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the MAIWA JOURNAL


On Saturday October 27th, 2018, Charllotte Kwon and Tim McLaughlin delivered the THREADS lecture — "Kinds of Blue: The Natural Indigo Revival." Each year the THREADS lecture presents some aspect of the work of the Maiwa Foundation. This year the lecture followed up Maiwa's presence at the 2017 Indigo Sutra conference in Kolkata, India with details of teaching dye technique in rural Bengal.

The lecture also included an historic survey of Indigo use in India. From it's early discouragement on clothing worn by Brahmins to its ascendency during the time of the Mughals, to its world dominance during the British Raj, to its industrial synthesis at the close of the nineteenth century. All aspects of indigo's history influence how it is used, perceived, and appreciated today.






See all REVIEWS on the Maiwa Blog.
Sunday, October 28, 2018 No comments

On October 25, 2018, Shunji Ohashi delivered his lecture "On The Mend: Traditional and Contemporary Japanese Boro." Shunji had just finished teaching the last day of his 4 day workshop and he claimed to be down to "1% of my power - very tired." Yet he still seemed to have much more power and energy than most of us have at 100%. In fact,  "high energy" was probably the only way to describe the sold-out evening.

Shunji led the audience through traditional Japanese Boro textiles and explained the history and conditions that led to their development. He then showed how the technique of remaking, patching, quilting, and stitching is being used in contemporary fashion and design. Throughout his lecture Shunji's humour, energy, and passion for textiles were inescapable.





Shunji Ohashi was introduced by Amber Joy Muenz:


At Tim Mclaughlin’s lecture last week, he talked about the Maiwa Family and just how special it is. I’m newer to this family, but not to the concept of finding that deep connection.  Living in Tokyo in my 20s, I too experienced what would become my “Tokyo family”  -  with people of like minds and ideas, people I felt privileged to be amongst. This week I am over the moon to be bringing my Tokyo family together with my Maiwa family.  It’s almost like bringing the boyfriend home to meet the parents. But a lot less pressure!

I first met Shunji Ohashi when I was living in Japan. I met him through my good friend Sophie, now his wife  -  she first saw him tap-dancing on stage in Japanese Geta - wooden platform flip flop sandals at a little club we frequented in Tokyo.

The minute you meet Shunji, there's a warmth and brightness about him that makes you want to know more about where this excitement for life comes from. When Shunji would travel to Tokyo by train from Okayama, we shared conversations about creativity, expression and making. We would exchange the names of vintage clothing stores and antique markets in Tokyo and Okayama, the Denim Capital of Japan.

As a young man Shunji registered to study fashion at London College of Fashion. But just before he left he saw a tap dancer on the street in Shibuya. Shunji was floored. He approached the man and asked if he could learn. The performer told Shunji “Buy tap shoes!” So that day Shunji went out and did just that. And the next day he returned for his first lesson. He was inspired by the dance but also by the shoes. He considered how they were made and … he changed his major from fashion to shoe design.

Living in London, Shunji would pay his £400 rent with his tap dancing.

When he arrived back in Japan, Shunji started work at the revolutionary design house: Kapital. Just this week we learned that his persistence got him that job, after spending the night in a sleeping bag on the doorstep the head office - he burned in their minds the image of a young man determined to join their team.

He stayed 7 years at Kaptial - Where he learned the intricate craftsmanship Kapital is famous for. For 3 years Shunji spearheaded Kaptial’s Kountry line, which has a strong focus on intricate/labour-intensive design and hand craft.

Kapital never works with photoshop or any other digital design tools: so Shunji would hand-stitch every sample he designed. Because the factory was just round the corner from the design studio, he would walk the samples over himself when he went for meetings, often bringing sweets to the craftspeople whom he has enormous respect for.
But his deep connection to cloth and style he inherited from his family.

