LCW 19: Blue Innovations: Contemporary Czech Indigo Prints

Posted on June 19, 2019 by Toothpicker

Ever since I became interested in indigo dyeing a few years ago, I noticed that the resurgence of natural indigo is also taking place around the world. The art and science of natural indigo dyeing is an important world heritage that connects us all, and its timely revival reminds us that this ancient art/craft is universal as it has been practised in different parts of the world for centuries and even millennia.

The Blue Innovations exhibition at the Czech Centre London that showcased the established craftsmanship of indigo textile-printing production in the Czech Republic. Prior to the visit, I did not realise that traditional indigo printing techiniques have been integral to Czech culture for centuries and are listed as UNESCO‘s lists of Intangible Cultural Heritage. I was also pleasantly surprised to learn that contemporary Czech fashion designers are now using traditioanl indigo printing techniques to produce beautiful and high quality handmade clothing and soft furnishings.

The small exhibition was curated by Alice Klouzková, a Czech fashion designer and curator who has collaborated with many Czech indigo craftsmen, and is determined to revive this ancient craft in her country and introduce it to audience abroad.

Sadly, there are only two remaining wood block printing workshops in the Czech Republic, in Olesnice and Straznice. Their techniques and formulas were inherited from father to son and were kept as family secrets. Now younger Czech fashion designers are working with these workshops and incoporating indigo dyed patterned prints into their designs to produce more sustainable and unique items. These designers include Monika Drapalova, Martina Dvořáková (MADE BY ORDINARY), Adéla Součková, and artist Petra (Gupta) Valentová etc.

The revival of natural indigo dyeing around the globe is far from a coincidence. It is part of the sustainable fashion and slow movements that are driven by designers, artisans, craftsmen, curators, and many consumers who are rejecting the fast fashion industry. Now is the time for all of us to reflect and go back to the basics, and I salute all those who are swimming against the tide to make this change happen.

LCW 19: Beyond Paper – The Craft of Material Making at G.F.Smith

Posted on June 17, 2019 by Toothpicker

I have been wanting to visit paper specialist G . F Smith‘s showroom since it opened in 2016, but somehow never got round to it. The London craft week provided me the opportunity to visit the showroom as well as the new exhibition ‘Beyond Paper – The Craft of Material Making’ co-organised by MaterialDriven, a design agency and Material Library. The exhibition presented a collection of new, experimental materials that are at the forefront of design and sustainability.

G . F Smith & Son was founded by paper merchant George Frederick Smith in 1885. And for nearly 140 years, the company has been providing the finest speciality papers to the creative and fashion industries. Their Soho 4,000 sq ft showroom features a 14m-long collection wall displaying their paper in 50 Colorplan shades, accompanied by paper installations that change regularly.

The company’s long-time collaborator Made Thought not only designed the colour wall but also the corporate identity that was awarded D&AD “BLACK” Pencil for Brand Expression in 2015 (see below).

For those who think paper is ‘dead’, they probably have yet to visit this stunning and inspiring showroom.

At the exhibition space downstairs, the display included a wide range of sustainable and experimental materials that reflect the current landscape of making across fashion, interiors, architecture, and graphics.

Some of the innovative materials at the show are as follows: ‘That’s Caffeine’ tiles made from used coffee grounds and biodegradable resin by industrial designer Atticus Durnell; recycled polystyrene by designer Sam Lander; Papertile made from 100% post-consumer recycled paper by design duo Jasna Sokolovic and Noel O’Connell; textiles made from upcycled seashore plastic by De Ploeg; and Ecopet, a recycled polyester fibre made from plastic bottles etc.

It is always encouraging to see designers and makers using waste materials to produce new and biodegradable materials are not harmful to the planet. We certainly need more innovations and collaborations in this sector as a way of conserving our raw materials and preventing further damage to our highly polluted planet.

To be continued…

London Craft Week 19: Contemporary Japanese craft

Posted on June 15, 2019 by Toothpicker

Indigo Hands installation at Coal Drops Yard

At the London Craft week this year, many Japanese craftsmen and artisans were invited to take part and showcase their exquisite craftsmanship. Although Japanese craft is highly regarded worldwide, the future of many traditional Japanese crafts is still uncertain due to the lack of younger people entering these fields. In the past, traditional craftsmanship is passed down from generation to generation within artisan families. However, due to dwindling demand, urbanisation, change of lifestyle and taste in Japan, few young people would want to dedicate their lives learning and perfecting an ‘old-fashioned’ craft. In order to preserve these crafts, artisans have to constantly evolve, collaborate, and innovate.

In recent years, the revival of natural and indigo dyeing proves that there is no such thing as an ‘old fashioned’ craft. After computer and mobile technology took over our lives for the past two decades, many people are now finding comfort and joy in making tactile craft again.

Eastablished in 2015, BUAISOU is a young team of Japanese indigo farmers and artisans responsible for the revival of sukumo – dried and fermented indigo leaves – in Tokushima, the hometown of Ai Zome (natural indigo dye). Tokushima was the top producer of Ai Zome garments in Japan in the 19th century with around 4,000 aishi (sukumo farmers), but due to the introduction of synthetic indigo and other various factors, now only six are left.

At LCW, Coal Drops Yard commissioned BUAISOU to produce a series of handmade and hand dyed flags, and the team conducted several onsite dyeing workshops in KIOSK N1C. Unfortunately, I missed the workshops, but I do hope to visit their studio in Tokushima in the future.

At Heal’s, the Japanese Craft Market showcased ceramics, Mino washi, blades, and wood craft produced by thirteen exhibitors from the Gifu prefecture. I visited Mino and Takayama in the Gifu prefecture last year, so seeing the crafts brough back memories for me.

There are several towns in the Gifu prefecture that are famous for ceramics, including Mino, Toki, and Tajimi. In Tajima, there is Ceramics Park Mino, a ceramic museum and park that showcases Japanese ceramics. The town also holds an annual ceramic festival during the second weekend of April which attracts thousands of visitors to this area. The region has a lot of small and large scale producers making tiles and ceramic wares including household items, crockery, sculptures etc. as well as huge furnaces and other equipments for industrial purposes.

The ancient town of Mino is famous for Washi (Japanese paper), which is used for shoji doors, umbrella, fans, lanterns and stationery. The high quality and durable handmade paper uses pristine water from the Nagara river and is considered as natioanl treasure in Japan. You can learn more from my previous entry on Mino here.

As soon as I arrived at Hida Takayama in the Gifu Prefecture, a glass showcase of wood crafted furniture at the railway station caught my eye. The wood-abundant Hida has maintained a woodworking tradition for over 1,300 years. This region is famous for its skilled woodworkers and beautiful handcrafted furniture, and its minimalist aesthetic is similar to Scandinavian design.

I think the exhibition was a good introduction to those who are unfamiliar with Japan’s regional craft and design. I hope the Toyama prefecture will be next on the list.

At the Spanish luxury fashion house Loewe in Mayfair, California-based mother and daughter team Shizu Designs demonstrated traditional Japanese basketry weaving techniques that transform rocks into art. Rattan or cane is used to wrap and tie the rocks with ornamental knots used in Japanese ikebana basketry. Shizu Okino and Karen Okino also contributed to the LOEWE Baskets accessories collection which features their signature style.

It was mesmerising to watch the two artisans working side by side. Basketry is another traditional craft that is being revived today, and I believe these collaborations are likely to make people appreciate traditional craftsmanship and see it in a different light.