I have enjoyed researching the history of the ikat weave, and how a simple technique can produce such unique and iconic patterns that can be used to create future fashions.
Wednesday, 8 February 2012
Research Overview
Ikat weave began amongst a small community of women, using basic techniques and relying on individual region resources; therefore ikat textiles can reveal a lot of historical evidence into societies and lifestyles. Women would use the weave to construct necessities such as baskets and clothing, it soon evolved into small businesses between clusters of women in the Middle East seeking to earn a little extra income by selling the cloth to tourists; the ikat weave has since been applied across fashion and interior design across the globe. Having had a go at creating my very own ikat weave by tie-dying my warp and setting up on the loom, I have found its a very involved process and there is a great element of surprise and fascination as a pattern soon comes together created by dip dying the yarn. The ikat weave has become iconic for the unique patterns and colours it can produce, and is now used in print deisgn, transferring bold inventive pattern to screen printing scarves and garments; such as scarf designer Alison Lousada. From my market reearch it has become evident that the ikat patterns are more commonly seen as a print and not a weave, particularly in the fashion industry, this could possibly be because it is more commercially efficient to produce as a print rather than a weave, as the ikat weaving process is rather complicated and lengthy.
I have enjoyed researching the history of the ikat weave, and how a simple technique can produce such unique and iconic patterns that can be used to create future fashions.
A video of 'Ikat Indonesia' clothing collection.
I have enjoyed researching the history of the ikat weave, and how a simple technique can produce such unique and iconic patterns that can be used to create future fashions.
Contextualisation, Ikat fashion
From my recent market research in London, I noticed a wealth of inspiration from Ikat weaves visible across products in a broad range of shops. Osborne and Little had a collection of purple and gold Ikat inspired furnishings, whilst Anthropolgie stocked some exquisite Ikat patterned garments.
This simple shift dress has an Aztec vibe, woven in earthy Middle Eastern colours. A pull-over simplistic style and off-set design uses the iconic Ikat as a fashion statement; Anthroplogie's style team commented 'we love the bright geometric design and how it's placed impactfully off-centre' (anthroplogie.com, 08/02/2012). Ikat weave complements Anthropologie's bohemian aesthetic, and celebrates a largely female dominated weaving culture with all women across the globe. Anthroplogie have created a brand appreciating 'innovation, artfulness and good design' (anthropologie.com); which this ikat shift dress wholly represents.This dress was created as a collaboration with UK scarf designer Alison Lousada of Lousada Heyhoe.
Images of Lousada's studio. Alison uses informative textile books alongside books, magazine clippings, fabric samples, childrens drawings, holiday photos and postcards to collate ideas and strengthen her design.
Alison combines freehand designing with digital programmes, this illustration could later be scanned and developed into Illustrator.
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| Askew Ikat Shift, Anthropologie |
Askew Ikat shift dress, Anthroplogie
This dress was created as a collaboration with UK scarf designer Alison Lousada of Lousada Heyhoe.
Alison Lousada graduated form Brighton, and works as a print designer using traditional Ikat patterns. Lousada's scarves are inventive in colour, pattern and design; whilst combining her research in traditional textile cultures from her travels. 'Style Bubble' commented on the Lousada Heyhoe studio collection, 'we headed up to her loft-space studio where her accumulation of books, inspiration images and textiles go some way in explaining the unique mix which culminates in her work. These artefacts travel around the world, through different cultures, artistic/craft-based techniques and all the references come together along with her own take on colour combinations, which she describes as ‘odd’ but to me are instant eye-candy. (Stylebubble.co.uk, November 2010).
Alison combines freehand designing with digital programmes, this illustration could later be scanned and developed into Illustrator.
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| Lousada Heyhoe scarf, www.offtherunway.com |
Bibliography:
Anthropologie.com
Lousadaheyhoe.com
Offtherunway.com
Stylebubble.com
Wednesday, 1 February 2012
Contemporary influences of ikat weave
Ikat weave is now used across the globe, and applied across fashion, interiors and occasionally art installations.
Ikat is seen from season to season on the catwalk. Designers 'Sass and Bide' has used an abundance of ikat weaves and prints to accentuate the bohemian, earthy aesthetic of their Autumn/ Winter 2011/12 collection. “It immediately made me want to go somewhere far away and hot on holiday,” said Vogue’s fashion features writer Sarah Harris, noting the ikat prints – which embodied the aforementioned pieces - to be especially strong. “I love the prints, it was an elegant take on tribal.” (Vogue, Jessica Bumpus, 18/02/11).
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| Sass and Bide Autumn/Winter 2011/12 collection melbournesgpo.com |
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| French regency chair in purple luce. madeleneweinrib.com |
Ikat is just as popular with interior designers. Painter and designer Madeline Weinrib applies her skill to woven carpets and textiles. Her interior collections are recognised for their rich colour and opulent pattern, her designs are sourced form her travels and reinterpreting traditional techniques; such as the ikat weave. Her designs are popular with Osborne and Little and Designers Guild.
The traditional Indonesian weave technique remains popular today in fashion and interiors; whilst artist Astrid Krogh has created large scale optical woven art installations constructed using ikat weave methods. 'Ikat III', is a feather-light tapestry of paper yarn with organic patterns created in optical fibres. The tapestry is constructed using the ikat weave technique allowing for detailed colouring and immense precision in the weaving process; making it possible to create smooth transitional patterns, and allowing light to create its own patterns. The light is used as a imaginary dye, which continuously flows back and forth and create a 'magical effect pattern' (astridkrogh.com).