Shunji's grandfather owned a factory that made kimono fabric. His paternal grandmother is passionate about kimonos and has an enormous collection, some of which we worked with this week in his Boro workshop. His maternal grandfather was so passionate about fashion that he would travel to Tokyo — an eight-hour round trip in those days — just to buy a hat. That Grandfather used to buy clothes for Shunji. It was his grandfather’s style of extreme over-layering (so much so that his shoulders would ache) that influenced Shunji’s love of over-layering.

Shunji’s style motto became: kyabetsu no you ni nanmai kiru  - ‘dress like a cabbage’.

After being sought out by the denim innovator G-star, Shunji moved from Tokyo to Amsterdam where he currently resides. At G-star, Shunji is responsible for creating the concepts that drive whole collections, as well as making labour-intensive one-off pieces for celebrities such as Pharrell Williams and Jaden Smith. He frequently visits factories to oversee production and is deeply involved with G-star’s sustainability efforts. Shunji’s personal drive is to make products of the highest quality that are as timeless as possible, so that people will continue wearing them for a very long time.

Shunji has a strong connection to Japanese tradition, Japanese Buddhist philosophy, craft and textiles. He understands the patience it takes to learn a craft. Shunji embodies a reverence for knowledge and a hunger to learn from others. He is a teacher and a student: a man of depth, generosity, creative thought and great curiosity.

I am thrilled to introduce you to my good friend Shunji Ohashi.



See all REVIEWS on the Maiwa Blog.

Saturday, October 27, 2018 No comments

On September 22nd, 2018, Charllotte Kwon delivered the closing plenary address to the 2018 Textile Society of America Symposium. Meghann O’Brien set the tone by delivered the keynote to open the symposium. It was three intense days of textile presentations and events.


Charllotte addressed the 2018 theme: The Social Fabric: Pan Global to Deep Local in an hour long presentation that investigated the fabric of trade as a type of weaving between cultures, markets, artisans and techniques. There was a lively questions and answer session after the talk and discussion of these important issues carried into the final events of the TSA symposium. Maiwa and Charllotte would like to extend their appreciation to all the dedicated people who made the 2018 TSA symposium possible. It was truly an exceptional event.








See all REVIEWS on the Maiwa Blog.


Saturday, October 27, 2018 No comments
Photo by Mercedes Jelinek, 2015.

On October 23, 2018 Rachel Meginnes delivered her lecture "Striped Bare: Deconstructing Textiles and the Artistic Process." Rachel detailed her artistic career and talked about crucial moments and decisions. It was an honest and deeply-felt presentation with emphasis on how artistic motivation and studio practice are combined to create meaningful work. Rachel also presented a diagrammatic figure  for understanding the success or failure of an artistic work to communicate with an audience. This figure sparked many questions from the audience after the talk.

From the "In Studio" section of Plainweave Studios

Rachel was introduced by Tim McLaughlin:

I was walking myself through the work of Rachel Meginnes in preparation for her return to teach and speak at Maiwa. I though how, in late winter, the day is sometimes wrapped in a white-grey fog. The air itself seems to drain the colour and contrast out of everything. The world becomes subtle; like an old billboard, bleached by the sun, weathered by the wind, washed by the rain. Wood silvers. Cloth unweaves itself, paper blisters and tears away.

And then I encountered Rachel’s statement: “Colour and surface should not be mere facade but rather a result of intent and effort over time.”

I read and reread that statement. I liked it. It seemed to indicate something true: That colour and surface are rewards of a kind. But I also caught a hint of contradiction in it. Colour and surface are the result of intent and effort. But who’s intention? Who’s effort? In a beautiful piece of cedar wood, silvered by the sun and found on the beach … where did the effort come from?

I’d like to suggest that Rachel’s statement is a lot like her artwork. The more you focus on it, the more it expands and draws you in. If you question it - it offers a suggestion of an answer, and then an alternative answer.

