MA Textiles Room 2

Saphi Ch´usi is an installation that generates a space of reflection and re-connection with the Andean ancestral past. It explores how woven mats acted as multifunctional spaces for sacred practices, highlighting the action of spreading out a textile on the ground as a temporary altar. 
 
From the Quechua language: Saphi (root) and Ch´usi (woollen carpet).

Sofia Hott is a Chilean textile designer and artist, with a background in South America’s cultural heritage, where she has studied textile traditions and worked with several artisan communities. Her inspiration as a weaver comes from the Andean pre-Columbian cultures, creating woven pieces with the aim to re-connect to their ancestral past and to revalue its ancient sacred traditions.

Saphi Ch´usi is an installation that generates a space of reflection and re-connection with the Andean ancestral past. It explores how woven mats acted as multifunctional spaces for sacred practices, highlighting the action of spreading out a textile on the ground as a temporary altar. 
 
From the Quechua language: Saphi (root) and Ch´usi (woollen carpet).

Sofia Hott is a Chilean textile designer and artist, with a background in South America’s cultural heritage, where she has studied textile traditions and worked with several artisan communities. Her inspiration as a weaver comes from the Andean pre-Columbian cultures, creating woven pieces with the aim to re-connect to their ancestral past and to revalue its ancient sacred traditions.

Saphi Ch´usi is an installation that generates a space of reflection and re-connection with the Andean ancestral past. It explores how woven mats acted as multifunctional spaces for sacred practices, highlighting the action of spreading out a textile on the ground as a temporary altar. 
 
From the Quechua language: Saphi (root) and Ch´usi (woollen carpet).

Sofia Hott is a Chilean textile designer and artist, with a background in South America’s cultural heritage, where she has studied textile traditions and worked with several artisan communities. Her inspiration as a weaver comes from the Andean pre-Columbian cultures, creating woven pieces with the aim to re-connect to their ancestral past and to revalue its ancient sacred traditions.

Saphi Ch´usi is an installation that generates a space of reflection and re-connection with the Andean ancestral past. It explores how woven mats acted as multifunctional spaces for sacred practices, highlighting the action of spreading out a textile on the ground as a temporary altar. 
 
From the Quechua language: Saphi (root) and Ch´usi (woollen carpet).

Sofia Hott is a Chilean textile designer and artist, with a background in South America’s cultural heritage, where she has studied textile traditions and worked with several artisan communities. Her inspiration as a weaver comes from the Andean pre-Columbian cultures, creating woven pieces with the aim to re-connect to their ancestral past and to revalue its ancient sacred traditions.

Saphi Ch´usi is an installation that generates a space of reflection and re-connection with the Andean ancestral past. It explores how woven mats acted as multifunctional spaces for sacred practices, highlighting the action of spreading out a textile on the ground as a temporary altar. 
 
From the Quechua language: Saphi (root) and Ch´usi (woollen carpet).

Sofia Hott is a Chilean textile designer and artist, with a background in South America’s cultural heritage, where she has studied textile traditions and worked with several artisan communities. Her inspiration as a weaver comes from the Andean pre-Columbian cultures, creating woven pieces with the aim to re-connect to their ancestral past and to revalue its ancient sacred traditions.

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The Obliging Bride takes a critical look at bridal culture and how it can influence decisions surrounding marriage and marital life.  In a time of progressive societal change, this collection aims to initiate conversations about the seemingly outdated façade of a white wedding - rich in age-old superstitions and traditions with forgotten origins that bring with them debates about religion, gender, class and taste

https://hannahbevis.com/  

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

The tea clay comes from collecting tea from individuals, friends and the local area after drinking it and eventually making it into souvenirs. Tea drinking is a traditional and widespread form of leisure in both East and West. Tea also serves as a symbol of traditional Chinese culture and aesthetics. These post-drinking teas contain fragments of memories and stories of people, places and times that have shaped the identity of individuals and groups. Since 2020, I have been practising and questioning ''how can I use tea as a material to tell and preserve the stories and memories of individuals and groups?'' and ''how can I go beyond its traditional values to create a new identity for What can I do with discarded tea? "

