new tiles coming soon...

it’s been a while since we made a blog post about anything happening at the studio, because, well, it is a well oiled machine now of things getting designed, printed block by block, then made up and sold… but even with our modular system and infinite possibilities, it’s good to refresh things from time to time and add new ingredients to the well-liked recipes. so we’re working on a brand new tileset - see a little glimpse below!

we’ll be working on some brand new prints with these in the coming months - of course, these tiles will be part of our MODERN collection, not just creating a beautiful collection on their own but working well with more than a hundred of others, extending the possibilities for ever more varied patterns.

if you’re interested in anything bespoke, please do get in touch, we’d be delighted to hear about your project and print fabrics for your interior schemes.

if you got curious about our new stuff - just bear with us while we are putting them together please, you can be sure they’ll arrive in beautiful, bold colours and our signature architectural style! do watch this space…!

exhibition recommendation: andy warhol's textiles in edinburgh!

hello again, long time no see, another month went past so quickly. of course, we were quite busy getting our new lookbook published, but even amidst the busiest periods it’s important to make time to get inspired. i thought that i’d recommend something a bit different this time - we aren’t going to recommend a building (well, yes, sort of) or a book (well, yes, sort of…!), we’re going to an exhibition - to my favourite venue in edinburgh - the dovecot studios!

if you’re in scotland, and are into textiles, it’s an absolute must to visit this tapestry studio (chances are, we might have met there as it’s also my favourite place to exhibit at fairs here!) and this spring they have prepared something quite special for visitors - andy warhol’s textiles!

it’s not the first time i saw some them in scotland - a few years ago a wonderfully curated exhibition of artist’s textiles took place in new lanark, which included his work as well as fabrics from picasso, dali and miro amongst others. i remember it being quite large and certainly beautiful - a rich journey into textile designs by artists we mostly know for their paintings and sculptures. this one is based on a similar concept - we all know andy warhol the pop-artist but how much do we know of the textile designer?

the dovecot curated it into a smaller and more focused exhibition that goes through his commercial textile designs. if you’re familiar with his logos and other commercial work, you’ll instantly recognise the easily reproduceable, wet inky screen printing style that marks all the exhibited textiles. the exhibition details this process a little bit if you’re not familiar with it, as well as shares some of the commercial background of the textile businesses these were produced for.

it really is a joyful ride with conversational patterns - mostly on 1950s and ‘60s fashion pieces. you might have seen the button prints before, but there are brooms, pretzels and gardening tools too… and it’s also quite interesting to look close-up and see the graphical quality of the designs. it is also a journey into how the textile industry used to work just a few decades ago.

i have not taken many photos at the gallery itself as it’s much better to look at it in person. however i did buy the big book (i do not often do it after exhibitions) to remind myself of these patterns from time to time.

go go go and see this - highly recommended! until 18th may.

-

links:

andy warhol - the textiles at the dovecot studios

in conversation with gina nadal of woven memories

hello again, long time no see - i’ve accidentally become a bit of a recluse recently, apologies. in the midst of all the usual busy things though (with new lookbooks and festive market preparations…), i do want to bring you some great posts to read about so i thought it’s time to have a brand new design conversation with someone truly brilliant – i’ve brought you here gina nadal of woven memories, who i first met last year at the CLOTH market in dalkeith. the geometric patterns on display with a computer screen really caught my attention and i had so many questions, so i thought why not have this fascinating conversation right now. so come sit down with us as we delve into process, materials and inspiration with gina!

photography by roxana alison

ZITA: hello gina! i’m very excited to speak to you today, so first things first - could you say a few words about yourself, what you do and how you got there?

GINA: hi zita, it's nice to speak with you. i’m a handweaver based in manchester, originally from barcelona. i moved to manchester in 2015 to pursue an MA in fashion graphics. during my master's programme, i developed the concept of "woven memories," which combines weaving and digital coding for three primary reasons. firstly, to celebrate the shared history of both techniques. secondly, to produce on-demand and reduce waste, challenging mass-production practices. thirdly, to create products that establish an emotional bond before they are made.

while there are numerous studies on the emotional connection people have with objects during or after ownership, there is limited research on how to design this emotional bond during the pre-ownership phase. this was my primary goal during my MA. by bridging these three areas, i encouraged people to use an online interface to write messages. the text was then transformed into abstract patterns by using binary code, which i wove into scarves.

following my MA, i secured a PhD scholarship to further research this area and contribute to knowledge. in 2022, upon graduating from my PhD, i decided to transition into a full-time venture and adapt my research into a business model. customers can now design their patterns by writing messages, and woven memories' online tool translates them into abstract patterns, which I then weave in my studio.

ZITA: what an amazing journey. i first encountered your designs at the CLOTH market in Dalkeith - as a pattern designer myself, your moving, animated display on your computer screen immediately caught my eyes. could you please explain a little bit about your fascinating process?

GINA: woven memories studio specialises in personalised handwoven homeware and fashion accessories. to personalise these items, the customer plays an active role in the process, becoming a co-designer of the final product. as mentioned earlier, customers can use woven memories' online tool and are encouraged to type a message. this message can be personal, contain the lyrics of their favourite song, or even a poem. while typing, the pattern is generated in real-time by translating the letters into patterns using binary code. once the customer is satisfied with the text, they can further personalise the design by selecting colours, adjusting the pattern repetition, or applying mirroring.

i believe these products are perfect as gifts for celebrating special occasions like birthdays and christmas, as well as for commemorating loved ones who are no longer with us.

photography by lauralaura studio

ZITA: oh yes, it is very giftable and i love the idea of translating words into the language of weaving. that makes me wonder, do sentences always come out as a workable weave or are there ones that work less than others?

