Stine Linnemann, 25. The Danish Design School, Textile project 2. year 2009.
– specialism: Weaving and printing.
I’m currently attending The Danish Designschool, doing my 3rd year so far. Before that I took a course at Skolen for Kunst & Design in Århus (http://www.kunstogdesign.dk/ ) for one semester before and while applying for the designschool. Last summer I had a brief two week internship at textile and colour designer Margrethe Odgaard (http://margretheodgaard.com/) and I am currently doing an evening course in pattern making for clothes at Margrethe Skolen (http://margrethe-skolen.dk).
What was the most valuable you learned before starting at your education?
A teacher suggested I apply for the textile department, because I made a lot of patterns and had a big interest for colours. Following her advice opened doors I had never even imagined, as I came from a background of drawing, painting and doing computer graphics.
Slitage (translates to “worn down” in English). My first weaving project took 5 weeks and the assignment set out by the teacher was to use no colours, think of no function and be inspired by the word spor (translates roughly to “trails” og “footprints” I chose to understand it as “leaving a mark”).
My main inspiration for this project was a number of photos I took of worn down urban environment. I also had a variety of materials that inspired me indirectly: VHS tape, tinfoil, pill package, etc. I quickly learned that my traditional way of sketching wasn’t much good and it was a time of experimenting and learning-by-doing at the looms.
Where do you get inspiration from in general?
I love macro photos and finding beauty in unlikely places, be it a physical mutation, a broken tile or decomposing food. In general I’m overwhelmed by the amount of inspiration I find everywhere and I always bring my digital camera with me to capture it.
How is your process when you design?
I like to spend a lot of time researching and always find myself with more material than I can use. When I feel the time is ripe I decide which way I want to take my project, and then I start testing out the ideas I have in my head. I use whichever methods I find appropriate, be it weaving, draping fabric or more untraditional approaches such as recently when I found myself paintings long strips of toiletpaper in vibrant colours…
What do you find most difficult about the design process?
Stopping! I always want to explore things further and never feel like I have enough time to ‘geek out’.
What are your strenghts?
I’m curiousness, hard-working and I have a deeply rooted love for expressing myself and creating.
What are your weaknesses?
I often feel ‘behind’ because I had very little previous experience with textiles when I joined the school, for example not being able to knit and having practically zero sewing skills.
Describe your collection with three words?
Urban, experimental, textured.
What machines and techniques did you use:
I mainly used digital ARM-looms, programming my patterns on the computer and testing them out. The techniques I used included honeycomb, satin (warp and weft), floats, crepe wool and different mixes of materials.
Which technique was the most difficult?
Trying to “think weave” was the most difficult. For example the fabric inspired by broken tiles cause me a lot of difficulty, until I realised I could “draw” with different types of satin.
Which garment was most difficult to make?
The one inspired by old gum on the sidewalk, trying to control how some areas are more raised than others creating bold texture.
Which swatch is your favorite?
My personal favourite is the one I made inspired by bike tracks left in a wet newspaper because of its subtlety. It’s metallic jettex polyester and grey crepe wool with raised areas created by floats.
Is there something you regret not doing in your collection?
I missed working with colours and sometimes wish I’d used some, but at the same time I think it was a good exercise for me to focus on materials and technique.
What made you pursue weaving?
I never thought I’d find weaving the least bit exciting – I used to associate it with heavy, geometrical stuff in earth tones from the 70s! If it hadn’t been an obligatory part of my education, I would never have pursued it. So it was a great surprise to me that weaving is so much fun and it seems to contain endless possibilities! I love trying to make up patterns on the computer and how you never really know how it’s going to turn out until you try it – and how the same recipe can be a million different things depending on the materials you use.
Why did you choose the Danish Design School?
I chose it because it’s one of the largest danish design schools and one of the few that qualify for S.U., the government sponsored monthly payment students receive in Denmark. I didn’t know much about the school when I started here, other than how difficult it is to get in.
What did you think of the education?
I love that there’s focus on craft skills and that the workshops of the school are so nice. I think the education is very different depending on which specialty you are doing, but I have nothing but good things to say about both the textile department’s staff, the teachers and my fellow students.
Which fellow students would you like to highlight?
Stine Marie Krebs, Signe Rand Ebbesen, Sine Stenbek Andersen and Linnea Karoline Holck to name a few.
Why do you want to be a designer?
I love being creative and working with my hands while developing ideas.
What was your childhood dream job?
Where can we find more information on you?