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 Contacta con nosotros |  original hand-woven fabric design for bag and shoes by Adele Orcajada, textile apprentice at Anna Champeney Estudio Textil (Galicia, Spain)  Adele, you´ve worked in the world of fashion and accessories for quite some time now, so you know this industry well. Tell us a bit about your professional career.
I was a graphic designer but then did a Masters in accessories´ design. Since then I´ve worked for different types of businesses but all related to fashion. I started in a small craft studio specialising in shoes in Madrid – Franjul. Then I worked for Sfera (clothing brand of the Corte Inglés chain) and Zara and other small companies producing for the luxury market. ¿Typically how many of one particular kind of bag might industry produce for a seasonal collection? It depends on the kind of company. A multinational might produce up to 240,000 of one design in one particular colour, but a high-end luxury brand might produce just 200. ¿What would you say are the hallmarks of a quality bag? A well-made bag has fittings which don´t change or lose their colour, metal zips – where the colour of the zip isn´t lighter than the colour of the leather. If possible it should be exactly the same colour, and this is also true for the colour of the thread used to sew the piece. The lining should never be of polyester! In your opinion can hand-made bags compete with industry? Clients for hand-made bags are different, so I believe industry and craft are not in competition. The person buying a hand-made bag pays more for higher quality and for the distinctive and unique character of the bag, as long as, of course, it is well designed as well as well-made. ¿What are some of the advantages and disadvantes that a craftsperson has compared to industry? The craft maker has a freedom to define their overall design brief and he or she isn´t so limited by fashion trends. The disadvantages include the limited access to raw materials: the minimum orders that suppliers insist on are just too big for small craft producers. ¿What advice or tips can you offer deigner-weavers who want to design their own bags? I´d recommend that they remember that the main feature of the bag is the fabric itself, rather than the bag. Making and designing bags can be a complicated business – it is, after all, a sector in its own right. When a weaver designs a bag they would do well to think of something simple or else seek advice and help from an expert in bag design, or work on a design in collaboration. You´ve been working and training at Anna Champeney Estudio Textil, a small fabric weaving studio in rural northwest Spain this November. Can you tell us a bit about the work you´ve been doing? 
I´ve been helping Anna to make up some of the studio´s products for sale in the shop, and I´ve also learned a lot about the theory necessary for understanding basic weaving design – how to set up a loom, select the fabric structure, select yarns correctly… Then I´ve put all of this into practice in the design and weaving of a final project – in my case – fabric for a bag and matching shoes.  You´re used to living in Madrid, so coming to rural northwest spain has been quite a change for you. What have your impressions been of the village of Cristosende where the textile studio is based, and the surrounding Ribeira Sacra area?
It´s a very peaceful area, perfect, in fact, for concentrating on learning to weave. The landscape is also very inspiring, for its colours, textures, and light. What has been the main challenge of learning to weave? Setting up the loom in such a way that the final result is similar to the orginal idea I had in my head. The best part has been being able to improvise once the loom was set up, and just play with all the different possibilities for using colour and texture.
- Tela para bolso y bailarinas de Adele Orcajada, el proyecto final de su tiempo como aprendiz en el taller textil de tejedora Anna Champeney en Galicia
Visit the Anna Champeney online textile and basket shop – we are now open for christmas Contact us for more I´ve just come back from the European Textile Network conference and Kaunas Textile Biennial and the textilesnaturales textile blog is officially “on holiday” … but I just cannot help but post some images up. I´ll be blogging more about my impressions later on in October and November, but let me just say it was a full-on 4 days with exhibition openings, courses, talks and networking presentations to let you know what is coming up in 2012, 2013 and further ahead, in countries around the world. For anyone involved in textile art (and to a lesser extent design, fashion or contemporary craft) and anyone who, like me, specialises in loom-woven textiles, the conference and bienial was a really special opportunity.  Exhibition of Nuno Textiles at Kaunas (Lithuania) 2011  One of the highlights, for me, was meeting and talking with Reiko Sudo of Nuno (the innovative textile design company run by Reiko – and a particular favourite of mine!), with the opportunity to learn rust dyeing with her in her course entitled “Rust never sleeps”. Such a simple, yet effective technique, with lots of possibilities to explore. Reiko had a solo exhibition with a number of her fabulous fabrics on display, as well as samples to touch and a display of some of the ways in which Nuno fabrics start out – collage, paper models and drawing.
