‘The intrinsic decorative urge should not be eradicated, it is one of humankind’s deep-rooted, primordial urges.’
Modernist Eveline Syme also attended the George Bell school in Toorak, Melbourne.
Many students passed through George Bell’s art school.
Vogue Australia was one of the first fashion magazines given permission to shoot in Peking. It was 1981.
Imagine the brief from the Australian Wool Board. Women and Sheep.
Not a horse in sight for these Melbourne Cup Women’s Weekly covers.
Oh the great Spring Racing Carnival lovingly captured by visiting artist Carl Kahler.
The brother of painter Julian Ashton, George Rossi Ashton, came to live in Australia for 14 years or so and captured beautifully the characters of the time.
Australian Town and Country Journal sent journalist Sleipner to report on the 1882 Cup Day.
William Morris was a brilliant pattern maker.
Madeleine Vionnet revolutionized (a strong word I know) garment making by introducing the bias cut.
Another bit of history from Dior.
Christian Dior started off life running a small Daddy financed art gallery.
When Hermès made its first silk square in 1937 Josef Albers hadn’t yet painted a square.
Josef and Anni Albers were together, a couple, living collaboratively.
Anni Albers is from the weaving world.
I saw this portrait of Eszter Harazty and wondered who had taken the photo.
Portraiture kept popping up for me this week.
In the Knoll Textiles book I was also drawn to the work of Viennese born Gretl and Leo Wollner.
When I was writing about Ludwig Becker’s Fata Morgana a couple of weeks ago I had to look up the meaning. The expression has popped up again. The name of one of Eszter Haraszty’s textiles for Knoll Textiles. La Fata Morgana is an Italian phrase for the Arthurian sorceress Morgan. The Sicilians believed the mirages often seenContinue reading “Eszter Haraszty and Knoll”
Another stand out for me in the Knoll Textiles’ catalogue is the work of Angelo Testa.
I’ve been looking at the encyclopedic exhibition catalogue of Knoll Textiles for a couple of weeks now.
Like paisley the old hound’s tooth is a classic.
Raf Simons has created for Jil Sander an elegantly restrained collection.
I’m a real fan of things Pringle.
The latest and last D&G runway show was an homage to the square scarf.
I’ve been contemplating prints in fashion.
Buildings with anthropomorphic qualities.
Another textile artist featured in the Museum of Modern Art, New York, is Reiko Sudo.
I’ve always been attracted to this sculptural image of Miyaki’s minaret dress.
There’s an artist in Japan called Hiroyuki Shindo who is determined to keep the art of indigo dying alive.
‘Fabric is everything. Often I tell my pattern makers, just listen to the material. What is it going to say? Just wait. Probably the material will teach you something.’
There is a beautiful kimono on display at the National Gallery of Victoria here in Melbourne.
The woven stripe has a long history in Japan and this history was passed on from generation to generation.
Me, my work, and the Bauhaus.
There are some interesting fabric pieces to see at the National Gallery of Victoria Vienna Art and Design exhibition, although I could have done with more of Josef Hoffman’s Wiener Werkstätte textile designs.
Maybe you’ve heard of Eileen Gray.
Englishman Paul Nash made this piece of fabric for the Old Bleach Linen Company in Northern Ireland.
Heard Professor Marie O’Mahony on the old radio the other day talking about textile companies using gemstones in fabrics.
I love the way Teresa Liano attached the metal chain from her Anya Hindmarch bag to her Longchamp pouch.