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the MAIWA JOURNAL


The 2021 Madder Harvest in the Maiwa Dye Garden.


 2021

THE YEAR IN REVIEW


At this time last year we were in unknown territory.

We had come through nine months of COVID and various stages of closures and isolation. We were looking at a very different world. You can read last year’s thoughts on disruption and artisans here.

A year ago we launched the Maiwa School of Textiles Online. We were hopeful that something new could grow in the space that had been cleared by the cancellation of so many workshops, lectures and events.

To figure things out, we began to construct a roster of free workshops and build a special website dedicated to sharing instructions on natural dyes. You might say that the best way to deal with uncertainty is hope. We made a conscious decision to adopt a hopeful strategy. We started in March of 2020 and kept going. We were looking to build a more resilient community that could not be shuttered by a lockdown.

We have maintained a shop on Granville Island for over 35 years. During that time we’ve moved it from one location to another and expanded it into many places. Some Vancouverites with long memories will recall that we once had locations in Yaletown and West Vancouver. We’ve now brought everything together into one shop. In addition to connecting with our local community, we use that storefront to unify our ideas of craft and making.

In our Granville Island shop you can find not only naturally dyed clothing, but also the natural dyes themselves. You can find magnificent embroidery, and everything you need to make your own. When visiting the store you can find, not only the starting materials, but also the best examples of how they come together through the work of skilled hands. Yes, it’s true that it can be a humbling experience to hold a piece of cloth that represents generations of dedication and skill-building. But it is also a great inspiration.

We like to think that the things we bring into our shop - both online and in person - are also ideas. Each piece of handwoven cloth is also a statement about the value of making things by hand. Cloth is a great storyteller. The closer you get to it, the more intimate its stories become.

What we have tried to do in 2021, is bring these stories closer to more people. Our School is our most ambitious attempt at this. We’ve harnessed all the power of modern film-making to make our courses, and we are proud of the results. It surprised us, though, to find out that the intimate connection between individuals returned in a new place —  in the extensive question-and-answer section of the school. Literally thousands of messages going back and forth talking about technique, craft, cloth, art, creativity and making. It was our old friend the written word that surprised us. Each course turned out to be, not only a way to educate and instruct, but also a great, far-ranging conversation between instructors and students.

We live in unusual times...and we’ve made it through another strange year.

We encourage you to keep your inspiration close, listen to the stories all around you, and adopt a hopeful strategy.

Friday, December 31, 2021 No comments


Stitch work done during lockdown in India.

2020
OUR YEAR OF CHANGE

"Disruptive" is something many entrepreneurs claim to be a good thing. That and "just in time" delivery of orders. "Zero inventory" is also thought to be an advantage for the ambitious businessperson—who can sit like a spider in a web of supply and demand, pulling the threads, maximizing profits and eliminating risks.

We've been handed a generous amount of such well-intentioned advice over the years. Most of it is prefaced as "just common sense." We've been told that switching to production centres instead of working directly with artisans would eliminate our lengthy timelines, and make everything so much easier. We would be able to respond to trends—something that we were often told we needed to do.

We disagreed. We like working with artisans. Perhaps we felt a little selfish for a moment, declining so much free advice, and then we remembered who we were and moved on.

At the end of March 2020 our retail stores were closed. Before that our School of Textiles cancelled all in-person workshops for 2020. This was the most uncertainty we have ever faced as a business. It is now the end of 2020, so here are some of our thoughts on disruption.

The many artisan groups we work with are doing well considering the extent of the crisis. We have been in regular contact with all of them, and, not surprisingly considering the forced isolation, some are very talkative. It often surprises them to learn that we also have lockdowns and isolation, and restrictions. This is a world wide event.

Our business relationship with artisans has always been a long-term one. For over thirty years we have encouraged artisans to always look to the future; always be prepared for disruptions in the supply chain. Cost your work appropriately and beware of orders where you as the artisan take on financial liability on behalf of a client. Orders that seem too good to be true almost always are.

This has meant that, unlike many of the migrant day-labourers in India, most of the artisans we work with have resources and a bit of a cushion between themselves and hardship. But it is not true for all of them. In many areas transportation gets shut down completely, so travelling to work is out of the question. Trade fairs and shows are gone. Rents and back payments for materials are still due. Food costs money. And there is always the uncertainty of the future. What if orders are cancelled and there are no new orders? Debt can quickly force many of the smaller artisans out of craft and into day labour. But then, with restrictions, what if there is no day labour?

