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Woven textile design by Anna Champeney

Do you recognise the photo below?  Even if you do know it is a close-up of fabric being woven on a loom, how much do you know about how woven fabrics are designed? 

Spanish-based weaver and designer Anna Champeney explains the design philosophy behind the textiles on sale in the www.textilesnaturales.com shop

detalle de tejeduría en telar

“I’ll start by saying all our designs are original – we don´t copy weaving patterns from weaving books or magazines but build our designs up from scratch.  The only exception to that are our re-intepretations of Spanish folk textiles and even then we add our own unique touches.  Behind all our textile designs there is a meticulous process of testing out different ideas and variables to find the optimum design.  Sampling is one important part of this process and cloth finishing is also vital:  just  look at the photos below to see how fabrics can be transformed when they are taken of the loom and wet-finished. 

Hand-woven fabrics which reflect the mood of the weaver

There are many many different variables which affect drape, softness and texture in hand-woven textiles.  Usually weavers are drawn to this complexity and the challenge of being able to direct these variables whilst being open to surprises.   Small changes in colour or the threads used can really change a fabric in a fundamental way.  Amazing as it may sound,  hand-woven fabrics can even subtly reflect your mood or energy levels;  if you are feeling full of energy you may, unconsciously, beat the lines of yarn in tighter, if you are tired the opposite may be true, affecting the softness and drape of the fabric and even changing its width!  We always keep detailed notes of what we are doing so we know how to re-create a successful fabric formula exactly if we need or want to.

The weaving workshop as a textile laboratory

Our designs process start with a basic idea which is then worked up on the loom to produce small fabric swatches or samples.  The idea can be a photograph, a particular loom setup, or even the yarns themselves.  During the design process textile studio basically becomes  a laboratory for testing out new ideas, in the firm belief that this experimentation is the key for interesting, and ever better new designs.   These are analysed and then other samples made or the sample is adapted and transformed into a final design.  

tejido de gofre acabado tejido de gofre en el telar

Above photos:  Waffle weave is often used by the textile industry to weave cotton towels but we have used this classic weave to create something highly colourful and textural as this close-up shows.  The first photo is the finished piece, the second photo is the same fabric but on the loom, before the fabric has been finished.

Why take so long to design a textile?

You can, of course, take short cuts to making hand-woven fabrics and leave out the sampling process altogether.  But we don’t believe that they lead to the creation of an individual style or very accomplished work;  our experience is that you rarely alight on the best idea or design formula first time around.  We think that our clients are looking for distinctive work with wonderful textures and interesting designs.  This is the constant challenge we have infront of us and to meet this weavers, like any other designers, need to have adequate design skills.  

Designing a beautiful hand-woven textile may require more skill than weaving it and the highest compliment somebody can pay to our skill is is by purchasing our work.

So if you are a home-weaver don’t need to earn a living from making textiles does it matter as much?  I would say that definitely it does.  You need to produce beautiful work which you, your family and friends will genuinely love and use!  Also, the public perception of weaving depends on home-weavers to quite a large extent, who often demonstrate and attend community-based events.  So whichever way you look at it, design skills are important, for home weavers, professionals, and the reputation of the weaving community as a whole.

Applying the design philosphy to teaching weaving

As our weave studio is a teaching studio as well as a production studio we apply our basic philosophy of designing based on creative sampling as one we apply to our teaching as much as to the textiles we sell.   So we encourage everyone, even complete beginners, to observe what they are doing on the loom to discover the design principles which lied behind beautiful hand-woven cloth. 

We also recognise that learning is a life-long process and that you can always improve your skills.  In May, for example, we are having a 3 week break from production and teaching work in order to spend time with Gina Hedegaard, to learn Danish textile designing techniques.  So don’t forget to visit the blog again in May when we’ll be writing up our experiences.

Collapse fabrics inspired by classic 4-shaft weaves

The textile details you see in this blog are our latest samples, woven just two days ago and inspired by an email conversation with art weaver Anne Richards (UK).  We tried taking classic structures like waffle weave and point twill and combining high twist and silk yarns both in warp and weft.  On the loom the cloth looks open, light and lacey, but once hot-washed becomes transformed.  You won’t find any of these  designs in our online shop because they are currently works in progress.  But we invite you to come back to our blog in future as all our samples filter through into finished designs sooner or later!

 tejidos con textura point twill on loom

Above photos:  The first photo is a close-up of a “point twill fabric” which is normally easily recognisable for its zigzag pattern.  Our sample transforms this classic fabric into something very different.  The right hand photo shows the same sample in an earlier stage of its making, on the loom.

