 0740, organza kary pants with floral embroidery, Abdou Ghirdou, 04 Yellow silk with purple cut velvet flowers, Boutique Majid, as before, canvas djellabah, Miko Sum Man Sing, antique gold caftan, Galerie Tindouf, 22 boulevard Mohammed VI, Marrakech, T: +00212 (0) 2443 0908, embroidered scarf, Boutique Majid, as before 05 Embroidered background cloth, Lina Audi for Liwâân, as before.
Contents
SELVEDGE('selnid3) n. 1. finished differently 2. the nonfraying edge of a length of woven fabric. [: from SELF + EDGE]
INDULGEtextiles to buy, collect or simply admire 13 Outlines are in Silhouettes are the shape of things to come 15 Readers offers Up to 25% off holiday essentials and stay at home treats 19Bloom Shopping for budding floral fanatics 38 Hot house flowers Cultivated cloth 71Selvedge Objects Tempting new products and our best selling favourites
INDUSTRY from craft to commerce 30 Roses without thorns Silk flowers from the Legeron workshop in Paris 32 Heaven scent Floral fragrance in fashion 77 Susanne GrundellGeometric designs with their roots in nature 79 Design fileA case study of classic textiles: Mariska Karasz
ANECDOTEtextiles that touch our lives 96 Lei of the landA lasting symbol of Hawaii
CONCEPTtextiles in fine art 40 Summer of loveTakashi Iwasaki walks on the sunny side
ATTIRE critical reporting of fashion trends 20 COVER STORYThe illusionistThe magic toy shop of Tim Walker 26 Control and excess Relax in robes, kaftans and intense colour
COHABIT stunning interiors beautifully photographed 54 Print worksBrigitte Singh’s impressive surroundings
GLOBAL travel destinations and ethnographic textiles 43COVER STORYPress onToy and Joy Singh’s passion for block printing 52 Building blocks The foundations of the Anokhi Museum 60 Material goods The fantasy of Asia 67COVER STORYGroup project Consider a creative break in an artists’ colony
INFORMthe latest news, reviews and exhibition listings
04 bias/contributors 05 correspondence 07 news
Trends and essential ideas 11 sustain
Mending our ways: ethical
textiles 17 In the bag
Shop smart with our Linnet
bag pattern 85 Select Not to be missed
exhibitions and events 86 international listings
Exhibitions, fairs and
events 88 view
Compton Verney, Cloth and
Culture Now, British Sari
Story, Re:weave
Christopher Farr, Psycho
Buildings, Skin and Bones 95coming next
The Harvest issue 93resources Information and research
links for this issue 80subscription offer A Gudrun Sjöödéén printed
cotton purse worth £7 for
every new subscriber and
renewal plus Linnet bag
kits and Susanne Grundell
printed seedcushions
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inform
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