so we went to the textile exhibit in the National Museum the other week and lemme tell you those people knew what they were doing

so here are Muslim Mindanao and Lumad-inspired pieces (probably also a bit of Alexander McQueen and D&G aesthetic inspirations here and there)

Visit “Art of the Zo: Textiles from Myanmar, India, and Bangladesh” for a closer look at this loom and in-process textile. Zo weavers use simple back-tension looms made of bamboo rods and wooden sticks. The far end of the loom is tethered to a fixed object, and the near end is attached to the weaver’s waist by a belt.

Mro weaver Win La Oo makes a shoulder cloth on her grandmother’s loom. Lanmadaw, Myanmar, 2003 (© Barbara and David Fraser)


These dazzling strip-woven textiles, popularly known as kente cloth, are made by masterful Asante and Ewe weavers in Ghana. One long strip of cloth is woven with patterns that are carefully planned to form a checkered design when the strip is cut and sewn together. Explore strip-weaving and other time-honored African textile patterning techniques in “Threads of Tradition,” one of our five Creative Africa exhibitions.

Woman’s Cloth (One of a Pair), c. 1930–80, made by the Asante culture, Akan peoples, Ghana

Man’s Cloth, c. 1930–80, made by the Asante culture, Akan peoples, Ghana

Man’s Cloth, c. 1920–70, made by the Ewe or Adangme culture, Ghana or Togo

New Ways of Viscosity

Upcoming exhibition from @ejtechnology features a collection of physical net art inspired objects which have tactile interactive qualities:

As recoil to the exponential invasion of digital carvings landscaping our lives, a craving for tactility, depth and dimension has led us to long for lost materiality and reconsider the role of physicality and substance once again.

In its origin, this exploration began by binging on ultra high resolution renders, edging towards the improbabilities of awkward dynamics and impossible physics, swinging between self evident CG and skin tight texturing. Conspicuous compositions, shiny still-life-inspired visuals blended into illogical geometries, distorted characters, plants and art history classics. This new kind of materiality was conceived for an onscreen lifespan only, luring the senses to a hyper-haptic awakening.This multi-dimensional ambition, unconfined, constantly and capriciously multiplied and transmitted, adopted and adapted, is flattened for the screen, fit to view in a browser.

“Vision is an extension to the sense of touch” as Juhani Pallasmaa puts it in his book The Eyes of the Skin. All senses can be regarded as specialisations of augmented skin. 

More Here


Looking to sparkle this New Years Eve? Visit “Silver and Gold Fashions Since 1960” for inspiration. According to H. Kristina Haugland, the Le Vine Associate Curator of Costume and Textiles and Supervising Curator for the Study Room, the glittering dresses and accessories “include styles from the glamorous to the revolutionary. Would you rather wear body-hugging sequins, sinuous lamé, or romantic ruffles? Or would you prefer to bare almost all in a dress made entirely of plastic discs?”

Woman’s Dress, Fall 1992, designed by Todd Oldham

Woman’s Evening Dress and Belt, 1967, designed by Norman Norell

Woman’s Evening Dress, Fall 1982, designed by Hubert de Givenchy

Woman’s “Mercury” Evening Dress, Fall/Winter 1994–1995, designed by Geoffrey Beene

Woman’s Dress, 1966, designed by Paco Rabanne

This beautiful silk costume is on display at the Victoria & Albert Museum’s new ‘The Fabric of India’ exhibition. It was designed by Abu Jani Sandeep Khosla for the most expensive Bollywood film of all time: Devdas. The decorative mirrorwork made the dress exceptionally heavy; it could only be worn for promo shots.

Check out ArtMastered’s official Instagram account for more preview images of this great exhibition - and give us a follow if you’re feeling generous! All images, including the above, are my own.