Yarns and Textiles for sale:  26/2 nm linen (white) is available direct from AC Estudio Textile by the cone.  52/2 high twist yarn is available from Handweavers’  Studio in London.  AC Estudio Textil textiles – here at textilesnaturales.com you can see and buy a selection of our work.  For more information about our yarns and textiles click here.

Spanish holiday cottage, loom hire and weaving tuition:  Come with a partner, a friend, or a group of weaver friends to stay in our comfy two-bedroom rural cottage in the beautiful mountains of Galicia, north Spain.  The cottage is just 30 metres from the textile studio where you can reserve the use of a loom to try out our yarns, work on your own project or book some personalised weaving tuition from beginner level upwards. 


On the cochineal natural dye trail in Lanzarote – Life beyond the beach!

textilesnaturales visited Lanzarote in the Canary Islands in November 2010  to find out about the fascinating story of cochineal production

by Anna Champeney Estudio Textil (Spanish weave and dyeing studio in north Spain)


Mala el pueblo de cochinilla en Lanzarote

The adjacent villages of Mala and Guatiza in the northeast of Lanzarote are the centre of traditional cochineal production



Arrival in Lanzarote

volcanic landscape with cactus on lanzaroteI arrive in Lanzarote in the afternoon by plane.  The clear skies afford wonderfully clear views of the spectacular island landscape.  I can see small, perfectly-formed volcanoes with their tell-tale craters, dark volcanic ash and lava.  It is a very striking landscape.




Wide expanses of land are covered with the geometric patterns of stone walls and every now and I can see villages with their clusters of white houses and apartments.




It´s November and much of Britain and northern and central Spain is covered with snow.  Lanzarote, however, has a sub-tropical climate which means that when I arrive at my apartment I can change out of my winter clothes, exchanging warm socks and trousers for sandals, a cotton skirt and t-shirt.    Even when there are strong winds and rain on Lanzarote – quite typical at this time of year – it is never cold and temperatures on the island rarely go below 8ºC.


Lanzarote´s climate has inevitably made it into a tourist island oer the past few decades but I am here to find out more about the fascinating story of cochineal – a small and humble-looking insect which has given us one of the richest red and purple dyes in the whole world and shaped the history and economy of Spain and the Canary Islands.


Lanzarote – past and present

Cochineal is just one part of Lanzarote´s history and economy and right now, all the locals are full of stories of recession, with tourism and industry, the two interlinked mainstays of the island economy, taking a real beating.   In fact, I can see a lot of tourists here in the island and the restaurants in the sleepy seaside village where I am staying are still fairly full every day, but then I can´t compare tourism now with tourism during the twenty or so boom years, when local people enjoying abnormally high incomes and a standard of living which is almost unimaginable now, in 2010.  The signs of this boom are still visible – for example I am amazed by the number of 4x4s I can see on the roads.  However, in the larger scheme of things, the 20C tourist boom represents just a blip in Lanzarote´s overall history and part of its constantly changing fortunes.  Boom and bust and economic highs and lows are in fact nothing new on Lanzarote.  For traditionally the island has been far more dependent on farming, agriculture and the exportation of its natural resources.  Even then, history shows us that when these were exhausted or the demand for them suddenly dropped, Lanzarote residents had to adapt to new and very different situations.