There were numerous other group exhibitions in various museums and galleries around Kaunas. In the four days I was there there was hardly a minute to digest so much new information, and get to know other conference delegates more. But I know I have made new friends there and have been immensely enriched as a result. Perhaps the only thing that I felt was really missing from the event was the organisation of discussion groups, perhaps on themes, which would have encouraged active debate and participation and act as a conduit for and catalyst for new initiatives and ideas. Such groups would also have been a valuable opportunity for newcomers to the ETN conference to really get to know other delegates better, although I found the conference atmosphere to be generally very friendly, and most people very open.  New book on Korean Bojagi textiles by artist and educator Chunghie Lee It was also a pleasure to meet and talk with Korean textile artist Chunghie Lee and get hold of her new book, Bojagi and Beyond (ISBN978-0-9830029-0-1). As one of my main research interests is traditional peasant textiles of Galicia, north Spain, and their development and use in contemporary textile design and art, it was fascinating to learn about the traditional Korean textile technique of Bojagi (similar, but different to patchwork) and the way that Chunghie has taken this and made it known worldwide. In the preface to her book Chunghie talks about the “thousands of nameless ancestral women” making the bojagi textiles “stitched by their hands and from their hearts”. There is something essential and refreshing about these traditional textile techniques – and contemporary works inspired by them – which sometimes seems to be missing from some contemporary art textiles.  Traces by Ainsley Hillard (Wales). 2008. But it was good to see some of the work by contemporary textile artists such as Ainsley Hillard – whose work I have only seen online or in publications up until now (you don´t find many contemporary international textile exhibitions in north Spain these days!) who does seem to be able to capture the ghosts of the past – of both people and places – in her subtle textile installations. Jacquard loom weaving, unsurprisingly, had a very strong presence in the conference and exhibitions – as a future face of contemporary textile art and cutting edge industrial textile design, and with huge potential for arquitectural applications. Vibeke Vestby gave an exciting presentation about her work in the development of the TC2, a new design of computer Jacquard available for the first time, commercially, later in 2011. I wish I could show here the images of the wonderful upholstery produced using the new TC2 that she presented in her lecture. Jacquard weaving is often used to translate – or incorporate – photographic images into woven cloth – Lia Cook (USA) is a leading artist in this field and her work was on display in one of the exhibitions – but it has other applications which are equally exciting. As a hand-weaver, limited to my eight shaft countermarch loom, the idea of a Jacquard loom which enables you to lift up a different combination of warp ends in every pick seems truly liberating. But then again, technical limitation in weaving is something that every weaver comes up against, whatever tool is being used, and limitations represent catalysts for creativity. Jacquard weaving is not a possibility for every weaver, for reasons of cost, access to markets or geographical location. Living in a rural area of Spain, however much I feel attracted to the idea of complex weaves possible on a Jacquard, I don´t feel it is technology that I can easily adapt to at the moment. But thanks to the conference I feel I will definitely pay more attention to Jacquard weaving in future. Special thanks go to Beatrizs Sterk, of ETN, who organised the conference; a huge amount of work and, which I, like most others, cannot adequately appreciate, acknowledge or thank.
Latest photos – Summer weaving, natural dyeing and basketry courses with Anna Champeney and Lluis Grau in Galicia, Spain Here you can see enjoy a selection of photos showing work made by pupils at AC Textile Studio. Courses this summer included traditional Spanish pile fabric weaving (“Galician felpa”) for beginners, natural dyeing and Spanish basketry with willow and split wood. Don´t forget that you can always enjoy one-to-one tution with us when you come on holiday and stay at Casa dos Artesans, our holiday cottage situated in the idyllic village of Cristosende, overlooking the River Sil Canyon, in north Spain. Holiday breaks with us offer you a chance to unwind, develop your creativity and really disconnect to your busy lives – and surrounded by stunning scenery where you can often walk without meeting anyone else. Craft is an activity which engages your body, spirit and mind, helping you to relax and at the same time learning something new. We have a few dates left for September, are almost fully booked for October and November, and are now taking bookings for Spring – Summer 2012 from April onwards.      
