Interview with Global Weaving Artist Susana Negre

Tapestry weaving by Susana Negre shown in the home of Jacquin Headen. Artwork shown by Marcus Jolly.

Our Artist Spotlight today showcases weaving & textile artist Susana Negre who has sought creative inspiration across the globe, from her hometown of Barcelona, to London, Mexico, and all the way to Brazil. Susana’s goal is to blend old world techniques with new ideas to create something never seen before. She describes her work as non-traditional tapestry weaving.

Weaving artist Susana Negre of Barcelona. 

Jacquin: What attracted you to weaving as an artform?

Susana: Although I am now focused on my true passions of art and textiles, previously I worked internationally as an event/art producer. I discovered weaving in 2013, however, I think my attraction to the textiles medium began much earlier in my life. I went to Teraninya School in Barcelona where I was introduced the fascinating world of textiles. 

Through conducting weaving workshops, I decided to specialize in the artform full time. Negre textile art is inspired by art, fashion, design, architecture, interiors, culture, travel, photography, cinema and the great value of hand-making and crafting.

Jacquin: How has living in Rio de Janeiro inspired your work up to this point?

Susana: The creativity of the people, the colors of the sea, and the tropical rainforests of beautiful Rio de Janeiro have had a huge impact on me! Location and scenery have always affected my artwork. It is difficult to explain why I feel the need to travel for inspiration when my hometown of Barcelona is such a creative and beautiful city. Experiencing new cities allows me to gain fresh inspiration. I have recently relocated back to Barcelona where I am pursing my masters degree focusing on weaving & textiles. 

Susana Negre volunteers in Rio de Janeiro as she teaches a weaving workshop. 

Jacquin: Have you had the opportunity to introduce your local community to weaving in some way? What has been the best part about getting into the community with your weaving art form?

Susana: Yes! While I was living in Rio de Janeiro last year I had the opportunity to work as a volunteer for a NGO called PIPA SOCIAL run by Helena Rocha. It is a creative hub for talented people, mainly women who live in low-income communities in Rio de Janeiro, with a focus on establishing professional connections and promoting social inclusion.

Their mission is to invest in a Talent Bank of entrepreneurs working in the fields of art, crafts and fashion, helping them achieve professional qualifications, improving their ability to find work and generate income, and providing exclusive consultancy services.

My job as a volunteer was teaching tapestry weaving & creative knowledge to the beautiful and talented craftswomen, designers and artisans who were interested in learning tapestry techniques. We met once a week where we collectively created a small collection of different items such small handbags, scarves, and miniature tapestries for home decorating, We used the traditional tapestry techniques to develop their crafting and design skills, then allowing them to apply their own unique style. We had a goal to help them to generate new products and income for themselves through sales. It was truly a privilege for me to be able to share my time and knowledge with everyone.

“It's something about the colors and textures in textiles that inspires me. It is almost like I didn’t choose textiles, but instead I think it chose me.” -Susana Negre

Jacquin: Tell us about your process creating a tapestry weaving. 

Susana: My working process is very intuitive. In fact, I have never drawn my weaving designs in advance. I refrain from thinking, and allow my creativity to find its way. However, I do have a very clear idea of the materials, textures and colors I want to use before starting a weaving. My designs are heavily textured with vivid colors. Most notably, my textiles are always handwoven, combining traditional handcrafted techniques of knotting and weaving. 

The interpretation of my work I leave up to the viewer. There is a different quality of something that is hand crafted rather than machine made. My work is still emerging, and I want to keep pushing myself to create something unusual. In some senses, my work is growing with me. In terms of the process, it is difficult to say how long it takes. It can take me from just one day to up to 6 month to create a large piece; it always depends on the size of the work and the time I have to weave.

Jacquin: Are there any weaving projects that you are eager to try in the future?

Susana: I would love to get involved in an international project, working with local textile artists worldwide. I would also like to continue doing social projects worldwide. 

Learn more about Susana Negre and her artwork here. 

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Designer Spotlight: Creating Textiles from Marine Ghost Netting

When I learned of the work of textile designer Carmen Machado, I was immediately drawn to the unique textures and bright colors in her furniture designs. I was even more impressed to learn that Carmen's work is improving our beaches and waterways by retrieving and utilizing abandoned marine netting. Carmen Machado's  environmental efforts and contemporary outdoor furniture designs absolutely deserve the spotlight. Continue on to read our recent chat!

Jacquin: Did you enter into art school knowing that you wanted to focus on textiles? How did this interest come about?