GINA: certainly, some sentences result in more visually appealing patterns due to the way they stand out. for instance, the other day, i was experimenting with the online tool and wrote 'i love you' in different languages; armenian and punjabi produced patterns i particularly liked. however, i do have two favourite quotes. one is a quote from ada lovelace that encapsulates my research and the concepts behind woven memories: 'the analytical engine weaves algebraical patterns just as the jacquard loom weaves flowers and leaves.' another quote from victoria mitchells states, 'textile becomes a kind of speaking and for language a kind of making,' which i believe reflects what my products achieve—they convey messages on their own, and language brings them to life.

ZITA: that’s really beautiful, and i absolutely love the play with all the different languages! but did you ever encounter “bugs” in the process or find that certain sentences don’t make a good cloth? or do you ever find that you have to tweak the results in order to make it more aesthetically pleasing?

GINA: i haven't come across a sentence that doesn't work on the fabric, as each carries a meaningful message. sometimes, customers may only want one or two words, and in such cases, i suggest repeating the pattern to create more movement and variation. while i wouldn't say i need to alter designs, there are times when customers choose two colours, and i might suggest variations in colour or hue if i believe their initial choice may not work well.

photography by lauralaura studio

ZITA: as someone whose work integrates programming and computer systems at such a level, i feel i have to ask you, what’s your take on the latest developments in machine learning? it seems all the rage now, do you see it as a threat or do you see yourself in the future using it as a tool to create ever more complex patterns? i mean, are there even any limitations to a two-dimensional woven pattern?

GINA: i don't believe AI is inherently a threat. it's simply another new tool, but we must exercise caution in how we use it. we still have much to learn about AI and its short- and long-term consequences. only time will tell. however, i do believe that, in order for the field of weaving to progress, weavers and designers should explore the potential of AI and see what it can bring to us. i'm eager to see what other creators will develop with AI. certainly, i'll be experimenting with it, and whether or not i ultimately incorporate it into my work remains to be seen. However, i think it has the potential to expand my horizons and foster greater creativity.

to be honest, weavers have historically been early adopters of the latest technology, even dating back to the 19th century with the industrial revolution, which began by mechanising textile production.

ZITA: that makes perfect sense in the historical context of weaving indeed. now, having discussed the hyper-customisable patterns you can make from your client’s memories and words, i’d like to ask you about your own collections, which are very beautiful. were they made using the same way or did you use a more conventional design process to create these? where do you go for inspiration for your own collections?

GINA: when we met at CLOTH, i was showcasing two distinct collections: the "LOLI" collection, inspired by a particular individual, and the "RETRO" collection, which drew inspiration from nature (though interestingly, many remarked that the colours and patterns resembled vintage london public transportation fabric). the creative process for these collections differs from my usual approach, as i employed my small loom and 8-shaft tabletop loom, in contrast to my 32-shaft dobby loom. this shift in equipment imposes certain restrictions, but it's precisely these limitations that i find so appealing when weaving with my 8-shaft loom.

i continue to work in blocks, as I believe this defines my distinctive style. weaving offers an array of infinite possibilities and techniques, but there's never enough time to master them all. consequently, i made the deliberate choice to focus on one style and excel in it while remaining open to ongoing learning and exploration.

photography by lauralaura studio

ZITA: serious food for thought here, perhaps i need to learn making such choices too… anyway, i also want to talk a bit about sustainability as the textile industry in general doesn’t have a great reputation when it comes to that but in your work, you seem to be very conscious – design for durability and zero-waste principles seem to be all over your work. do you find them important for your work? do you see a demand for these from customers too?

GINA: absolutely, sustainability holds a crucial place in woven memories' core values. from the inception of the woven memories concept during my MA, sustainability has been an integral part of the vision. weaving on-demand is a central practice, avoiding mass production and significantly reducing the waste often associated with fast fashion. i believed that if I were to establish a business from the ground up, it should adhere to sustainable principles right from day one, and this commitment drives me to keep learning and improving.

continual research and exploration open doors to new opportunities for minimising our impact on this beautiful planet we call home. reducing waste is a priority, but i also embrace recycling, such as repurposing yarn from other mills after their production, effectively preventing it from ending up in landfills. this practice aligns with the ethos of 'rescuing yarn,' as advocated by shiv textiles. additionally, i recycle materials from previous projects to craft new items for our zero-waste collection. even with threads that can't be repurposed, i store them until they find a new home. just last week, i shipped my first box to sandra junele, a textile artist known for recycling threads to create stunning wall hangings—her work is definitely worth exploring.

i'm doing my utmost to minimise the negative environmental impact of my studio. while i make an effort to use locally made packaging materials with a focus on recycled materials, the next challenge i aim to address is packaging and shipping to further reduce our ecological footprint.

ZITA: it’s very inspiring to see so many textile practitioners making all these efforts, love it! now, there are some questions i ask from everyone – i want you to recommend me a book or an artist whose work is worth checking out!

GINA: that’s a great question! i can offer both a book recommendation and introduce you to an artist.

for a captivating read, i suggest ‘the fabric of civilization: how textiles made the world’ by virginia postrel. this book brilliantly combines the realms of textiles and history, making it a fascinating choice, especially if you share an interest in both subjects.

when it comes to an artist who seamlessly merges music, digital coding, and weaving, you might find the work of beatwoven intriguing. her innovative approach and unique fusion of these elements have made her a significant influence in my own work. exploring her creations could provide valuable inspiration and insights for your own projects.

photography by lauralaura studio

ZITA: fantastic, i will definitely check them out. and lastly, but most importantly, what are you working on at the moment? where can we see your work now and where will see you next?