Above: Traditional Galician Spanish textile weaving with Anna Champeney. During the 5-day course pupils learned the back-to-front warping method for preparing Louet looms with a linen warp and then designed and wove their own piece of loop-pile fabric – felpa. Inspiration for the designs included American patchwork quilts from Gees Bend, Galician rag felpa coverlets and simple geometric shapes. During the course pupils used the natural-dyed wools now available online from AC Textile Studio in a range of colours including cochineal (pinks, reds, purples) and yellows (dyers´ chamomile, weld)… You can book either a 2- or 5-day felpa course with expert guidance by Anna Champeney, as part of a craft-based holiday in north Spain at Casa dos Artesans holiday cottage. 
Above: Galician Spanish basketry course with Lluis Grau. You can learn to make this willow and split wood basket in a day of one-to-one tuition, whether or not you have previous basketry experience.   
Above: An intensive 2-day course introduced pupils to many of the basic principles of natural dyeing. 5 natural dyes were tested out including the fabulous cochineal from Lanzarote, logwood, oak bark, alder buckthorn bark and onion skins. All pupils took a comprehensive set of samples with them, complete with the recipes to repeat the colours. We can offer our guests one-to-one tuition in natural dyeing which starts at 90€ for a short course. International Textile Conference in Kaunas, Lithuania (September 2011) Anna Champeney will be taking time out of her busy schedule at AC Estudio Textil to travel to Kaunas in Lithuania for the international European Textile Network conference this autumn. Instead of teaching, however, she will be a pupil on the specialist dyeing course with the internationally renowned textile designer and founder of the innovative textile company in Japan, Nuno Corporation – Reiko Sudo. If you are going to the conference this year Anna will be delighted to hear from you if so do make contact! Basketry Fair in Salt, Gerona (Catalunya, Spain), first weekend in October 2011 Come and see us in the international basketry fair in Salt, Gerona. We have a stand, as we do every year, at this fun and friendly fair where you can see and buy baskets from Spain and other European countries. There is also a programme of local music, dancing, and gastronomy. If there is a Spanish basket you particularly like, then commission Lluis now and we can bring the basket along to you at Salt. Galician “piteira” -This traditional chicken nesting basket from north Spain makes an unusual and very snug cat basket   
Above: “Pele” investigates the north Spanish Galician piteira basket and gives it the stamp of approval! Lluis Grau, basketmaker, specialises in Spanish basketry forms from the north of Spain and his latest – and very unusual – basket is the piteira or Galician chicken nesting basket. You can order the basket and it can be sent by post (be prepared for a big package to arrive as the basket measures about 65cm H x 55cm W- or you can come for some one-to-one basketry tuition with Lluis and make a piteira yourself on holiday. the cost of the basket varies according to its size but an average size would cost 125€ + postage. We can´t absolutely guarantee your cat or dog will like the basket but we think there is a good chance that he/she will because our cats love it – it took them just 30 seconds to sniff it out and settle in for a first snooze. We call the piteira their “cat palace” – it´s too grand to be called a simple “cat basket”. We think it would be the perfect basket for a cat with kittens as the mother cat is bound to feel more secure in this enclosed basket with a door, that gives her a sense of privacy and protection. The piteira was never made in north Spain for cats, however, but for chickens. It is one of the traditional forms which is now in danger of extinction, and part of our work is to promote a better understanding and appreciation of these wonderful, little known traditional baskets.
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Pago seguro
 NUEVO Octubre 2023 Curso presencial setmanal de teixits de baix lliç (Girona)!Un curso nou, setmanal (3h) a Sant Gregori, Girona, amb l'Anna Champeney. Trimensual, plaças limitadas).