We have kept up our orders and placed ambitious new ones. In our frequent discussions with many artisan groups we have heard one reassuring statement again and again. "If we have good orders we have no need of financial assistance. It would be wrong for us to take it."

There are, of course, artisans who do need support and we are proud to be able to provide it - but that is a story we will tell in a separate post.

Everything is connected. Our long timelines have given us enough stock to weather all the delays and cancellations that took place in 2020—and there were many. But also, our orders to artisans were made possible by support and enthusiasm from our community. We could not have weathered 2020 without so much support. We are writing this to tell you how grateful we are.

The global pandemic of 2020 has tested many of our core beliefs. In so many ways it has only strengthened the way we think. We've seen enough disruption for one year. Risks are necessary so it is important to take them for reasons that you understand. We understand thread and cloth and weaving and dyeing and block printing. We understand the artisans who have mastered these techniques. We understand these techniques ourselves and are trying our best to share them through online workshops and many free lessons. We believe in these things. Deeply. Clearly. And we want them to continue into the future.

We are privileged to be able to continue our work in 2021. We wish everyone health and happiness in the coming year.

 

Thursday, December 31, 2020 No comments

2019 FOUNDATION
TEACHING NATURAL DYES IN BENGAL

We continue to work with a natural dye revival in Bengal. Regular readers will know that following the 2017 Indigo Sutra conference, Maiwa taught workshops in rural Bengal. To get artisans up and running with natural dyes they need orders. As 2019 unfolded, those orders started to arrive. We will unfurl the cloth, check the weave and dyeing and then think about how this magnificent cloth can be used. 

Read about the Bengal Workshops in our series of blog posts.


_______________________________________________________


2019 BEHIND THE SCENES
HELPING  "THE CLOTH THAT CHANGED THE WORLD"


Maiwa was pleased to provide some of the natural dye samples that will be on display at the Royal Ontario Museum's upcoming show: The Cloth that Changed the World: India's Painted and Printed Cottons. The exhibition opens in April 2020 and runs until September 2020. A few of our images have been used in the accompanying book. The book is a magnificent production edited by Sarah Fee (Senior curator of Eastern Hemisphere fashion and textiles at the Royal Ontario Museum.) The book is now available for pre-order. 


_______________________________________________________


2019 ENGAGEMENT
GIBSONS PUBLIC ART GALLERY


Charllotte Kwon delivered a talk at the Gibsons Public Library on the Sunshine Coast. It was her Slow Clothes lecture in which she argues for ways to put value and meaning back into our textiles and the ways we make them.


_______________________________________________________


2019 LECTURES
MAIWA SCHOOL OF TEXTILES


The 2019 Lecture and Event Series included a number of international artisans. We had five outstanding individuals from India including father & son, Jabbar and Adam Khatri. brothers Abdullah and Jabbar Khatri, and famed weaver Shamji Vankar. We also hosted a special event by India Flint, and provocative lectures by Meghann O'Brien,  Anna Heywood-Jones, and Tim McLaughlin. The annual Threads Lecture was delivered by Charllotte Kwon and Tim McLaughlin.


SEE ALL REVIEWS HERE



Friday, January 10, 2020 No comments

REVIEW OF 2019 LECTURES AND EVENTS
MAIWA SCHOOL OF TEXTILES

There is one event remaining in the 2019 Maiwa School of Textiles lineup. On Thursday November 7th from 6-8pm an exhibition of Noren will take place at the Silk Weaving Studio (see details below). With all other events and lectures behind us now seems a good time to look over what happened this year. The link below will show all the reviews which have been posted to the Maiwa blog.  In many cases we have been able to reprint the introductory comments.  



SEE ALL REVIEWS HERE


Our Spring 2020 listings have just gone live. Registration for another incredible season of workshops opens on December 9, 2019 at 10am (pacific time).





YOKI AND KAZUHO KANO
FROM STUDIO HINOKI

Noren is the name given to traditional Japanese cloth dividers that hang in doorways and windows. The works in this exhibit will feature both traditional and contemporary  designs. Yoko is assisted by her daughter Kazuho.