Rachel has spent a long time divining the subtle nature of process. She began her artistic career as a weaver, she studied textiles and indigo dyeing in Japan, she completed her MFA at the University of Washington, she co-owned and operated a rug design company producing hand-knotted, Tibetan carpets for the interiors trade. In 2012 she shifted gears and embarked on a three-year residency at the Penland School of Craft. Since then she has looked into the depths of process, surface, colour, technique and intention. Whatever truths or contradictions she has found there she has expressed in objects and artworks.

Please join me in welcoming Rachel Meginnes.




See all REVIEWS on the Maiwa Blog.

Saturday, October 27, 2018 No comments

On October 16, 2018 Tim McLaughlin delivered his lecture "The Poetics of Textiles" to the Maiwa audience. It was a wide ranging lecture touching on Carlyle's Philosophy of Clothes, John Ruskin, William Morris, Craft and Craftspeople, India, and our relationship with handmade things. Tim brought in Pablo Neruda's Ode to Things and drew a line from poetry all the way to Iris Van Herpen's fantastically staged contemporary clothing.



Tim McLaughlin's lecture was introduced by Charllotte Kwon:

It is a pleasure for me to be the one introducing Tim McLaughlin’s lecture this evening

Many of you here know Tim McLaughlin and know all that he does to make Maiwa shine.  But I want to take this opportunity to introduce you to Tim McLaughlin - the artist, the writer, the chemist, the book designer, the ink maker, the photographer, the traveler, the film maker .  .  .

Tim holds an MA in Philosophy of Science from the University of Western Ontario.  For over 25 years he was active in experimental radio and hypertext fiction - for which he is included in the Encyclopedia of Literature in Canada. In 2014 Tim took second prize in the PX3 Paris Photo Competition for his photos - Portraits Found and Taken.  In 2015 and 2017 Tim was appointed Shadbolt Community Scholar, graduate Liberal Studies, Simon Fraser University.  Tim has written for Hali Magazine, The Victoria & Albert Museum magazine and Surface Design magazine among many others.  Tim’s work is regularly exhibited in gallery spaces in Vancouver and the Sunshine Coast.  He co-wrote (with me) - the book -  Textiles of the Banjara published by Thames and Hudson - but in addition - you may not realize - he designed the entire book.

Tim is a designer extraordinaire - and in fact before coming to Maiwa, Tim was a sought after graphic designer.  After we contracted him to do the graphics for our huge exhibition in 2002 at the Vancouver Museum called Through the Eye of a Needle: Stories from an Indian Desert we found ways to keep him gainfully employed at Maiwa ever since.  Tim is one of the most creative people I have ever met.  He truly lives “the creative life” - He has a daily writing, drawing, painting, calligraphy practice and it is delightful to live amongst its midst. I get to be the recipient of many, many exquisite letters that come from imaginary countries - countries that he has mapped; designed the commemorative stamps for imaginary leaders and statutory holidays.  He created his own Saffron Gin and then designed an entire campaign for a launch of it in India.  I believed this for some weeks until I realized all his copy, drawings, meetings etc were fabricated.

He is often up in the wee hours making extracts from plants for inks and pigments, photographing in perfect tender morning light, cooking journals in the oven, painting portraits with iron gall ink, writing letters, writing New Yorker reviews for imaginary books.  You know - normal 6 am activities.

This evening Tim will take us on a journey of his musings - The Poetics of Textiles - so aptly named for a journey only Tim could take us on.




See all REVIEWS on the Maiwa Blog.
Saturday, October 27, 2018 No comments

On October 9th the famed India Flint wrapped and bound us in colour, leaf, and cloth. She conducted the audience in the magic arts of organic pattern making. It was a fantastic night of stories. Here are some photos from the evening.






The evening was introduced by Jo O'Callahan who produced some amazing items from the pockets of her very own wandercoat, made in an India Flint workshop.






See all REVIEWS on the Maiwa Blog.

Saturday, October 27, 2018 No comments


On September 20th Maiwa East's gallery space was animated with the sound of a flying shuttle. On exhibit was a new selection of weavings, displayed as artworks. At the loom was Amy Putansu herself, weaving and explaining what she was doing. Amy is especially well known for the ondulé technique whereby the weaver is able to transcend the rigid grid of the woven structure.