Cochineal farming on Lanzarote

The production of cochineal, in the 19th and 20th centuries, is one example, and was, for a time, one of the most important industries on the island.  Juan Cazorla, of the Milana Asociation, which aims to promote a better understanding and appreciation of cochineal farming on Lanzarote, meets me off the plane and takes me to my apartment in Arrieta, a small village on the northeast of the island, away from the main tourist centres.  For me Arrieta is very strategically placed, just 3km from the villages of Mala and Guatiza, the “cochineal capital” of Lanzarote.   It is also close to the village named after a particular dye lichen, orchilla, which was once another product exported in huge quantites from Lanzarote.   This holds a special fascination for many people interested in natural dyes, but is actually all-but-forgotton on the Island of Lanzarote.  The lichen now has no economic value and as a result is no longer harvested.


cactus plantation for cochineal production in mala, LanzaroteIn and around Mala and Guatiza you can see plantation upon plantation of prickly pear cacti (Opuntia ficus-indica) which constitute the food source of the parasitical cochineal beetles which feed on the sap.  It´s an impressive sight and you realise just how important cochineal must have been for the villages of Lanzarote.  The grey “stains” on the cactus pads are the cochineal insects themselves, which generate a kind of white powerdry covering which protects them from the sun and (?) predators.




The cacti were introduced to the Canary Islands from Mexico, and cochineal farming on Lanzarote started in the 1830s.  The cacti were grown in walled fields or cercados, to protect them from strong island winds, and the dark volcanic ash or “picón” – more like gravel – which is so plentiful on the island – was laid down as a kind of mulch.  This covering of picón keeps moisture in the soil and also prevents weeds growing.  As a result there is very little weeding to be done but this is not to say that cochineal farming is not labour intensive in other ways.




cochnillas en la pencas del cactus

The white patches on the cactus pads are the cochineal insect infestation






insecto de cochinilla (femia, adulta)

It´s difficult to appreciate how this tiny insect made such a huge impact on Europe in the 16th and 17th centuries. Spanish galleons transported tonnes of dried cochineal insects to be used as a dye from Mexico all around the world. Even countries as far afield as China and Uzbekistan began to use cochineal. Cochineal provided a strong and colourfast dye in superb pink, red and purple colours.



Sebastiana Perera or “Chana” the Milana Association´s president, who cultivates a small amount of cochineal herself every year, explained how the cacti need to be looked after, and damaged pads removed and chopped up every year and left as green manure.  Then, in April or May, fully-grown cochineal insects are scooped off the cactus pads before their young are born and inserted into little cloth bags or “rengues”.  The bags are hung over the cactus pads that the farmer has selected for impregnation with the cochineal and left for a day.  This time gives the young insects time to crawl through the holes in the bags and settle on the cactus pads, whilst the adult insects are too big to squeeze through and are kept back and later dried for dye.  The act of placing the bags of insects on the cacti is known as “sowing” and over the next few months they reproduce and increase in number, feeding off the cactus juice.  In August they are harvested.  Farmers use a kind of tin ladle and a tin box called a “Milana”.  3 kilos of insects are needed to obtain 1 kilo of dyestuff.


Most of the cochineal was exported – to Italy, Germany, and Britain and back in the 19th century Lanzarote farmers enjoyed a brief boom.  But as soon as synthetic dyes became available demand – and prices – dropped and cochineal farming bega to decline.  On other Canary Islands, such as Tenerife, where there was more rainfall, farmers turned to planting bananas, but on Lanzarote, with lower rainfall, this was not possible, so cochineal production continued right up to the middle of the 20th century, until tourism began to take over from agriculture on the island and young people lost interest in this kind of agricultural lifestyle.


Cochineal in Lanzarote today – November 2010

Developments in the way cochineal is farmed today on a huge scale in countries such as Peru and Ecuador mean that the Lanzarote cochineal is no longer competitive in an industrial context where the dyestuff is sold in tones or hundreds of kilos.  There IS still demand for the dye, however, if not for industrial clothing dye, for use in lipsticks, nail varnishes, food colouring, particularly in sausages, and … even in Campari!  Some Lanzarote farmers are members of a local co-operative which sells to industry, but it sells very little nowadays as buyers go to Latin America.  Only when there are supply problems do the European buyers come to buy in Lanzarote – as was the case in 2010, with a German order for 15,000k of Lanzarote cochineal – all because bad weather in Peru had caused severe problems for the cochineal producers there.



 la ruta de la cochinilla en lanzarote

Juan Cazorla, de la Asociación Milana, responsable para conservar algunos caminos y cercados de cochinilla en Lanzarote






Despite cochineal production on Lanzarote having all but stopped today as a viable concern it continues to leave a huge mark on the landscape and on the history of the island and some locals still produce small quantities of the insect for dyes.  Cochineal has clearly had a huge impact on the lives of the villagers;  The lady who owns the apartment in which I stayed remembers working in cochineal production in the 1950s, a time of economic hardship in Spain, the income from cochineal made a huge difference to her life.   I suspect that dozens of local people have wonderful stories to tell about their involvement in cochineal in the last half century or so.