GINA: i’ll have a busy schedule for the next few months, i’ll be in the london design fair during london design week in september, followed by the great northern contemporary craft fair in manchester in october, and concluding with handmade in chelsea in london in early november. hopefully, i’ll meet new makers, lovely people and see you there!

ZITA: oh i’d love to come to some of those! thank you so much for your time.

GINA: thank you for this lovely time with you.

-

links:

woven memories website

woven memories on instagram

london museum of transportation - the moquette project

shiv textiles website

sandra junele on instagram

the fabric of civilization: how textiles made the world - virginia postrel’s website

beatwoven website

london design fair website

great northern contemporary craft fair

handmade chelsea

ZITOZZA ON TV!

we have been waiting to announce this news for a while, but we’re finally allowed to say it out loud: zitozza will be on TV!

i am absolutely thrilled to have had the chance to participate in a new project for the BBC titled ‘make it at market’, filmed in beautiful leicestershire earlier this year. the idea of the show is to explore how some talented makers and crafters are turning their hobbies into a business with the help of being mentored by an expert designer - and i got selected to be one of these, to be mentored by the wonderful piyush suri of handmade in britain!)

the challenges were a lot of fun, and obviously the business mentoring has been a huge help, all this while also having met all these amazing and talented people completely flourishing from all kinds of creative disciplines made this a really, really inspiring experience. it will be definitely worth a watch, if not for some “zitozza-behind-the-scenes”, then for the variety of creativity and the immense amounts of talent that this show will cover.

the show is finally confirmed to have an airing date: 3rd january 2023! save the date and do tune in…. eeek!

edit: if you want to learn a bit more about how the experience went, read our next blog post about the episode!

in conversation with emmy palmer glass artist

as you may have read before on our socials, zitozza will be on TV soon (i really do hope i can share more information about it even sooner…) and having met so many talented makers from far-away disciplines was really an eye-opening experience - it was only natural to decide to give my design conversation series another boost with all these inspiring people. today we’re going somewhere i’ve always admired but knew very little about - glass! i’m bringing you today emmy palmer, whose colourful and tactile blown glass really caught my eye, and i became really curious about techniques and inspirations.

ZITA: hello emmy, first things first - could you say a few words about yourself, what you do and how you got there?

EMMY: hello zita! throughout my life making anything is where my joy has been, although i never saw my creativity as a career choice until i was in my twenties. this is when i started my journey into applied arts by doing a national diploma in design crafts. i enjoyed trying out a broad range of material practices and learned so many techniques. also during this time i took part in a taster course with a local glass blower...creating my first wobbly glass blobs ignited something in me that has never quenched. in 2004 i moved on to do a foundation degree in applied arts at arts university plymouth (formally plymouth college of art and design). i entered that course very determined to combine large scale metals and blown glass but my learning journey and exploration into what makes me, me, took a slightly different direction, but i'll tell you more about that later. i specialised in bown glass in my second year and followed my foundation with a BA (HONS) applied arts. i was lucky enough during my last year to be awarded  a scholarship with teign valley glass studios and have continued a professional relationship with them ever since.

ZITA: large scale metals and blown glass? that sounds awesome, but i do notice you’re doing something different! the very first thing that caught my eye about your work is your use of texture and shadows. i love your use of knitted textiles, i think that’s really unique. can you explain a little bit about your process, what gave you idea for these pieces, and how you work your cloth into the glass?

EMMY: knitting is a huge part of my life not only in my creative practice.  i see knitting as a real form of self care, it has gotten me through some really tough times in my life. i love to find new techniques and stitch combinations. you're right playing with light and the shadows is something i love to do. glass bends light in similar ways to water and i love to exploit its refractive qualities. when i moved to plymouth for university, i was so inspired by living by the sea for the first time in my life.

ZITA: i know exactly how that feels, having moved to scotland from a landlocked country… i love glass but i know so little about it - apologies for some of the more stupid questions about materials, but how did you even find out what was possible with this technique? is there anything you have to be really careful with? For instance, can you use anything for knitting, wouldn’t it melt or burn away from the hot temperatures? 

EMMY: my knitted work started from very humble beginnings and was a real experimental journey. initially i was combining the glass and knitting by creating cosies for the outside of the glass using different materials. this led me to purposely finding ways of burning those textiles away in the hot glass process to leave residual patterns. somewhere amongst this i started experimenting with oxides and different metals. you're right though, combining glass that in its molten state is 1500 degrees centigrade and metals with a lower melting temperature can be tricky. i had varying results with different types and gauges of wire. my mum has a little collection of wobbly pieces that beautifully illustrate my journey to refining my technique of encasing knitted wire into blown glass. i also use my open lace knits as templates to create some of my work so it appears as if knitting is suspended in the blown glass when in fact the original piece of textile is no longer present. i secretly love how these pieces often baffle people.

ZITA: that’s so clever! i also love the metal bits and i do have a thing for industrial influences – i think my favourite bits from your collection is the ‘del mar’ series, it’s the metallic wires that i’m really drawn to. can you share a little bit about how they were made and what inspired them?