Octobre 2023. Ven a aprender a diseñar y realizar tejidos en telar de bajo lizo a mano. Docente: Anna Champeney, profesional desde 2004, con marca textil propia, experta en tejido de bajo lizo, docente en la Escola Massana, Barcelona.
 Haga clic aquí para informarte |
International art textile exhibitions, conference and networking opportunity (ETN and Kaunas Biennial) September 2011
I´ve just come back from the European Textile Network conference and Kaunas Textile Biennial and the textilesnaturales textile blog is officially “on holiday” … but I just cannot help but post some images up. I´ll be blogging more about my impressions later on in October and November, but let me just say it was a full-on 4 days with exhibition openings, courses, talks and networking presentations to let you know what is coming up in 2012, 2013 and further ahead, in countries around the world. For anyone involved in textile art (and to a lesser extent design, fashion or contemporary craft) and anyone who, like me, specialises in loom-woven textiles, the conference and bienial was a really special opportunity.
Exhibition of Nuno Textiles at Kaunas (Lithuania) 2011
There were numerous other group exhibitions in various museums and galleries around Kaunas. In the four days I was there there was hardly a minute to digest so much new information, and get to know other conference delegates more. But I know I have made new friends there and have been immensely enriched as a result. Perhaps the only thing that I felt was really missing from the event was the organisation of discussion groups, perhaps on themes, which would have encouraged active debate and participation and act as a conduit for and catalyst for new initiatives and ideas. Such groups would also have been a valuable opportunity for newcomers to the ETN conference to really get to know other delegates better, although I found the conference atmosphere to be generally very friendly, and most people very open.
New book on Korean Bojagi textiles by artist and educator Chunghie Lee
It was also a pleasure to meet and talk with Korean textile artist Chunghie Lee and get hold of her new book, Bojagi and Beyond (ISBN978-0-9830029-0-1). As one of my main research interests is traditional peasant textiles of Galicia, north Spain, and their development and use in contemporary textile design and art, it was fascinating to learn about the traditional Korean textile technique of Bojagi (similar, but different to patchwork) and the way that Chunghie has taken this and made it known worldwide. In the preface to her book Chunghie talks about the “thousands of nameless ancestral women” making the bojagi textiles “stitched by their hands and from their hearts”. There is something essential and refreshing about these traditional textile techniques – and contemporary works inspired by them – which sometimes seems to be missing from some contemporary art textiles.
Traces by Ainsley Hillard (Wales). 2008.
But it was good to see some of the work by contemporary textile artists such as Ainsley Hillard – whose work I have only seen online or in publications up until now (you don´t find many contemporary international textile exhibitions in north Spain these days!) who does seem to be able to capture the ghosts of the past – of both people and places – in her subtle textile installations.
Jacquard loom weaving, unsurprisingly, had a very strong presence in the conference and exhibitions – as a future face of contemporary textile art and cutting edge industrial textile design, and with huge potential for arquitectural applications. Vibeke Vestby gave an exciting presentation about her work in the development of the TC2, a new design of computer Jacquard available for the first time, commercially, later in 2011. I wish I could show here the images of the wonderful upholstery produced using the new TC2 that she presented in her lecture. Jacquard weaving is often used to translate – or incorporate – photographic images into woven cloth – Lia Cook (USA) is a leading artist in this field and her work was on display in one of the exhibitions – but it has other applications which are equally exciting. As a hand-weaver, limited to my eight shaft countermarch loom, the idea of a Jacquard loom which enables you to lift up a different combination of warp ends in every pick seems truly liberating. But then again, technical limitation in weaving is something that every weaver comes up against, whatever tool is being used, and limitations represent catalysts for creativity. Jacquard weaving is not a possibility for every weaver, for reasons of cost, access to markets or geographical location. Living in a rural area of Spain, however much I feel attracted to the idea of complex weaves possible on a Jacquard, I don´t feel it is technology that I can easily adapt to at the moment. But thanks to the conference I feel I will definitely pay more attention to Jacquard weaving in future.
Special thanks go to Beatrizs Sterk, of ETN, who organised the conference; a huge amount of work and, which I, like most others, cannot adequately appreciate, acknowledge or thank.