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

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

a soft, wool-carpeted walk down memory lane

first of all, many thanks for following the sunday inspiration series on instagram, i’m really enjoying sharing those thoughts with you. however, you will have noticed, it has so far featured the MODERN collection only. so i want to do something different today, and i’m going to share with you some of my inspiration of my more traditional (HERITAGE) collection. some of this is obviously inspired by the rich textile heritage of scotland (and more of that later) but there is of course also the influence of hungary and this post will focus on the latter - specifically, the flatweave “torontáli” rugs, particularly those made by this one factory in the south east of the country, in a town called békésszentandrás (yeah good luck trying to pronounce that one).

the art of weaving rugs came to hungary probably with the ottoman empire in the 15th-16th centuries and slowly evolved from those oriental, turkish patterns into folk motifs suited to the hungarian taste (torontál, where this type of flatwoven rugs are thought to have come from, was a county in old “big-hungary”, today it is partly in hungary and partly in serbia.)

the rug which we understand under this name today is always a pure wool flatweave with bold colours (reds, yellows, greens, blacks), with sharp contrasts and interesting, geometric folklore patterns which have been popular from the 1880s until today. at the late 19th - early 20th century they were made by a few manufacturers for a newly emerging middle-class, however, by the middle of the 20th century it conquered the world all thanks to this one factory. this archive news report from 1955 talks about exporting it to many countries (and wrongly names békéscsaba as the town where it’s made but in reality it is békésszentandrás.)

this factory in békésszentandrás has celebrated its 100th birthday a few years ago, they started producing carpets after the first world war starting with traditional hungarian and transylvanian folk patterns. by the mid-1920s they expanded their range to oriental, persian-style rugs and became known for their quality, by then they were exporting to many countries and were a major employer, mainly of women in the region, and they kept working during the world war, after nationalisation and they even escaped the devastating de-industrialisation of the 1990s.

i genuinely believe this is at least in part thanks to these torontáli flatweave rugs that remained quite popular throughout the times. i do not remember a single house i have been to as a child, which did not have at least one of these beautiful, “pixelated” patterns, although my family does come from the region too and it was an easy access. below is a collection of some of these family treasures - the brown one was on the wall around my bed when i was a kid - it was custom-made to order with the creativity of the weavers and i think it has a variety of mottle yarns as well as natural and brown wools. the geometry of these rugs is present on the KAKTUSZ tileset in the the most obvious way, but it’s safe to say that these rugs have influenced all of it, perhaps sub-consciously.

at the end, there is also this mini-tapestry, as memory of a dance competition in the nearby town of szarvas (which has a stag in the town crest). this woven, “pixelated” graphic is quite reminiscent i think of my floral prints that also have this effect to them even though it’s printed. i think to have this woven effect emphasises the heritage influence that drives this whole collection.

apart from all these family treasures, there are plenty more. the factory store sells most of these in unchanged form, to this day, and they are all really beautiful (and exactly how i remembered) here, see all this colourful range for yourself.

i hope you enjoyed this little trip onto soft, woolly surfaces. i’m sharing with you one more archive news footage from 1972, which is about the christmas anticipations of the design trade, and it showcases not only a whole lot of beautiful (and praised) rugs by békésszentandrás-based rug artist margit szabó, but also features a lot of great design from czechoslovakia and east germany, this is truly a gem! i hope you’re enjoying getting christmas ready too despite everything.

links:

art kelim kft (factory store)

behir.hu - békésszentrandás celebrating 100 years of rug making (in hungarian)

magyarmuzeumok.hu - the torontáli rugs and the domestic industry (in hungarian)