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| Astrid Krogh, Ikat III designmiamiblog.com |
astridkrogh.com
designmiamiblog.com
designersguild.com
madeleneweinrib.com
melbournesgpo.com
osborneandlittle.com
vogue.com
Tuesday, 31 January 2012
The history of Ikat weave
Ikat is a style of weaving that uses a resist dying process, similar to tie-dye, and is the most widely distributed resist weave method in South-East Asia. The name 'ikat' derived from the Indonesian word 'mengikat'; it involves binding the resist material at intervals around the yarn. The resist material may be tied to either the warp or the weft before the threads are woven to create a pattern or design. A striped burial cloth is thought to be the earliest example of an ikat cloth, dating from the fourteenth century.
Traditionally Ikat colours were dependant on what dyes were available in different regions, today Ikat fabrics are often brightly coloured and applied to fashion, interiors and installation art. Ikat cloth can be resist dyed on either the warp or weft yarns.
A video showing the process of resist dye.
Warp ikats are most commonly woven on a continuous warp in the remote regions of archipelago, where older forms of traditional technology are still used. Different regions may use different materials and methods in preparing warp ikat, but the basic principles remain the same. Whilst the Javanese make warp ikat textiles for the tourist industry using factory made cotton and synthetic yarns, the Philippines use banana-plant fibres instead.
Dyers do not usually plan their weave designs; though outlines are occasionally made as guidance. Today designs are prepared on graph paper, though in the past palm leaf lattice and bamboo were used. 'According to Marie J. Adams (1971), high-born women in Sumba jealously guarded access to the best pattern guides until well into the twentieth century.' Once a template pattern is made, the warp yarns are grouped together using grasses and coconut or banana leaves. The resist material is applied to the warp yarns, then woven in a tabby weave. The art of dying with traditional materials and methods can be unpredictable, and some dyers and weavers host special rituals in order to ensure their success. It is said that Roti spirits dip their hands and breasts into the dye-bath, 'depriving the dye of its effectiveness', other regions forbid pregnant women near the dye bath.
Unlike warp Ikat, the weft ikat method is associated with 'court based societies' rather than small cultures of the more remote regions. Some of the finest weft ikat cloths are produced in South Sumatra, where the method is often combined with other decorative techniques.The process involved is much the same as warp ikat weave; today, however,most weft ikat cloths are woven in small factories in Sumatra. As means of production have changed, so has the division of labour based on gender. Tasks such as tying and dyeing, which were traditionally completed by women, are now done by men, though weaving remains a predominately female occupation.
Bibliography:
backstrapweaving.wordpress.com
http://bear-ears.blogspot.com/2011_04_01_archive.htm
moolmit.com
http://travelswithanineyearold.com/wp-content/uploads/2011/06/Bajawa-Ikat-Weaving.jpg
youtube.com
'The Complete Taj Mahal', Ebba Koch, 2006, Thames and Hudson
'Indian Textiles', John Gillow and Nicholas Barnard, Thames and Hudson
'Indonesian Textiles', Michael Hitchcock
'The Sari', Mukulika Banerjee and Daniel Miller
'The Victorian and Albert Colour Books, Ikats'
'Textiles and Fashion, Basics fashion Design', Jenny Udale, 2008.
Warp ikats are most commonly woven on a continuous warp in the remote regions of archipelago, where older forms of traditional technology are still used. Different regions may use different materials and methods in preparing warp ikat, but the basic principles remain the same. Whilst the Javanese make warp ikat textiles for the tourist industry using factory made cotton and synthetic yarns, the Philippines use banana-plant fibres instead.
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| Ikat cloth being woven on a loom http://travelswithanineyearold.com/wp-content/uploads/2011/06/Bajawa-Ikat-Weaving.jpg |
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| Warp yarns being grouped together before the dye is applied. |
Dyers do not usually plan their weave designs; though outlines are occasionally made as guidance. Today designs are prepared on graph paper, though in the past palm leaf lattice and bamboo were used. 'According to Marie J. Adams (1971), high-born women in Sumba jealously guarded access to the best pattern guides until well into the twentieth century.' Once a template pattern is made, the warp yarns are grouped together using grasses and coconut or banana leaves. The resist material is applied to the warp yarns, then woven in a tabby weave. The art of dying with traditional materials and methods can be unpredictable, and some dyers and weavers host special rituals in order to ensure their success. It is said that Roti spirits dip their hands and breasts into the dye-bath, 'depriving the dye of its effectiveness', other regions forbid pregnant women near the dye bath.
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| Ikat warp yarns before woven
backstrapweaving.wordpress.com
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Unlike warp Ikat, the weft ikat method is associated with 'court based societies' rather than small cultures of the more remote regions. Some of the finest weft ikat cloths are produced in South Sumatra, where the method is often combined with other decorative techniques.The process involved is much the same as warp ikat weave; today, however,most weft ikat cloths are woven in small factories in Sumatra. As means of production have changed, so has the division of labour based on gender. Tasks such as tying and dyeing, which were traditionally completed by women, are now done by men, though weaving remains a predominately female occupation.
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| Traditional costume for wedding and Buddhist celebrations, woven suing weft ikat moolmit.com |
Bibliography:
backstrapweaving.wordpress.com
http://bear-ears.blogspot.com/2011_04_01_archive.htm
moolmit.com
http://travelswithanineyearold.com/wp-content/uploads/2011/06/Bajawa-Ikat-Weaving.jpg
youtube.com
'The Complete Taj Mahal', Ebba Koch, 2006, Thames and Hudson
'Indian Textiles', John Gillow and Nicholas Barnard, Thames and Hudson
'Indonesian Textiles', Michael Hitchcock
'The Sari', Mukulika Banerjee and Daniel Miller
'The Victorian and Albert Colour Books, Ikats'
'Textiles and Fashion, Basics fashion Design', Jenny Udale, 2008.
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