See also: [Part 2].

Pia Wallén’s thoughts on designing the FÄRGLAV quilt cover.

“FÄRGLAV quilt cover has fabrics in two different colours that overlap on each side, so you can vary the look of your bedding. That also means there is no back or front, up or down. Where the two colours meet you can find the hidden zipper that keeps the quilt completely enclosed within the quilt cover. Thanks to the blend of lyocell and cotton, which transports moisture quickly, FÄRGLAV is really nice to sleep in.”

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The Art Assignment: Make a Rug

Artist: Echo Jardini, they/them/theirs

The first picture shows the rug I made last August. It has lived in my dorm room since then and while I’ve had it I have curled up on it(’s tiny surface area) when I was overwhelmed, had friends sit on it when I didn’t have enough seating, and sat on it as I was working on art too big to use my desk for.

However, as I was moving out of my room I was forced to consider just how weird and wonky my poor rug actually was (see the third picture, and how it is vaguely tube-shaped). I did some research and realized- I never actually added stitches when I was making my rug. I decided to unravel my rug and re-make it, the right way this time. (The last picture shows my rug ‘yarn’; for reference, the largest ball was basically the size of my head.)

The second picture shows my beautifully re-made rug! It’s about a meter across and twice the size of my original rug. I’m excited to see what new adventures my reincarnated rug will witness, it will grace the floors of my first apartment, and many other things I cannot even imagine.


(via The Planthunter)

 True Indigo Dyeing: The Fermented Vat

 Belinda Evans

Some quotes:

For seven days our group of seven eager students and one master indigo dyer, Aboubakar Fofana, have been lovingly tending to a naturally fermented indigo leaf vat, feeding it organic wheat bran and balancing it with lime daily.

Today, like every other day, Aboubakar has arrived earlier than everyone else to spend time with the vat. His love for indigo dyeing is immediately apparent from the way that he speaks about this ancient natural dye and the careful way in which he handles the vat.

Once the lid is gently prised off and set aside, immediately the eye watering scent of ammonia fills my nostrils. Physically, my body wants to recoil from this pungent aroma, but my fascination with this extraordinary solution and excitement for the colours that I will be able to draw from it brings me closer.

One by one, we gently lower our linen, feathers, silk, leather and wool into the vat, working the indigo through the fibres under the watchful eye of our teacher.

As we remove our pieces from the vat, they’re a golden, green colour. After a few minutes of gently waving them in the air, they oxidise to that indigo blue that we all know so well. Repeated immersion and working in the vat deepens these blues. I lost count after hours of working in the indigo, but I estimate that I immersed one piece over 30 times, resulting in a deep, midnight blue.

A graphic designer by trade, Aboubakar has now devoted his life to reviving the Malian textile industry by sharing his passion for and knowledge of ancestral growing, weaving and dyeing skills with his community in Bamako and the world.

His fascination with the green leaves that yield a blue colour started when he was seven years old. Spending time at his Grandmother’s house in the Guinean countryside, he came to understand the different uses for wild plants, and the one that caught his imagination the most was indigo.

By this stage, natural indigo dye was already almost a completely lost tradition in Mali, having been largely replaced with synthetic blue dye.

But as any plant-dyeing aficionado will attest, the depth of colour that natural indigo achieves can never be matched by synthetic substitutes. There is nothing like the beauty of truly natural indigo dyed yarn and fabric.

Follow Aboubakar on Instagram to share his natural dyeing journey.


PomPom Mirror

Interactive installation by Daniel Rozin is the latest in a collection of mechanical mirrors - this one is made with an array of contracting pompoms in a half-tone arrangement:

Rozin’s anthropomorphic PomPom Mirror features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a ‘push-pull’ forward and backward motion of meshed ‘pixels’. Ghostly traces fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own.

The work is currently shown at the bitforms gallery with other new works by the artist, which you find out more here


Electroloom - First 3D Fabric Printer

Interesting 3D printing use case with potential. Electroloom uses an electrospinning process to convert liquids into solid fibers which are then deposited onto a 3D mold. It’s basically a machine that shoots fibers onto a 3D shape, where they bond together.

The Electroloom Developer Kit is a tool for designing and manufacturing custom 3D fabrics. When interacting with our machine, there is no need for thread, needles, or sewing. Instead, our users need only some simple CAD skills to design their patterns, and the Electroloom does the rest.

The following infographic explains the design process:

Support them on kickstarter and buy tanktops, skirts and alpha versions of the Eletroloom.

[Kickstarter] [Electroloom] [gif & infographic by Electroloom]