The event was introduced by Tim McLaughlin

A wave is a beautiful emblem of how graceful nature is — why break it? 

In fluid dynamics, a breaking wave is a wave whose amplitude reaches a critical level. 
Beyond this level the graceful sinuous form of the wave is transformed into turbulence. At this point, simple models that describe wave dynamics often become invalid, particularly those that assume linear behaviour.

I can’t say how happy I was to run across this definition of a braking wave. Because the “linear behaviour” that can no longer be explained fits perfectly into a weaving analogy. 
We all know how a wave breaks on the shoreline, how it overreaches itself, balancing for a moment against gravity.  

I encourage you to think of these weavings as what happens when you leave linearity behind. These are powerfully subtle works - deceptive in their simplicity. In each one you will find a weaver and her childhood growing up by the ocean. If you look deep enough you will find the emotions gathered while far from water, and a longing to return to a woven rhythms as old as life itself. 

Amy's exhibition ran September 20 to 23rd.




See all REVIEWS on the Maiwa Blog.
Friday, October 26, 2018 No comments
Shown: Narlai Coat over the Liberty Tank.

Our feature garment for this launch: The Narlai Coat.
A beautifully tailored garment made from lightweight handwoven wool. Resist patterned with hand tied bandhani stitches, the Narlai coat features a scarf-esque flowing collar and seamless welt pockets. This coat has drape and flow. It moves beautifully on the body and loves to be combined with other pieces.


Shown: Narlai Coat over the Liberty Tank.


SEE THE NEW MAIWA CLOTHING HERE


CELEBRATE AUTUMN IN
COZY LIGHTWEIGHT WOOL  OR  RICH DARK LINEN 

 Shown:  -  Udaipur Jacket, Amber Dress, Podina Skirt


 Dramatic elegance in hand block-printed linen:
natural colour, complexity and depth.


Shown: Khira Dress


 Bandhani hand-tied pattern — a dark garment with a light feeling. The Khira dress is made from wonderfully lightweight handwoven wool. This dress features a unique pleat at the back. A clever element permitting the dress to hang from your shoulders and then drape your body with style and grace.


LAYER UP
LAYERS OF GARMENTS, SHAWLS & SCARVES

 Shown: 

Left - Khira Dress with a Bhujodi Wool Shawl
Right - Khira Dress with an Ajrakh Linen Scarf


Shown: 
Left - Banyan Top with an Ajrakh Cotton Scarf
Right - Banyan Top with an Ajrakh Wool Shawl



Maiwa clothing is available at Maiwa on Granville Island 
7 days a week between 10am and 7pm
And Online at maiwa.com





Wednesday, October 24, 2018 No comments

2019 SPRING WORKSHOPS

NOW ONLINE!

Mark your calendar.
Registration opens Monday, December 10th at 10am Pacific Time.

Make sure to read our Tips for a Successful Registration.


SEE THE 2019 SPRING WORKSHOP SCHEDULE HERE


We hope to see you there!

Wednesday, October 17, 2018 No comments



BANDANAS

Organic Cotton

Organic lightweight cotton bandanas,
great for dyeing and surface design projects - hem sewn with cotton thread.
Size approx. 53cm (21") square.

Thursday, October 11, 2018 No comments

MEET THE MAKERS
USING MAIWA'S NATURAL DYES

COLOUR FROM NATURE

Meet the Makers — where we shine a light on how artisans are using Maiwa Supplies.

In this feature we call out makers who are using Maiwa's natural dyes. From production dyeing to paint-making; starting with natural colour gives craftspeople an edge. Craft is storytelling with objects, and these colours have a story unlike any other. These are exceptional craftspeople - check out their websites and instagram feeds.