Textiles and Fashion designer. Cheng Cheng specialized in MA Textile Design at Chelsea College Arts. Upon graduating from Beijing Institution of Fashion Technology with a Master's degree in Fashion Design. Cheng‘s practice focuses on the sustainable and mixed-media design and research

Website: https://cicicicheng.wixsite.com/chengcheng 

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Ins: @wufengjinghan

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.
Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.
Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.
Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.
Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.
Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Back to Childhood: Transformable Decorations was inspired by old handmade toys, and the collection aims to counteract a move towards high-tech plastic novelties that burden the planet. I combined modular design with upcycling to create garments that are not only multifunctional but are also made by reusing existing materials.  

Mixed media Textile Designer and Fashion Designer, Fengjinghan Wu is completing an MA in Textile Design at Chelsea College of Arts. In the past, she was good at using digital embroidery, manual bead embroidery and laser cutting to create slow fashion combine modern technology with traditional crafts.

Making in Memory is fuelled by my personal experiences of grief and I explore the potential of my creative practice to foster new connections with my lost loved ones. Once an intrepid climber, I work from my dad’s imagery of rocks using etching and tufting to develop a personal ritual of commemoration through acts of making.

The audience is invited to feel my rugs and step onto one of them which activates a sound output, with pressure affecting volume. The music is an electronic piece composed by my brother in 2015, thus enacting direct connections and allowing for a continuation of commemoration and enduring presence in both physical and virtual spaces. 

Clemency Jones is a London-based multidisciplinary artist working primarily across print and rug-tufting. I create functional artworks inspired by both personal experiences and the natural world, to explore the potential of my creative process as a tool for healing. 

@studio_formes

Making in Memory is fuelled by my personal experiences of grief and I explore the potential of my creative practice to foster new connections with my lost loved ones. Once an intrepid climber, I work from my dad’s imagery of rocks using etching and tufting to develop a personal ritual of commemoration through acts of making.

The audience is invited to feel my rugs and step onto one of them which activates a sound output, with pressure affecting volume. The music is an electronic piece composed by my brother in 2015, thus enacting direct connections and allowing for a continuation of commemoration and enduring presence in both physical and virtual spaces. 

Clemency Jones is a London-based multidisciplinary artist working primarily across print and rug-tufting. I create functional artworks inspired by both personal experiences and the natural world, to explore the potential of my creative process as a tool for healing. 

@studio_formes

Making in Memory is fuelled by my personal experiences of grief and I explore the potential of my creative practice to foster new connections with my lost loved ones. Once an intrepid climber, I work from my dad’s imagery of rocks using etching and tufting to develop a personal ritual of commemoration through acts of making.

The audience is invited to feel my rugs and step onto one of them which activates a sound output, with pressure affecting volume. The music is an electronic piece composed by my brother in 2015, thus enacting direct connections and allowing for a continuation of commemoration and enduring presence in both physical and virtual spaces. 

Clemency Jones is a London-based multidisciplinary artist working primarily across print and rug-tufting. I create functional artworks inspired by both personal experiences and the natural world, to explore the potential of my creative process as a tool for healing. 

@studio_formes

Making in Memory is fuelled by my personal experiences of grief and I explore the potential of my creative practice to foster new connections with my lost loved ones. Once an intrepid climber, I work from my dad’s imagery of rocks using etching and tufting to develop a personal ritual of commemoration through acts of making.

The audience is invited to feel my rugs and step onto one of them which activates a sound output, with pressure affecting volume. The music is an electronic piece composed by my brother in 2015, thus enacting direct connections and allowing for a continuation of commemoration and enduring presence in both physical and virtual spaces. 

Clemency Jones is a London-based multidisciplinary artist working primarily across print and rug-tufting. I create functional artworks inspired by both personal experiences and the natural world, to explore the potential of my creative process as a tool for healing. 

@studio_formes