WEAVING
WEAVING
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Weaving is a textile art that involves interlacing two distinct sets of threads or yarns at right angles to create a fabric or cloth. The threads running lengthwise are called the warp. The threads woven horizontally across the warp are called the weft.
The process of weaving often involves a loom, a device that holds the warp threads in place while the weft threads are woven through them.
A typical weaving loom
Brief History
The development of spinning and weaving began in ancient Egypt around 3400 before Christ (B.C). The tool originally used for weaving was the loom. From 2600 B.C. onwards, silk was spun and woven into silk in China. Later in Roman times the European population was clothed in wool and linen.
Egyptian art depicting women weaving
Young Miao girls(from China) learning weaving from an elder
Miao wedding dress
Maya woman weaving while wearing a huipil blouse
Maya embroidery weaving
TYPES OF WEAVING
BASIC WEAVES
Plain Weave: The simplest method, plain weave interlaces the weft wire perpendicular to the warp wires, creating a consistent, often square or rectangular mesh.
Twill Weave: Twill weaves create diagonal patterns by passing the weft wire over and under multiple warp wires. A common example involves the weft passing over two warp wires, then under two, with each subsequent row offset by one warp wire. More complex twill patterns are also possible.
Filtration Weaves: For applications requiring fine filtration, tight meshes are essential. Two primary techniques achieve this:
Dutch Weave: This weave uses warp wires with a larger diameter than the weft wires. The thicker warp wires allow for closer packing of the weft wires, resulting in a finer mesh.
Stranded Weave: Stranded weave uses multiple wires for both warp and weft. Combined with a twill pattern, this method produces the tightest meshes, ideal for microfiltration.
REFLECTION
To be completely honest, the thought of weaving filled me with a certain dread. I envisioned hours of tedious work, my patience dwindling with every passing thread. However, seeing my classmates' creative interpretations when I was back in school after a week of medical leave – from intricate 3D forms to whimsical additions like fairy lights – really sparked my interest. It was meant to be a group work initially, and I'd only have to do half the work, but I really wanted to see what I could create. The potential it had for unique expression within this seemingly simple technique...I was intrigued by the challenge of finding my own voice within this ancient craft.
INTENT & ATTEMPT
My original color scheme comprised of vibrant orange and teal, but considering the professional context of an office environment, I opted for a more subdued palette. Teal was chosen as the primary color, complemented by off-white for a refined look. To maintain a subtle nod to my initial concept, I incorporated subtle highlights of orange, adding a touch of unexpected vibrancy. While I appreciate the dynamic and experimental nature of my classmates' work, I personally preferred a minimalist approach, emphasizing clean lines and a visually harmonious outcome.
w1.mp4
The preparation process, stringing the yarns into every slot and determining how wide I want the weft to be.
Cutting and tying the yarns
Separating every strain of yarn into the corresponding hole beside it.
Yarn colours I chose
The most painful aspect was setting up the loom. The actual weaving process required patience, but I found it to be a surprisingly engaging task. With each thread interlaced, I began to visualize the final piece taking shape.
An attempt to incorporate orange highlights here proved unsuccessful, appearing amateurish and deviating significantly from my intended vision. Consequently, the orange was removed.
The successful element was a loop that seamlessly incorporated orange as a refined highlight, doubling as a practical key holder.
Subsequently, I explored a larger-scale execution, focusing on repetition as a primary design strategy.
OUTCOME
The uneven fabric edges, a technical weaving constraint, limited the design's potential. As the project was primarily exploratory, lacking a defined end product, practical applications were difficult to identify. A beanie was dismissed due to the loop design's redundancy, and a waist garment was deemed incompatible with the fabric's thickness and pattern complexity.
As much as I was against the idea of adding another sling bag to the party, it felt the most suitable.
I left the weave ends untied, aiming for an organic look that would enhance the bag's existing hippie vibe.
FINAL LOOKBOOK
The larger loop can be used as a handle for a different look, creating a unique, natural star shape when held, extending its potential as a lunchbox pouch.
The bag's reverse side presents a cleaner aesthetic, devoid of prominent orange highlights.
"Hippie garments embody a free-spirited, bohemian aesthetic with natural fibers, vibrant colors, handcrafted details, and loose, flowing silhouettes."
The small loop can be used to hang keys or keychains.
REFLECTION
While intentional design is often stressed, experimenting with new techniques proved that aimless exploration can lead to serendipitous outcomes. My initial vision transformed as I uncovered novel weaving patterns and functional possibilities. By my initial standards, this bag would have been a failure, yet I'm genuinely pleased with the outcome, technical flaws notwithstanding.
I'm grateful to be given creative freedom in this project to create anything that is possible, though I still ended up with a bag like many others, but its aesthetic aligns with mine. Characterized by clean minimalism, subtle robustness, and understated uniqueness.
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