Carmen: Yes, growing up I was always interested in textiles. My father had a carpet store where he imported all types of beautiful carpets from around the world. I took my first weaving class while pursuing my Bachelors in Fine Arts at The School of the Art Institute of Chicago, and this is where I decided to focus on learning to weave experimentally and on different types of looms.

Jacquin: Many readers may not be familiar with the impact of abandoned fishing nets in the oceans. It's actually a very serious environmental issue. How did you become aware of this issue? What made you decide to address this issue through textiles and design?

Carmen: I grew up on the coast in Puerto Rico and would regularly find stranded pieces of tangled fishing line and rope washing up on the shore near my home. In 2011, I started picking up and collecting things I found, mostly out of curiosity and interest in the sun bleached and vivid colours the netting came in. This led to me researching into overfishing and reading about how large of an environmental issue this is and the deadly effects it has on marine life. I decided to pursue my interest more seriously, combining my love for weaving with this environmental issue. I am currently pursuing a Masters on this topic at the Chelsea College of Art and Design in London.

I grew up on the coast in Puerto Rico and would regularly find stranded pieces of tangled fishing line and rope washing up on the shore near my home. In 2011, I started picking up and collecting things I found...

Jacquin: What came first? The general idea to use recycled fishing net and recycled materials -or- your idea for the specific furniture design used in your stunning chairs? Also, tell us about the concept for your recent chair designs?

Carmen: Once I refined my textile designs to incorporate found ghost netting I began thinking about ways to use the final woven material. As it is 100% plastic I naturally thought it would be well suited to be used outdoors. I wanted to make a sustainable product and like the concept of taking the materials from being outside on the beach, then repurposing them into something a person will again value and put it back outside. I have a big interest in interior design and furniture, particularly Danish design. 

Jacquin: How do you go about continuing to source and retrieve dangerous, abandoned netting from the ocean?

Carmen: I regularly visit the coasts here in England and Wales. My family also actively beach cleans in Puerto Rico. I have quite a few beaches that I revisit often because I know I will sadly always find tons of washed up gear on them.

Jacquin: What would be a dream project for you involving both textiles and recycled fishing net (or other recycled materials)?

Carmen: Long term I want to scale up the amount of fishing line/netting that I am retrieving off of our coasts and the amount of fabric I am able to produce. Another dream project would involve designing fabric/furniture for the interiors of an eco resort. I would like to get involved with more Marine Conservation groups and see if I can incorporate my work into their offices. 

Jacquin: Have you been able to find a community of like designers interested in working with recycled materials? How can readers help your cause and support healthier wildlife and waterways? 

Carmen: Yes, I have found a wonderful group of people through Instagram- @2MinuteBeachClean, they are big advocates for doing regular beach cleanups and are always showcasing the work of designers who work with marine waste materials. I have made a few connections through this group who send me parcels with their finds! 

As for what people can do to support healthier waterways... Apart from every individual doing their own part to clean up our coast lines, I recommend cutting single use plastics out of your life as much as you can. It makes a huge difference! 

Visit CarmenvMachada.com for the latest information on her textiles and furniture designs. 

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Designer Spotlight: Ponyo Porco of Taiwan

Ponyo Porco, based in Taiwan, is a print & textile design company focusing on fine art, fashion, and graphic design with the intention of their painterly prints being used across the spectrum. Ponyo Porco's hand-painted print designs lend themselves to uses from home decor to fashion and more and has landed the brand a coveted spot in New York Fashion Week this year. Take a look at our recent interview with Crystal Lupa and Larry Chen, the creative design duo behind Ponyo Porco.

Ponyo Porco at 2016 New York Fashion Week.

I saw your runway show at NYFW this past fall, is this the beginning of Ponyo Porco being a part of the international fashion industry?

Lupa: It was really a good start for us to share our concept and creations around the world as we are a very new team. It’s not easy but we are working hard on developing our brand to be more connected with the international creative industry.

How did you become interested in working for the fashion industry?

Larry: Ironically, we started our careers not that interested in the fashion industry but we both liked to create and design with prints. And since Lupa graduated with a focus on fashion design women’s wear, we combined our specialties to create a brand that is not just about fashion, but more so a print lifestyle brand.

Artist Crystal Lupa, one of the creative forces behind Ponyo Porco.

I noticed that each collection has an excerpt or poem that goes with it, what came first as inspiration – the writing or the collection?

Lupa: You're right. Each print has it’s own poem and original artwork. The poems are always written once the artwork is complete and serves as a description. 

Original artwork for Ponyo Porco prints.

Original artwork for Ponyo Porco prints.

Since your designs have a fairytale aspect (especially with the use of writing) are their any childhood stories, folktales, and stories etc. that inspire the design process?