In and around the villages of Mala and Guatiza you can still see plantation upon plantation of cacti.  It really is an impressive sight, and Juan Cazorla took along the “cochineal trail” that the Milana Association has created with assistance from the European Union.  The trail is not yet a tourist attraction that you can visit, un-guided, as it lacks signposts and information panels, but following it with Juan as my guide was a fascinating experience as he was able to explain to me how the plantations were created in the first place.  He was even able to show me a small volcano nearby which was the source of  the picón or gravel for mulching the fields.


The Milana Association is doing more than anyone on Lanzarote to keep the memory of cochineal alive, and show young people how important it was in the past.  The Association receives EC funding to keep the walls and tracks along the Cochineal Trail in good condition and, within its budget, also tries to maintain some of the cacti plantations which are adjacent to the trail.


taller de cochinilla en lanzarote

Juan and Susana, of the Milana Association, demonstrating cochineal dyeing




Susana, the Assocation´s historian, researches the history of cochineal on Lanzarote, and the association´s headquarters have a small display area where you can see different products dyed with cochineal and its applications as a dye and a pigment.  The Association also has two manual floor-looms, based on the island´s traditional loom design,  and an area where dyeing demonstrations can be held.   The Association also hopes to fund workshops with local children so that they are aware of their island history.





“Cochineal” Holiday in Lanzarote 2011/2012 If you would like to visit Lanzarote on a guided cochineal-themed holiday , with the services of a translator,  in 2011/2012, then contact Anna Champeney Estudio Textil.   On the holiday you will learn how cochineal is farmed, see the amazing cacti plantations and have the chance to take part in some of the annual cochineal farming activities, find out about the history of the island and the cochineal farming, and try out the famous red dye in a dye workshop.  You may even be able to try your hand at weaving cloth with cochineal-dyed yarn.   On the holiday you will also have the chance to find out about orchila, a Lanzarote lichen which was once an important source of purple.  A minimum number of 7 people is needed in order to organize such a trip.


Anna Champeney tejiendo en uno de los telar tradicional de Lanzarote en en Centro de Intrepretación de la Cochinilla de la Asociación Milana en Mala, Lanzarote

Textile designer, weaver and dyer Anna Champeney tries out one of the traditional Lanzarote looms in the Milana Interpretation Centre in Mala. The red and purple yarns are dyed with cochineal.







Asociación Milana – The Association´s headquarters, in the local school building in Mala village can be visited by visitors to the Island.  The Association sells a range of products made from cochineal, such as silk scarf squares dyed with cochineal and cochineal prints of the island.  In the Association´s headquarters you can see a display area with silk garments designed by a local fashion designer and dyed with cochineal as well as the traditional Milana tray and other utensils used in cochineal farming.  c/ Villa Nueva 10, 35543 Mala, Lanzarote.      asocmilana@gmail.com


Buy Lanzarote cochineal online


It is hoped that a full version of this post will be published as an article in a future edition of the UK Journal of Weavers, Spinners and Dyers.


My thanks go to  Juan Cazorla for giving up his time so generously when I was in Lanzarote and giving me such a fantastic introduction to the island and its cochineal tradition.  Thanks also go to Susana and Chana, also of the Milana Association.

Lotte Dalgaard, Danish specialist textile weaver of “collapse fabrics” to come to teach at Anna Champeney Textile Studio (September 2010)

Lotte Dalgaard is one of Denmark’s most exciting hand-weavers, creating one-off fabrics with special pleated, crinkled, puckered effects in the weave, which are then transformed into unique and unusual high-end garments by Danish fashion designer Ann Schmidt.  I was able to visit and interview Lotte in her studio in early January 2010 and in September Lotte will be running a special one-week collapse fabric weaving course at Anna Champeney Textile Studio in Galicia, Spain. 

lotte dalgaard in her Danish weaving textile studio

Lotte Dalgaard in her textile studio near Roskilde in Denmark


Lotte Dalgaard and her architect husband, Flemming, live in a cosy Danish farmhouse to the west of Copenhagen, not far from Roskilde, famous for its Jazz Festival and Viking Museum.  When I visited her Denmark was in the grip of one of the coldest spells of weather for many years, with daytime sub-zero temperatures into double figures.  The farmhouse was a magical sight in the snow, and it was there, in a converted farm building, that Lotte has her spacious and light weave studio, overlooking the Danish countryside with its open fields and wide skies.