───────────────
SHOP MAIWA'S NATURAL DYES
───────────────


GREEN MATTERS NATURAL DYE COMPANY

They naturally dye yarns for the Ranch 01 line of Brooklyn Tweed (among other clients) ... and they are one of the most inspiring young companies we know. Tyler Stoltzfus and Winona Quigley started the Green Matters Natural Dye Company with a 3 gallon stock pot and an idea: to bring pollution-free colour to the textile industry by using all natural dye ingredients. They grow many dye plants themselves, they source from local, sustainable options, and when they want to access classic dyes that are unavailable locally — they get them from Maiwa.

www.greenmattersnaturaldyecompany.com
@greenmattersnaturaldyeco

See also Brooklyn Tweed's profile of Green Matters Natural Dye Company
 and Knitting with naturally-dyed yarn. 
  


────────────────────────────

CATHARINE ELLIS


Catharine Ellis made a name for herself early on with the publication of her book Woven Shibori. In 2016 it was revised and updated to combine this groundbreaking resist process with  natural dye technique. For many years now Catharine has pursued natural colour. We highly recommend her blog, Natural Dye: Experiments and Results. Her two most recent posts evaluate oak galls and describe the indigo harvest in Okinawa. 

Catharine has a long-term teaching and researching partnership with the Danish dye chemist and textile engineer Joy Boutrup. We are happy to say that when they reach for natural colours that can't be found locally, they reach for Maiwa's natural dyes. Keep an eye our for their forthcoming book: The Art and Science of Natural Dyes. 

ellistextiles.com



───────────────────────────────

CAITLIN FFRENCH

She travels the world modeling her popular knitwear designs. She can put together a beautiful natural dye palette on cloth or yarn; in paints or inks. She spends a lot of time on dramatic beaches, windy hilltops and deep in the forest where she finds inspiration for her colour. She is a teacher, photographer, and publisher. Where does she get her classic dyes? Maiwa. 

caitlinffrench.com
@ffrench



──────────────────────────────

SABAHAR

Sabahar is an Ethiopian company that hand weaves cotton and silk textiles. They raise the wild silk themselves from eri moths. When they add colour - all of it is natural. 

Kathy Marshall, a Canadian by birth but a twenty-year veteran of Ethiopia, founded Sabahar in 2004 and still works as its General Manager. Her passion for preserving and celebrating the rich weaving tradition of Ethiopia combined with her desire to create respectful and ethical work opportunities for marginalized people have laid the foundation for the company. Maiwa is proud to supply Sabahar with all their non-local colour.

There are two videos about Sabahar we recommend. Check them out in the links below:

Sabahar Company Profile
Sabahar: Hands of Creativity

sabahar.com
@sabahar



───────────────
SHOP MAIWA'S NATURAL DYES
───────────────

OUR NATURAL DYES ARE AVAILABLE AT:
  
Maiwa Supply on Granville Island 7 days a week between 10am and 7pm
and
Maiwa East: 1310 Odlum Drive Vancouver, Monday - Friday 9am - 5pm 
and
Online at maiwa.com



Wednesday, October 10, 2018 No comments

On September 25th textile specialist, collector, trader, author, and adventurer John Gillow took the audience down the silk route. John was equally at ease talking about the influence of the Great Game (the nineteenth century rivalry between Great Britain and Russia) on shawl motifs, as he was relating how he found a certain textile trader in Afghanistan and then, remarkably found the same trader twenty or thirty years later. It was a visually rich evening of stitch motifs, weaving technique, textile history, trade politics, intrigue, and stories.

The evening was introduced by Liberty Erikson:

Good evening Ladies and gentlemen. Welcome to the 3rdlecture in the Maiwa School of Textiles Lectures series.

Tonight it is my great privilege to be able to introduce John Gillow. He visits us from the UK.  He has shared his knowledge and stories at many Maiwa symposiums. He is the author of numerous books including; African Textiles,  Indian Textiles, World Textiles … and many more. 

John is a living conduit.  His knowledge connects history to place and cloth.