PLEASE JOIN US AT:

THE SILK WEAVING STUDIO
For the opening Thursday Nov 7, 6–8pm
Exhibition runs Thursday Nov 7–Sunday Nov 24

Wednesday, November 06, 2019 No comments

Saturday September 28th was the annual Threads Lecture. This year the title was "The Future of Making." Each year the threads lecture addresses the work of the Maiwa Foundation or issues of particular importance to artisans. This year Charllotte Kwon and Tim McLaughlin addressed the changing nature of artisan - designer relationships. The lecture began with an introduction to Anna Maria Garthwaite - a noted textile designer working in East London c. 1740. From here the lecture looked at the break between the fine arts and the decorative arts and the nature of industrial design. Examples of the tension between designer and artisan were discussed with the "Ajrakh Inspired Jacket" from the V&A Fabric of India exhibition providing a pivotal example.

The Evening was introduced by Liberty Erickson; Maiwa staff and host of the Maiwa Podcasts.

Good evening everyone and welcome to the Maiwa School of textiles lecture series.It is with great excitement that I introduce Charllotte Kwon and Tim McLaughlin for tonight’s lecture the Future of Making.

Charllotte is the owner and fearless captain of Maiwa Handprints.She is a writer, a teacher and a traveller, just to name a few things. Charllotte has won numerous awards for her extensive work in the textile arts and her drive to champion artisan communities. I've had the opportunity to be an assistant on the textile tours she leads in India, and to be honest, with this woman as navigator, I would follow her to the ends of the Earth.

Tim is an award winning photographer an author a teacher and so much more.Some of you here may have come to his lecture last week: "Artisan Ink and the New Calligraphers: Handmade Ink and the Return of Pen work" it was truly inspiring. A couple of years ago I took his ink making workshop and I am still inspired to write and create each day.

Independently both Charllotte and Tim are fiercely creative individuals.They represent the new renaissance with a foot (or in their case the flowing end of a shawl) in many different worlds. And when these two creative minds come together and collaborate they are a force to be reckoned with.

Tonight is our final lecture in our fall series. Thus far we have witnessed the traditions of the past and present come together; from the techniques that the 5 artisans visiting from India shared with us to the contemporary weaving of Anna Haywood-Jones.

For some of you, tonight maybe your first lecture, and to you, I say, welcome. For others (and you know who you are) these lectures have become a tradition in and of themselves and you attend the whole series.Either way, this is a moment in time where we gather and connect with this community of amazing people.

Year after year,
Under this very roof,
Worlds collide,
Ideas are shared,
And new inspirations are born.

In this rapidly changing world the cultures and traditions of craft and making are ever evolving.The question of what the future will look like is a topic to be revisited time and time again.Tonight I couldn’t think of two more inspiring people to help guide us into the future. Everyone please welcome Charllotte Kwon and Tim McLaughlin.

Silk design by Anna Maria Garthwaite dated October 23rd, 1747. Collection of the Victoria and Albert Museum.

Weaver's Service Centre innovation for a supplemental weft. India 2018.


Wednesday, October 02, 2019 No comments

On Thursday September 26th Anna Heywood-Jones delivered her lecture "Metamorphosis" to the Maiwa audience. Anna offered a manifesto to the plant kingdom and explored, in creative detail, how one could consider new ways to think about plant intelligence. She offered a poetic exploration of fathom as well as a poignant summary of a personal project exploring memory and identity which was made in collaboration with her father, who is suffering from Alzheimer's Disease. 

Anna was introduced by Tim McLaughlin:

Good evening.
Sometimes one meets an artist and one wonders what type of person they might be in another life. What type of person they might have become if things had worked out differently and they never became an artist.

Looking over the works of Anna Heywood Jones, one gets the sense that she would follow a career in which she puts things in order; as a lexicographer puts words in order, as a cartographer puts places in order. One gets the sense that she is a grammarian of the natural world, quietly sampling, testing, sorting, considering, organizing.

For example, one of her works, titled “Tinctorial Cartographies” consists of twelve months of harvesting and mapping the natural dye plants of Nova Scotia. She is mapping in many varied  senses of that word: Geographical, ecological, biological, social, emotional, chromatic.

In 2013 Anna graduated from the Emily Carr University, in 2016 she completed her Masters of Fine Arts at the Nova Scotia College of Art and Design. Before, after, and throughout her formal education she embarked on projects, exhibitions, residencies and lectures where she considered the natural world, how it is transformed and is transforming. She is a master of the trace.

The range of her exhibitions now covers most of North America from Nova Scotia to San Francisco. We are most fortunate to have her with us tonight

It gives me great pleasure to welcome Anna Heywood Jones.

http://www.annaheywood-jones.com/
Saturday, September 28, 2019 No comments
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