EMMY: knitting and crochet are skills that have been passed on through the women in my family from generation to generation. when i think of my little nanna (who was my mum's grandmother) i see her in her arm chair with a hook in hand and the crochet blanket she is masterfully creating at the speed of light draped over her lap. my foundation degree really made me explore what made me, me, and what i wanted to share with the world. i realised back then how knitting and crochet was actually really fundamental to my creative practice. i also found myself living by the sea for the first time and i was obsessed with the water.

the barbican in plymouth, where all the fishing vessels are docked, with the reels of fishing nets and piles of lobster pots led me to some extensive research into fishermen sweaters. my del mar series was born out of this time in my life. the knitted wire is completely encased between the layers of blown glass and i cut and polish them once cold so that you see a cross section through the piece. it took me a long time to find the right metal and a knitting technique that didn't restrict the glass bubble but stretched with it to a certain extent. they were a real labour of love and were born out of a new and exciting time in my life, so for this reason they are still my favourite pieces to make! 

ZITA: theirs is a real success story i think! so is that where you usually go for inspiration? do you have a specific place that can get you in the “zone”, or do you just let ideas find you spontaneously?

EMMY: i'm really in love with plymouth and its surrounding areas, it really is the most beautiful place to live. as a family we spend a lot of time in nature. we have so much around us to choose from and i consider ourselves very lucky and privileged. we live right next to a woodland nature reserve that leads us to the banks of the river tamar. it's a five minute drive to be on dartmoor and only a few minutes more in the other direction to be at the sea. like many of us these days i document a lot of this with snap shots of views and interesting things i see. we live a holiday style life and spend most of the spring and summer months out and about with sand between our toes so i am never short of inspiration. sometimes i find my ideas by accident, i make something and i think of how it could be improved or tweaked and this leads to other ideas.

ZITA: if you were a textile designer, this would be the bit where i’d ask about sourcing sustainable materials but i know so little about glass. what would you say are the biggest challenges of turning your ideas into these fabulous pieces? how has glass blowing been changing?

EMMY: glass blowing has essentially been done in the same way since the romans. the basic equipment and techniques are all the same but the fuel has changed. most studios run on gas and this is becoming economically difficult and unsustainable for the future. very recently glass studios all over the country have been closing down or temporarily shutting down their furnaces due to the rising cost in fuel and with this the idea of glass blowing being a dying craft is seeming all too real. fortunately, with technological advancements there are some great electrical alternatives being produced and in fact the furnace at teign valley glass studios where i work is electric and most recently they have been trialling a prototype glory hole which is the heat chamber that we use to keep a piece warm and workable.

ZITA:  i met you at the filming of our new TV show, and for all of us it’s been quite an intensive journey with the help of a mentor. how did you find this process? can you share a little bit about how you have developed your work and maybe about some of the new pieces? (no spoilers, please!)

EMMY: it really has been such exciting times and it was a joy to meet such amazing creative individuals like yourself. the show gave me the kick up the bum that i needed at just the right time. i think we all must have done a year's worth of work within a few months. i definitely felt a tad frazzled at times but hugely empowered by the end of filming. my mentor was a real task master but he is a real inspiration and made the whole process really positive. the show hasn't even aired yet but has already given my business a massive boost. i've already worked on and sent bespoke samples to a retailer and received my first big order!

ZITA:  that’s really exciting, congrats. i hope to see your work shared widely! have you got any new ideas you’re working on, or experimenting with, that might turn into your next collection?

EMMY: yes definitely! i have so many exciting ideas that i've been sitting on, i am determined to put a little more time aside to play with colour combinations to expand my KOPO (knit one purl one) range. i'm quite a colourful person and i use a huge amount of colour in the clothing that i knit and wear. i would love to bring some more of that into my creative practice.

ZITA: and now the question i ask from everyone - can you recommend a book? or an artist or a maker whose work is worth looking into? something that keeps you thinking or help us see the world the way you do?  

EMMY: richard glass is an aptly named glass blower/designer that i have the pleasure of working with over many years. he is an under celebrated glass maker who designs and makes a huge variety of glass that is sold internationally. his work is often sculptural, colourful and very much inspired by our local surroundings. i love to see him making his ‘waves’, the process is so dynamic and the results are beautiful. richard runs teign valley glass studios where i produce my work and he has been so supportive throughout my glass career and especially since i started back in september last year. not only is he a great glass maker but he is also actively working on sustainability in glass blowing by exploring electrical options. he is also launching his own range of glass blowing irons. he'd be the last person to shout about his own achievements but is definitely an artist to look into.

ZITA: i will do that, thanks for the recommendation! and lastly but most importantly, where can we see your work now, and where will catch you next?

EMMY: There are a few places i can't share because i'd hate to spoil the TV show for you. i have had some busy and exciting times recently. my work is already stocked by a number of wonderful galleries and retailers i will soon have a list of these on my website but you’ll also get to see me with my work at a few places this year and I’ve already planned ahead into 2023! i’ve been working with a wonderful mother and daughter team georgie and tara rowse at curator & maker. i've had the pleasure of making bespoke sets of nutcracker inspired baubles for their christmas pop up 2022. this opens on november 23rd until december. i’ve been making some lovely gift size items for the ‘present makers’ exhibition at the thelma hulbert gallery, honiton. this runs from 12th nov to 24th december.

you’ll find me and my work at modern makers collective’s yattendon winter market 19th & 20th november.

i’m looking forward to 2023 in march where amongst other things you will find my work at the affordable art fair in battersea with BANG blackstone art next generation. and also me and my work at crafts festival cheltenham town hall 10th-12th march.

ZITA: that’s fantastic, thanks a lot!

EMMY: any time!