To me John is like the eccentric uncle I always wished I had. The one that would travel the world and come back full of treasures and stories. It certainly feels that way whenever John comes for a talk … for weeks before his arrival box after box after mysterious box arrives to Maiwa. What has he collected?  What secrets will he reveal?

Tonight we will travel back in time to the days of the silk route. How did these pieces get here? What communities were they made for? What dangers did they encounter on the road? Were they bought, traded, stolen, smuggled? All of that I will leave for John to unpack. 

The life of a textile seems to span almost beyond space and time. Sometimes ceremonial textiles are made for significant reasons. Sometimes textiles are humble and useful — like bed linen. I believe that textiles take on a life and a history all their own, and some can have many chapters in their long lives. 

This evening is another chapter in the journey of these cloths. These stories are the threads that connect us all. But the stories don’t exist without the storyteller … 

So lets gather around the primal fires and travel with John down the old silk routes…


Ladies and gentlemen, John Gillow




See all REVIEWS on the Maiwa Blog.
Tuesday, October 09, 2018 No comments

On September 13th, the Maiwa audience were treated to a look behind the scenes into Sue Stone's life and art. Beginning with the influence of her immediate family (her Dad's work ethic and her Mom's talents as a tailor) Sue gradually broadened out her reach until she was explaining the confluence of modern graffiti with historic and family photos. Sue has worked consistently to re-imagine her world and to take this creative vision and render it in stitch-work, cloth, and textiles.


Sue had works on display at the lecture for the audience to examine close-up. One of Sue's many talents is looking at the human face in terms of geometry and then rendering this geometry in needle and thread. The results are both intimate and artful. In the era of social media, when photography is ubiquitous, the results serve to move the portrait back into the realm of rarefied object. Each work thus becomes a special encounter, invested with Sue's imagination, creativity, and humour.

Read Sue Stone's WordPress blog here.
Sue Stone was introduce by Bonnie Adie.

Tuesday, October 09, 2018 No comments
 HAND EMBROIDERY
ONE-OF-A-KIND MASTERPIECES




VISIT OUR HAND EMBROIDERY COLLECTION ONLINE HERE


Stitchwork maintains living traditions.
It is an expression of the strength of the women who make it.

We carry some of the finest hand embroidery being done today: bold, forceful, Banjara work, jewel-like pieces from tribal communities living in the Kachchh desert in Gujarat.
As befits this exceptional work, we have set the embroidery into products meant to last a lifetime: bags from the Jawaja leatherworkers, pouches made up from strong quilted fabrics, and beautiful cushion covers.

No two pieces are same. See it in our online store or in the Main Maiwa Store on Granville Island.





VISIT OUR HAND EMBROIDERY COLLECTION ONLINE HERE







 ______________________________________________________


Maiwa's commitment to embroidery and embroiderers goes deep.
In 2003 we published Through The Eye of a Needle: Stories from an Indian Desert to document the embroidery communities in Kachchh.



And in 2016, Maiwa authors Charllotte Kwon and Tim McLaughlin published Textiles of the Banjara: Cloth and Culture of a Wandering Tribe with Thames and Hudson.


Read more about Banjara and Kachchh embroidery cultures on our website. 

Wednesday, October 03, 2018 No comments
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      • REVIEW Kinds of Blue: The Natural Indigo Revival
      • REVIEW: On The Mend with Shunji Ohashi
      • REVIEW: The Fabric of Trade - TSA Closing Plenary ...
      • REVIEW: Striped Bare Lecture with Rachel Meginnes
      • REVIEW: The Poetics of Textiles
      • REVIEW: Wonderlust Evening with India Flint
      • REVIEW: Amy Putansu's Breaking Waves
      • Stand Out in Any Season - New Maiwa Coats & Clothes
      • The List is Out! - MAIWA School of Textiles Spring...
      • Blank Textiles Back in Stock
      • Meet the Makers Using Natural Dyes
      • REVIEW: John Gillow on the Silk Route
      • REVIEW: Sue Stone - Woman With a Fish
      • Carry a Masterpiece with you Everyday
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