Lupa: My painting style is definitely inspired from childhood stories and folk art. I often create characters with self-invented logics about the world, and love to express a glimpse of cold, dark charm in the style of naïve amusement. I’m especially attracted to seemingly inanimate organic forms. While trying to endow them with personified characteristics, I also like to demonstrate an event or scene narratively.

Original artwork for Ponyo Porco prints.

What is each of your favorite pieces, or favorite collections you have worked on?

Lupa: My favorite pieces are the prints of WITCH&CROWS coat and the POOL pleated dress.

Larry: I like the printed coats in all prints!

Do either of you have a fashion icon that you find inspirational?

Lupa: Frida Kahlo

Larry: Yves Saint Laurent

Since, Ponyo Porco is based in Taiwan, how does that influence your work?

Lupa: Although we founded the brand in Taipei, most of the education in art and working experience is in London. So I can say that there is a mixture of cultures in the creation. Taiwan is a beautiful island filled with oriental visual inspiration as well as various foreign influences, both of which greatly impact our work.

How does Ponyo Porco want their buyers to feel when they wear your collection?

Larry & Lupa: Unique, bold, delicate, and playful!

How much does the type of material and fabric influence each piece? Is there a specific way in which you select them?

Lupa: For Ponyo Porco the textures and characteristics are very important. Before we confirm the fabric for each piece, we digitally print on more than 15 kinds of materials for samples. We use 100% polyester fabric for pieces that need to be pleated, because the cotton won’t stay in pleats after a few washes. And for the coats and bomber jackets, we use 100% cotton with a satin finish to bring a subtle glow for more formal occasions.

What do you hope to see Ponyo Porco to become in the future?

Larry: So far we have developed our print ideas into a diversity of products such as clothing, accessories, paper products, and packaging. As we move forward we look to cooperate with brands, manufacturers, and studios from various fields to develop creative products in even more forms. There will also be a great 2017 calendar and a menswear capsule collection. Overall, we hope to become a strong design team and feast for the eyes of the print lovers around the world.

By Jamie Lee, Interiors by Jacquin intern

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Designer Spotlight: A chat with Caroline Cecil Textiles of Los Angeles

In a world of beautiful textiles and patterns I find myself wondering about how these fabrics and unique designs are manufactured. Today our designer spotlight lands on Caroline Cecil of Caroline Cecil Textiles. Caroline shares her creative motivation with us and an inside perspective on more traditional textile production methods. She has also been involved in some exciting community initiatives, which we chat about below. Follow along as Caroline's gives Interiors by Jacquin readers a peek at her newest collection called 'Balinesia'.

Jacquin: How has working in textile design pushed you creatively?

Caroline: I’ve spent the past 11 years of my career learning about all of the different ways you can put patterns onto things--from fabric to towels to rugs to shower curtains to wrapping paper and everything else in between. Throughout the process I’ve learned many different techniques and applications which have pushed me to evolve creatively. The limitations that arrive based on the selected printing method have really pushed me to be more creative in my approach. For example, with screen printing the more color we print, the more expensive it becomes. So within these confines we find ways to create gorgeous single color prints that still provide depth, texture, and narrative.

Jacquin: Tell us about your journey launching your brand, Caroline Cecil Textiles. What has been the hardest part?

Caroline: I wanted to have my own company ever since I was a little girl. My grandmother was a watercolor artist and made a living selling her paintings at a time when it was very unusual for women to be independent and have their own business. My father was also an entrepreneur who started many businesses throughout his life, those experiences are at the foundation of why I always wanted to launch a brand.

I’d say the hardest part of launching Caroline Cecil Textiles was the process of building something from scratch. The journey of bringing something to life that starts in your head and turn it into a full fledged business that includes a sales team, products, sampling, an online presence and operations has been overwhelming at times. The hardest part is the balancing act that’s required once the company starts coming to life. Managing competing priorities like product development and branding while always keeping long-term goals that support growth in mind requires constant learning and strategizing.

Caroline Cecil's sketches for textile designs.

Jacquin: What's an average day like for you, Caroline?

Caroline: In the morning I always try to take time to make breakfast for my husband as well as play with our little Pomeranian and Chihuahua. After that it’s off to the races - answering emails, reading industry news and outlining the focus for the day ahead. Lately the team and I have been expanding our showroom presence, so a lot of my days have been spent outlining which designs are going into what showrooms, overseeing production, coordinating shipping with our Operations Lead, and talking with our PR team at REVELE. I also spend a great deal of time looking at the travel calendar and supporting brand growth through online marketing. My days are predominantly left brained, so I always carve out time to paint or cook or do something creative to balance things out. I find that time to be SO important.