-

links:

emmy palmer’s website

emmy palmer on instagram

teign valley glass studios

richard glass at 45 southside gallery

curator & maker on instagram

thelma hulbert gallery, honiton

the modern maker’s collective

affordable airt fair

crafts festival cheltenham town hall

in conversation with jessica clements of JESS ANNE

my oh my, it’s been a while since we had a good, deep design conversation hasn’t it! the talent of course has always been there and shining, but we now finally had the time as well, to meet some and explore their fabulous work. i’m very excited to introduce jessica clements of JESS ANNE today. she is a woven textile designer whose gorgeous works, with incredibly bold and bright colourways caught my eye immediately, and we’ve gone into process, materials and inspiration to bring her vibrant textiles closer to you.

ZITA: hi jess! first things first - could you say a few words about yourself, what you do and how you got there?

JESS: of course! so hello everyone my name is jessica, i’m 26 years old and live in broadstairs in kent and i’m the founder of JESS ANNE! i started my brand in 2019, just before the pandemic and i really wanted to create a brand that explores woven cloth featuring bright colours that spark joy!

ZITA: and it’s working i think! the first thing that really catches the eye about your work i think are your vibrant colourways! i just love the high contrasts and the neons so much. could you share a little bit about the thoughts that go into putting your wonderful schemes together?

JESS: it’s hard to explain but typically i don’t have a source of inspiration as such, it’s more of a feeling that i have. when i look at colours i don’t tend to think of trends or “what’s in”. i tend to think do they spark anything within me, do these colours remind me of a pleasant memory or place, or do they make me feel like if i wore those colours, i would feel confident? pretty? bold? i just sense my way through the colour choices rather then trying to have an elaborate explanation behind them. if the colours feel right, it feels right! obviously, every individual will have different tastes or opinions on style, however, the colours i choose express who i am as a designer and just as a human being!

ZITA: as a fellow pattern lover, i find weaving – and your particularly geometric patterns fascinating, i guess weaving is very “mathematical”. can you explain a little bit about the process of designing your patterns? what does it look like when one of your colourful patterns come together – is it a long chain of trials and errors, or do you nail it most of the time?

JESS: so, weaving is definitely not for those who don’t enjoy maths. weaving is one of those processes where accuracy and maths is everything and could make or break a pattern or even the physical cloth. when i begin my design process i always start with the colours (obvs!). from there, i tend to experiment with whatever i feel like i need to personally conquer as a weaver who is always trying to progress. as i’ve said before i’m not too driven by trend or styles, but much rather just expressing who i am as a designer and where i am in my personal development as a young creative. the geometric patterns was a real test for me! however it was one I wanted to conquer and prove that i can push my limits (and my own confidence!). when developing a design, the maths has to be spot on, and the maths can shift/change depending on the types of yarns and patterns chosen. i experiment with smaller samples first, writing every calculation to make sure I have the right amount of yarn ends and that i’m using the correct size of equipment such as the reed for the cloth i desire.

it’s definitely a trial and error thing! i wish i could say i nailed it on the head every time but that wouldn’t be true. sometimes yarns do not want to cooperate, even if you double checked every calculation and detail. sometimes, even the smallest of details overlooked can dramatically change the look and feel of the cloth. however, once the sample is nailed and its something that i feel proud to put my name too, i would then expand on this sample to create a range of products!

ZITA: what a fascinating process. i find the abstract nature of your work very interesting – i particularly love your woven artworks, it’s like you deconstructed your own craft into something else, something a bit more abstract, they feel quite architectural to me but also remind me of op-art a little bit. can you share a few thoughts about these pieces?

JESS: oh the card windings! i love these little pieces. when studying, we were taught that these card windings were used initially as just a development stage, to try out colourways and warp patterns. however, I started to expand on these using different shapes of card and found they deserved to be mini pieces of art in their own right! carefully hand wrapping card with desired colours in any order?! who wouldn’t?! i think the woven structure will always have an element of being architecturally inspired because the typical woven form relies so heavily on being constructed in a way that it will structurally hold together! not only do they help inform the woven cloth designs but they create such dynamic little studies that are interesting enough to want to hang on the wall!

ZITA: i think they work brilliantly, i really love them. now, let’s talk materials! what kind of materials do you work with – do you mix them often, or do you stick to one or two that works? what works?

JESS: oh good one. i’m a typical creature of habit, however as i’ve been designing, i’ve been trying my hardest to break free from my comfort zones. i tend to weave mainly with lambswool, however, in my most recent collection i have really been trying to expand on my products and offer lighter alternatives to the heavier & warmer wools and been experimenting with cotton/linen blends. i tend to use cottons for my card windings and happen to find myself using these now in my newer designs as a supplementary yarn. i’m hoping the more i evolve as a designer, the more i will be adventurous and try more yarns! eek!

ZITA: have you found that sustainability and ethical sourcing has become more of a point with your customers as well as in your supply chain? how do you find this – have you always worked with such materials?

JESS: i think by now most consumers are concerned with the environment, as they should be! it’s so important for people to realise the impact the textile industry has on the environment, and this should definitely be more integrated into our buying habits. as an independent designer and so early on in my journey, i handweave all of my designs, eliminating the risk of buying into any sort of sub par factory conditions or any sort of exploitation (although, it’s of my understanding now these regulations are in place and finally the textile world is shifting into a much more ethical way of producing). the yarns i order are from smaller independent shops in the UK, who also do their own background investigations into where they source their yarns. the company that i purchase my lambswool from and the cottons are very transparent in their processes which makes the selection process much easier. it’s so difficult to navigate through the world of industry, however, i remain conscious of my purchases and in the future when i have built up my brand, i strive to be a designer who is part of the ever so important sustainability movement.