Lotte’s textiles are the result of over 10 years experimentation with the new generation of yarns being developed by the textile industry, ranging from light-reflective and paper yarns to very fine overtwisted wools and metallic yarns, monofilament yarns and special shrinking yarns.  The very fact that Lotte has access to these kinds of yarns in Denmark is due to the fact that she, along with other hand-weavers and the Design School in Copenhagen, set up a Yarn Purchasing Association.  Collaborative ventures, co-operatives and exhibiting groups are very normal in Denmark – in many different crafts – and the Purchasing Association is a clear example of how everybody benefits from this approach.  Committee members of the Association who work at the Design School attend some of the international yarn fairs in Europe and buy new yarns which are beyond the reach of individual makers because of the huge minimum quantities specified by the yarn companies.  The Association makes the yarns available to individual makers, usually professionals, who can buy in smaller quantities.  Anyone can become a member of the Association upon paying a membership fee, and in the UK, a number of the yarns are now sold by the Handweavers’  Studio in London.

Lotte was amongst the first people to have access to these exciting new yarns in Denmark and quickly began to realise their potential for creating unusually-textured fabrics.  In fact, it is true to say that access to these yarns transformed her way of working, and she now focuses almost exclusively on these textiles.  When Lotte met Ann Schmidt, the original and very individual Copenhagen fashion designer (you could say fashion artist), it was the perfect recipe for a collaboration.  Ann’s approach to fashion design – with a clear emphasis on creating architectural clothing designs on the mannekin, by folding cloth and forming it, rather than by simply pattern cutting was perfect for Lotte’s handwoven textiles.  The results are one-off pieces which are textile garments at their most poetic.  They are extremely beautiful, eye-catching, extremely individual, and at the same time beautifully wearable;  Lotte gave me a midnight blue-black pleated dress to try on and you really feel quite different when you put it on as the fabric and its unusual form invites you to move in a different way.


One-of-a-kind garment with hand-woven fabric by Lotte Dalgaard

one-of-a-kind dress by Lotte Dalgaard and Ann Schmidt


The garments display some of the simplicity and elegant understatement of Japanese textiles – which have always been a strong influence in Ann Schmidt’s work.  Nevertheless, this simplicity is deceptive because it is the result of a long meditative process, exploring the different possibilities of forming the fabric on the mannekin.   I was able to visit Ann’s Studio the day that Lotte took in a new piece of fabric which I had watched her finish the night before.   Ann’s mannekin was draped with a new piece of cloth, with double-weave and huge floats.  This is destined to be the next one-of-a-kind garment.

I really enjoyed talking with Lotte about textiles, because I recognise and know the passion and excitement she has in exploring the different materials and really getting to know their properties and how to handle them.  She is a weaver´s weaver, very expert in her knowledge of her subject, and very close to her materials.  And yet she has been able to “take-off” and, thanks to her collaboration with Ann Schmidt, is able to make quite remarkable woven objects.

A few years ago Lotte was encouraged by British weaver Ann Richards to write down all the knowledge she had acquired.  The result was Magical Materials, a book about collapse weave published by Fiber Feber.  An English translation by Ann Richards brings the Danish publication within the reach of an English-speaking audience and you can read the review I wrote in the Journal for Weavers, Spinners and Dyers (winter 2009).   Books like this are so important for hand-weaving generally in Europe as they help to raise standards, encourage innovation, and, in this case, try out new yarns.

The textile industry has undergone massive changes in the last 50 years, and unless hand-weavers can access the same new innovative yarns to experiment with, they will fall behind.  As a hand-weaver today I have to ask myself Why Make Hand-made Textiles?  In the work of Lotte Dalgaard and her collaboration with Ann Schmidt I find an answer.


Further Information


innovative textured textiles - handwoven by lotte dalgaard