Caroline's fluffy dog in front of her vibrant textile design.

Jacquin: I love that you worked helping budding young creatives through Designer Camp. It really sounds like a fantastic program for the youth. How was your experience? What do you think the kids who participated got out of it?

Caroline: I absolutely loved collaborating with Designer Camp and look forward to doing it again next year! The founders of Designer Camp are very hands-on and they were so supportive of my ideas for the textile workshop. It was the first time they ever had a textile designer participate in the program and it was exciting to see how interested students were in the new category. Textile design is something most people don’t think of when you’re asked what you want to be when you grow-up. Considering how did that pattern get on that shirt is not something young artists usually think about. This is one of the reasons I love mentoring young people who are discovering it for the first time. I am so happy to have the chance to give back to the creative community as I remember how important it was for me when I was growing up. I still remember the influential people and artists who really inspired me to explore my creative voice. It’s great to have a chance to do that for today’s youth.

Jacquin: How have you utilized your local creative community as you've grown your business?

Caroline: Los Angeles is an incredible place to own a company and design a product because it offers many different kinds of resources. Being around so many creative people every day has offered a lot of inspiration. Los Angeles has a very expressive and visual community. People put a great deal of thought into how they present themselves and I find that to be very inspiring. In addition, I have the pleasuring of knowing a vast network of manufacturers who constantly inspire me. Being in Los Angeles has given me the opportunity to see the manufacturing process across many different industries which i find completely fascinating. My line of fabrics simply wouldn’t exist without the people who print our fabrics and sew our samples and I truly value those partnerships.

Caroline Cecil painting an original textile design.

Jacquin: What is one thing about about the textile design process from production to marketing that many people may not know about, or may be surprised by?

Caroline: I think people would be surprised by the amount of labor involved in producing a line of textiles. Fabric doesn’t weave or knit itself! While machines have industrialized the process, it’s still a very tactile manufacturing process. At Caroline Cecil Textiles, we work with artisans to produce our line. Most of our ground cloths are imported from Belgium and come from a mill that has been weaving linen for centuries. Our designs are then hand printed onto the linen at our printing facility in San Francisco. The process takes a very long time and it’s a very old fashioned way to print fabric, but I believe it yields the most beautiful quality, one that mass manufacturing simply cannot match. In general, most people probably don’t think about fiber content or weave structure or whether or not something was yarn-dyed. I think most of the world of textiles would be surprising to people!

Caroline Cecil textile swatches from her 'Balinesia' collection.

Jacquin: What's on your life bucket list?

Caroline: I’ve always dreamt of traveling the world and documenting the different textile process from different cultures. For a few years now I’ve wanted to tour different mills across the world-- lace making and the Chanel textile factory in France, linen production in Belgium, block printing in India, indigo dyeing in Japan, back-strap weaving in Guatemala. I’d love to document the process and make it into a video series and coffee table book!

Shop Caroline's 'Balinesia' textile collection and more on her website Caroline Cecil Textiles.

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3 Great Ideas for Turning Fabric into Wall Art!

Looking for new ideas for adding wall art to your space? Why not try a unique, budget conscious solution like creating your own wall art with scraps of decorative fabric. Here's some inspiration for you!

Image via Burke Decor

Idea #1 

Install a large fabric panel behind your bed as a unique, color splash headboard.

(Left) via Focal Point Styling (Right) via Beauty and Bedlam

Idea #2

You can also frame your fabric to create wall art with a fine art feel. If you frame several pieces of fabric separately in complimentary colors, then you can expand to create a gallery wall as a focal point that showcases your unique fabric designs.

Image via Color Love

Idea #3

Hanging fabric panels as room dividers is also a fun idea that has a fine art feel to it! Layering light-weight solid fabric in different colors and suspending the fabric from the ceiling almost feels like installation art and still allows natural light to shine through. (see above.) Using a similar technique to hang heavy-weight fabric panels in bold patterns is also a nice approach to a room divider that allows for a bit more privacy than the colorful translucent panels shown above. You can find a great example of using a heavier weight fabric as a wall panel below. I have to say that I really love the idea of using hanging fabric as a room divider. Such a unique idea!

Image via Home-Dzine

If you decide to create wall art or make a room divider out of your favorite fabric, remember to avoid displaying any frayed ends. Once your fabric is cut, finish the edges with a sewing machine or upholstery tape. To avoid concerning yourself with frayed edges, try framing your fabric instead. Let me know if you give these ideas a try!

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