ZITA: i think it’s growing really quite fast, nearly all designers i know are now considering this. i got to know you as a fellow participant of a new TV Show and you’ve also been through some thorough mentoring and an intensive development process i guess! how has it been for you in the last few months? without any spoilers, can you share a little bit about how you have developed your work and maybe about some of the new pieces?

JESS: so the show really helped me become who I am today in just a short amount of time! the mentoring was pretty intense to say the least and it was difficult at times to break old habits and ways of thinking, but it was exactly what I needed to tap in to the potential for my woven designs! before filming i lacked confidence and found my development of designing was very slow, as i was always very nervous of trying new patterns/yarn in case they didn’t work out (yes, i am one of those people that if i don’t nail it first time, i get very frustrated!) however the mentoring on the show really helped me overcome that fear and removed the barrier between me as a designer and creating much more statement designs. the designs that will feature in the show really came from a place of needing to push my own boundaries rather then a specific source of inspiration. i view this collection as a natural progression from my previous broadstairs project and i think there something really lovely about my projects linking this way.

ZITA: this is very exciting and i can’t wait to see al this progress on TV soon. development is an interesting process, have you found any new sources of inspiration? where do you normally go to or look to? have you found it’s changed lately?

JESS: i think my design process and sources of inspiration changes almost constantly. as my practice and skills develop and as i continue to design, i find my inspiration shifts so frequently that’s its hard to even keep up with myself! i was inspired mostly by nature and my surroundings in my home town, however i found that more recently my work is more inspired by my own feelings and the feeling i wanted to provoke in people if they were to wear my design. i’m starting to really explore how fabric design and colour combinations can provoke different emotions.  

ZITA: fascinating! and where do you want to see your work most? what’s your dearest ambition, where do you want to take your work next?

JESS: i would absolutely adore to see my brand grow and eventually develop into a fashion brand. the dream has always been to see my fabrics on garments such as beautiful, tailored suits and dresses and feature in glossy magazines (i think most designers have this day dream!), TV, instagram… and just generally see my work being used by all over the world! the sky is the limit!

ZITA: yeah, you go girl! and now the question i ask from everyone - can you recommend a book? or an artist or a maker whose work is worth looking into? something or someone that keeps you thinking forward?

JESS: oh my goodness there’s so many artists and designers that inspire me from across the board i couldn’t possibly narrow It down! there’s so many amazing weavers out there such as margo selby, ptolemy mann, rita parniczky, theo rooden… the list is endless! i think any of these artist would be good start if you wanted to understand more about woven design and what is possible!

ZITA: and lastly but most importantly, where can we see your work next?

JESS: so as i’m typing this i have no current exhibitions or markets coming up, however my products are available through my website and i welcome emails or instagram DMs enquiring to commission or purchase. i’m currently still in the process of re-branding and re developing my website and i’m communicating with smaller retailers about becoming stockists. exciting! ahh!

ZITA: sounds like you have a lot on your plate, but i’m sure it will work out. thanks so much for talking with me!

-

Links:

JESS ANNE website

JESS ANNE instagram

‘make it at market’ (BBC media centre website)

margo selby website

ptolemy mann (crafts council website)

rita parniczky (saatchi art website)

theo rooden website

guest post for support the makers!

hello readers! it’s been a while, but i have been blogging, i promise. just not here, but over there at the support the makers, whose network i joined earlier this year, and decided to introduce myself in a short blog post, in which i share a little bit about my background, my motivations and what really is behind the zitozza brand. go have a read for yourselves here!

unfortunately, my participation in their 1st may market at bellfield, portobello (the one announced in the march newsletter), had to be cancelled again - at least not due to covid, but for a much more exciting reason which i will be able to share later! however, it’s still worth a visit so please do go and support the line-up of talented makers from all over the UK.

i’m sure i will be there at some point with other of their markets (a pop-up shop in london is also in the works now - more of that later!)

i will have more exciting news and markets to announce soon, and until then, please keep an eye on the blog, our instagram and of course the newsletter!

jutefest comes to an early end with cancellation (but still plenty of reasons celebrate!)

hello! we’re so sorry to have had to share the bad news with you on saturday, about the cancellation of our social media about our last jutefest event. i hope you haven’t travelled to dundee this weekend! if you haven’t heard, the very last jutefest was unfortunately cancelled due to staff having to isolate at the venue (scrapantics, our landlords have been utterly fantastic about this whole venture though so huge thanks to them!). and to be honest, for it only to happen to the last in a series of 4 is not a bad record, so we are celebrating our success and we are also thinking about how to come back with something bigger and better next year perhaps.

so if you only just heard of us, the best is yet to come. jutefest consists of three of us - jist jute, knotty but nice, and zitozza. because we all work with jute in different, but consistently modern and contemporary ways, we set out to bring the cloth back to its city and celebrate its sustainable qualities - and maybe showing the locals along the way why it’s cool again! while dundee has an enormous heritage to build on, jute is not a thing of the past but very much the future too.

photo by deborah chapman at artantics

photo by deborah chapman at artantics

we’ve done a lot of cool things together and it’s been an achievement in itself, i think, to pull this off on a shoestring with a few weeks notice. indeed there’s a lot of potential in our abilities to do something bigger and better soon! throughout the event series, alison has successfully managed to crowdfund a whole weaving loom and lessons to learn to weave - you can see the progress of all this on her instagram along with the first pieces. don’t they look fabulous? and maite was busy crocheting, unstoppably producing her work live at the fair whilst chatting to visitors about those durable bags! it was fascinating to witness that speed.

