I found I could say things with colour and shapes that I couldn’t say any other way – things I had no words for.



Slowly but surely the international community is coming up to speed with the relationship between colour, pattern and containment with the new retrospective of Fahrelnissa Zeid coming soon to the Tate Modern in London, UK.

Slow Textiles Group members will be familiar with our CEO, Dr Emma Neuberg’s analysis of modernist abstraction in art and its relationship with psychology.  We have yet to read about this in other people’s publications but at least we can now live it in this exciting new exhibition! Message us if you’d like some seminars on the subject. TATE MODERN exhibition details here.


In yesterday’s show, 21st Feb 2016 in London, we were presented with a mix of evening party glamour, moonlit boudoir and punk constraint. Less evident was the exciting and irreverent mood that we came to expect from Lee McQueen with his take-your-breath-away collections. Instead, beneath the embroidered threads and sequins is a melancholic space that reminds us of the pre-Raphaelites’ world (1848 – 1920). May be this is no wonder in view of Lee’s legacy. The bigger picture suggests that fashion, so often construed as fleeting, can really be seen as a reflection of the on-going cultural symbols of its time and geographic and cultural location.

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Learn Couture Embellishment Techniques Here on Feb 16th 2013

Image courtesy of Poszata Ltd, Hungary.
Learn how to make Richelieu lace tomorrow with Paris couture embroiderer, Eline Le Callennec and the Slow Textiles Group. This workshop is available both online and in the London studio.
Just two places left! Book your place here.
 White on white. Traditional French Richelieu lace in white linen. 
Image courtesy of Passion de Blanc, France.


Pua Kumba Weaving in Marik Empang!

                                                                                                            Photo: Neuberg
TSTG members recently enjoyed an evening with Nancy Ngali from Malaysian Borneo, wearing her own pua kumba woven jacket and beaded marik empang at the fantastic current exhibition called 
Endangered Textiles taking place at the Brunei Gallery in London.
                                                                                                                                                                                             Photo: Neuberg
Here’s the process of the warp preparation – hundreds of white silk threads being tied with lengths of plastic rather like tie-dye – in order to prepare the weave to make a jacket or skirt.
                                                                                                                                                 Photo: Neuberg
After all those white threads are dip-dyed in indigo they are set up on a back-strap loom ready for weaving. 
The whole process takes between 3 to 5 months!

For more information on the process, there’s a great introductory article in the wonderful Hand Eye magazine.


At the Slow Textiles group we believe in making things conscious.
This is why we craft media. 
You can make for 5 years as an ’emerging talent’ graduate.
You can make for 10 years if you find the space and money.
You can make for 20 years if your vision has roots.
You can make for a lifetime if you need it to survive.
This is where making conscious comes in. 
How far can you see? 
How much further do you need to see? 
How much further do you want to see?
It is this focal length that keeps the Slow Textiles Group making, meeting and sharing.
If you’re interested to learn more,
please join us for a FREE workshop at the 
Slow Design School, London, 4:30pm on November 12th 2011. 
Click red circle ‘Slow Design School’, top right, to attend.