as for zitozza - of course, the embroidered wall-art collection also debuted at the jutefest and it did look good on the turqouise wall of the venue! and as a demonstration of our craft, two smaller lengths of fabric were printed live in front of enthusiastic visitors... i think one will become a lampshade, and the other a rug (see the pictures below!) and it’s coming very soon so watch this space and subscribe to the newsletter, to make sure you don’t miss out on any of our new plans (and the nice things made of these!)

zitozza at st james quarter

save the date! it seems that as life is opening up more and more, we’re coming to pop-up at more events and markets - and this time, at a really prestigious boutique location at the newly opened st james quarter in edinburgh!

the pop-up event series lasts altogether for two weeks, from monday 23rd august until sunday 5th september, and is organised by the wonderful people at women’s business station to showcase some amazing makers from all across scotland and it takes place at sook, a pop-up boutique space at the shopping centre. zitozza will take up two days here, on wednesday and thursday 1st & 2nd september, sharing the space with a few other brilliant makers.

no doubt more posts are coming - and do keep an eye on our social media, but i just wanted to let you all know that this date is also coming! keep safe!

-

links:

women’s business station

st james quarter

sook spaces

zitozza at cloth#21!

i hope you’re having a happy summer people, i know it’s not easy to navigate between wanting a sense of normality and being cautious about the spread of the virus, but as we are getting through it all, we are very happy to announce that you’ll be able to meet us again, in real life, at CLOTH#21 in edinburgh, scotland, at the beautiful venue of the dovecot studios.

this will take place on two weekends, and zitozza will be there at the second one, on the 21st and 22nd august, from 10am till 5pm. it’s an honour to be standing amongst many other talented makers and textile designers - so please do come as it will be definitely worth it. not only it’s going to be full of stalls with beautiful stuff but the venue itself is one of the best in scotland, and perhaps one of the only ones catering for tapestries and textile arts at such a level.

and also please don’t forget that on the 7th august, the penultimate jutefest will also be on in dundee (at unit 2, anchor mills, west hendersons wynd from 10am till 4pm) man it feels good to be blogging about physical events and i hope it can continue! see you soon!

-

links:

dovecot studios

CLOTH#21 (pick one productions)

jutefest is coming!

oh hello (limited, face-masked) general public! zitozza are excited and proud to announce to be a founding participant of JUTEFEST dundee! this is a brand new initiative with three makers working with jute differently (that’s - jist jute, knotty but nice, and zitozza) and our aim is to bring this wonderfully versatile and sustainable fabric back to its city where it once came out of in the tons.

the three of us work with jute in different ways - you can read our design conversations with jist jute already - there is a great deal of research and local history in alison’s work and she will also be signing her book “if these wa’s cuid talk” at the event. maite of knotty but nice is a crocheter who uses twine from nutscene to make strong and colourful bags and accessories. so there will be jewellery, fashion accessories - and cushions, rugs and lampshade by zitozza also for sale. but apart from setting up market stalls with our things, we will be making live at the event and demonstrate our crafts as well as preparing some exhibition materials on the history of jute in the city as well as some modern takes on the golden fibre.

there’s certainly a lot of heritage to celebrate in dundee but we also believe in embracing the present and we have our modern-day reasons why we work with it - one of these is of course sustainability, because we recognise our responsibility and we want to promote materials with less of a carbon, chemical, and water footprint. however, there is also a more artistic take on it - jute is a very utilitarian material, and when it was mass produced in dundee, it was fully to serve other industries and agriculture with its sacks and ropes. the three of us don’t use it this way though. we inject it with colour, design and individuality while keeping what’s good about it - the warmth, tactility and environmental qualities. there’s a lot to discover and play with and we want the locals to join us to celebrate that!

zitozza are preparing with a special launch of mini-tapestries as well, an initial 8-piece exhibtion will be set up for visitors - all wall-art will be available to be purchased online soon as well!

so when is this is happening? this is going to be a series of pop-up fairs stretched out between june and september on the first saturdays of each of these months. so that’s 5th june, 3rd july, 7th august, and 4th september.

and where about? at the artantics building (many thanks to scrapantics!), that’s right across from verdant works. the address is unit 2, anchor mill, west henderson’s wynd, dundee, DD1 5BY.

this is going to be a real-life event which is why it’s a big deal to those of us having been confined to our studios and council areas and whatnot. even though we are super happy to be finally free to meet you and celebrate, we still have to be careful and be aware of the spread of coronavirus. we want to be as safe as possible, so please note we will require face masks to be worn and we may still limit the number of people indoors in order to be able to keep a safe distance. thanks for your understanding and see you soon!

-

links:

jutefest instagram and twitter

jist jute instagram and etsy shop

knotty but nice (instagram)

scrapantics (website)

10 reasons why jute is one of the most sustainable textile in the world (including one huge potentiaL)

i have always wanted to write about this, because it is one of the main reasons i got interested in jute at all - apart from the amazing aesthetics, that sort of fibrous, raw, utilitarian, functional, “textile brute” appeal (which is worth another blog post at some other time). but right now, it’s time to talk sustainability because the textile industry is one of the worst offenders in the world when it comes to pollution and the responsibility is ours, designers, to find alternatives that are friendlier to our environment. jute is an amazing choice for this use too, and below i listed the main reasons of its sustainability benefits.

1. SMALL WATER FOOTPRINT

the jute plant grows in the tropical regions, in countries such as india, bangladesh, pakistan, thailand and southern china and it is also cultivated in many south american countries. it relies on natural rainfall, reducing the need of complicated irrigation systems and require fewer freshwater sources.

2. SMALL LAND FOOTPRINT

the jute plants grow very densely to each-other and crops are produced very efficiently, a decent crop can be cultivated on a smaller piece of land that doesn’t take a lot of space away from natural habitats or other agriculture.

3. REDUCED NEED FOR CHEMICALS

this density by which it grows leaves little space for weeds or other pests, and as such, it’s grown without a huge amount of pesticides. they also don’t need a huge amount of fertilisers either (typically less than 20 kg per hectare is applied)

4. SOIL HEALTH

growing jute plant leaves the soil with more nutrients than before the process. this is because their leaves drop often, creating organic matter that is feeding the soil with nutrients. growing jute can be used in poor quality soils to regenerate waste lands and help with food agriculture in some of the most impoverished regions in the world.

5. CARBON CAPTURE

the jute plant binds carbon dioxide faster than trees and it’s good at releasing oxygen (one hectare of jute plants can consume about 15 tons of CO2 from atmosphere and release about 11 tons of oxygen in the 100 days of the jute-growing season)

6. fast growth

jute plants reach growth in 4-6 months, meaning crops can be harvested a few times a year, this is not only highly economical, but also a sustainable pace and more in line with demand.

7. recyclable and biodegradable

while some of the jute plant is not used at the moment, all production waste is recycled and all of it is biodegradable in its natural form.

8. under-utilised potential for the paper industry

the inside fibres of the jute plants (jute sticks) are still considered waste and are recycled, however, research is ongoing into using it for paper production. it could potentially supply the paper industry with pulp, reducing the need for cutting down trees.

9. production

jute is a utilitarian, industrial fabric, usually woven to lower quality standards requiring less energy-heavy processing and a reduced amount of chemicals. most of the industry uses it in its natural, unbleached form.

10. long life-cycle

jute is a strong and durable fibre, often used for ropes, rugs, heavy duty bags and tarpaulins. it has a long life-cycle before it breaks down (and when it does, it is fully biodegradable and recyclable)

it is clear that jute is a wonderfabric which, if we could accept it being used more widely, could help our living situation on this planet. having said all of that, it is also important that we don’t brush over the inconvenient truths as well - jute is a hard fibre, and to soften it enough to make it spinnable, the industry killed a lot of whales for its oil in the last centuries. this is now replaced with other oils such as paraffin and palm oil which bear their own negative effects, however the industry is continuously working on reducing the necessary amounts of these materials. there is also research that the retting process (also used in flax and hemp production) can also be damaging to aquatic life which is yet to be resolved - unfortunately the textile industry remains an environmentally impactful one.

all in all though, when compared with other materials, jute comes out as one of the best ones. (according to the higgs index of sustainability and impact, natural jute has an overall score of 40, while, for instance, dyed cotton has an impact score 101. jute's water scarcity impact is 10 times less of cotton products.) when it comes to the responsibility of the textile industry, it is absolutely imperative that we use materials that cause the least possible harm to our living environment.

for me, jute and its industrial, raw, functional nature brings also an immense aesthetic value that fits into my design values - i think great parallels can be drawn with the raw concrete as the preferred external material and the functional architecture that is a great source of inspiration of the designs themselves - perhaps it’s worth expanding on that in another blogpost. nevertheless, i hope that in the future, we will see more and more of jute coming into the cosy, warm homes, bringing us the tactile comfort and the environmental benefits - for a more content home, inside and in the wider world too.

-

links:

the sustainable fashion collective

better meets reality

down to earth

the higg index

images: adobe stock photos

it’s all about the system

hello! and welcome to zitozza. we are now open and this is our first blog post. introductions are always awkward so let’s get it quickly over with. the intention of this blog is to keep it updating regularly, with all the latest research into our processes and thoughts that drive our designs, and of course news and developments around our studio. also, of course, to give a chance to look behind the scenes from time to time, share some inspiration and sneak peeks of up and coming products. so let’s start with a short introductory post.

so what is exactly do we do here at zitozza? first and foremost, surface pattern design. however i understand that’s a little generic, given that the “surface” at zitozza is made exclusively of jute, for its amazing, tactile texture and incredibly sustainable qualities. we mostly cover surfaces in the modern home such as rugs, lampshades and cushions and these products showcase the variety of patterns possible with the printing blocks. (although you can, for sure, make bags and other things of our fabrics too (and if you do, please share!)

and yeah, well, pattern design must be specified further too. we don’t just offer separate patterns in defined colourways, no. here’s the interesting bit: the zitozza look is all one system! not individual designs, not separate collections (okay, a little bit), but it’s all about the system. our patterns are made of (mostly) uniform sized, square shaped printing blocks, creating the system of interchangeable, infinitely combinable designs, and you can make it as simple or as complicated as you want. they are separated into MODERN and HERITAGE, the former consisting of brutalism-inspired, geometric elements and the latter a bit more organic and tradtional, but all arranged in an orthogonal geometry that’s unique and defining our look.

this system allows us to create an infinite number of pattern with the same printing blocks in individual colourways, suited to your taste and surroundings. because of the flat, square shapes of our blocks, we call them tiles, and instead of collections, we call them tilesets, because they are not a collection, and it’s all one system. we don’t have collections in the sense of metres and metres of the same pattern and even samples are made to order because the hand printing makes a deep level of customisation and exclusive designs possible.

apart from having immense fun making them, we want to be able to offer unique designs and something that can be varied further in a single room but remains in the same modern, hand printed style of course that we define as the “zitozza aesthetics”.

what we want to offer to the modern home is colours, play, and nice, durable things that didn’t cost the earth.

so why don’t you browse and discover for yourself what’s available? explore our “collections” or make up your own design with these blocks.