Introduce us to your brand 

Weirdstock is a small, London-based homeware brand specialising in organic cotton bedding in bold, retro-inspired prints. Our range bridges the gap between vintage style and modern quality, while also having a minimal impact on the planet. Each product has been thoughtfully designed to be fun and uplifting, injecting some 1970s eclecticism into your unique and joyful home. Our sheets are 100% organic cotton, ethically sourced, and have that luxe ‘hotel feel’, so you can have a positively groovy bedroom without compromising on quality.

What makes you stand out from the crowd?

The inspiration for my bedding line stemmed from a personal frustration: a lack of maximalist, sustainable and high-quality bedding options. I envisioned a way to fill this gap with products that embody a vibrant, retro aesthetic. I was sick of having to choose sustainable or colourful, high quality or cool designs. I wanted to create a product that can do it all! Sustainable or luxury products don’t have to be neutral.

What part of the process of making your items do you enjoy the most? 

Mood boards! I love those initial steps of pulling together the inspiration for a collection. It’s so exciting and energising for me. I love being able to take inspiration from vintage photos, nature, fashion, architecture and other things and then translate that into a real-life product. It’s really fun, and to be quite honest, the hard part hasn’t started yet at that point!

I also love photoshoot days. Styling a space and bringing a vision from my head into the real world is so satisfying. I’ve been so lucky to work with some amazing photographers who have helped me transform a space and convey my whole brand ethos as well as the product in a photo.

When did you realise you were a creative soul?

I’ve always been creative – between music, starting all sorts of clubs and projects as a child, inventing things, writing, scrapbooking and experimenting with fashion. I was never a particularly good ‘artist’, so I guess I didn’t quite realise at the time how many ways there are to be creative.

I think my love of music influences my personal style in a big way. I’ve been a big music fan all my life and love to sing – I have a pretty eclectic taste from rock, folk, disco and soul – probably an interest that first sparked my interest in mid-century culture and design.

What’s the best feedback you’ve received about your brand or products?

One of the reviews I received was from a customer who suffers from a chronic illness. She mentioned that she spends a lot of time indoors and her bed and bedroom are super-important to her, and that the vibrant design of her Weirdstock bedding makes her smile every day. I can’t ask for anything more than that!

I also appreciate it so much when people have finally found the thing they’ve been looking for – they’ve had a frustration, just like I did, and now don’t have to choose between joyful and sustainable – they can have both! That makes me so happy.

Why is sustainability so important to you personally and how you build your brand identity?

When I decided to start a business, sustainability was not optional for me. I didn’t even consider starting something that wasn’t environmentally and socially responsible. I want to be doing this for a long time and I want to be proud of what I do and what I create. The heart and soul of Weirdstock is to produce beautiful quality products that have a positive impact on people, and a minimal impact on the planet.

We use 100% GOTS-certified organic cotton in our bedding. GOTS is the Global Organic Textile Standard, and its certification ensures ecological and social responsibilty for the cotton that we use.

We’re also plastic-free, right down to the buttons used on our duvet covers (which are made from coconut shell), to the shipping materials we use. Our duvet sets and sheets are packaged in little cotton bags made from factory scraps, rather than wasteful plastic packets. You can use our bags for washing your delicates, or even as a cute storage solution to hang on the back of your bedroom door.

We manufacture in small batches, doing our best to ensure nothing is wasted and that every item finds a home before we produce more.

When looking at your journey so far, what would you do differently?

This might sound a bit cheesy, but I honestly wouldn’t do anything differently. The past few years have been a steep learning curve, with lots of mistakes and plenty of stressful moments – but those needed to happen for me to learn and continue to grow the brand and perfect the product for our customers. I’m a first-time entrepreneur and Weirdstock just had its first birthday at the end of August 2024, so it’s still fresh and new, and I’m sure that rollercoaster of highs and lows will continue. I have a positive outlook regardless of what happens, as long as I continue to keep my high standards around fairness and sustainability and continue to communicate honestly, it will all work out. I know that’s what my customers care about the most.

What’s next for your brand?  What newness should we keep a look out for?

The new collection, Nan’s House, will be launching very soon! Nan’s House will be OTT, kitsch and frilly cottagecore with traditional 70s colourways and pops of acid brights. You might have seen the hero print from this collection during our soft launch as part of our collaboration with Plants By There at the Chelsea Flower Show in May. Make sure you’re on the Weirdstock mailing list to be the first to know when the new collection is released.

Instagram: @weirdstock.living

The post September Star Maker: Weirdstock appeared first on Reclaim Magazine.

Introduce us to your brand

AAKS was born from a childhood steeped in the beauty of Ghanaian basket bags and a vision for transforming them into something modern and vibrant. I had a desire for an AAKS bag to be softer, foldable, and adorned with tasteful, contemporary colours and detailing. This led me to research bag designs and fibres, discovering the alignment of these ideas with my dream brand’s ethos. Recognising a market gap for beautifully handcrafted bags, I embarked on a journey to Ghana to bring my vision to life, driven by a passion to create something uniquely fulfilling, both personally and professionally.

What makes you stand out from the crowd?

What sets AAKS apart is our dedication to craftsmanship, sustainability and cultural authenticity. Each bag is meticulously handcrafted in Ghana using traditional weaving techniques and ethically sourced natural materials like raffia. Our designs blend vibrant, contemporary aesthetics with the rich cultural heritage of Ghana, creating unique pieces that tell a story. By supporting local artisans and providing fair wages, we contribute to the economic empowerment of the communities we work with. In a world of mass production, AAKS offers stylish, practical and environmentally friendly bags, making each piece a cherished work of art.

What part of the process of making your items do you enjoy the most?

I love the freedom of creativity which comes with being a designer and running my own sustainable business. I also particularly love visiting my artisans. There’s a special feeling in seeing raw materials transform into beautifully crafted bags through skilled hands. I love sharing ideas with my artisans and watching my designs come to life. This hands-on involvement deepens my appreciation for the artistry and dedication that goes into every AAKS bag.

When did you realise you were a creative soul?

Definitely in my childhood. I was constantly sketching flowers from my parent’s garden in Kumasi, Ghana. This passion led me to art school and eventually to study fashion design at Kingston University in London. Immersed in vibrant colours and textures, I discovered my love for transforming traditional designs into modern, stylish pieces, sparking my journey into design and craftsmanship.

What’s the best feedback you’ve received about your brand or products?

A customer once said our bags are not just accessories but pieces of art that carry the spirit and craftsmanship of Ghana. They appreciated the quality, vibrant colours, and the story behind each piece, highlighting how our dedication to ethical practices makes owning an AAKS bag feel even more special. This heartfelt endorsement truly captures what we strive to achieve with every creation.

Why is sustainability so important to you personally and how you build your brand identity?

Sustainability is crucial to me and AAKS’s identity. Growing up in Ghana, I appreciated the beauty of natural materials and traditional craftsmanship. We use ethically sourced raffia and eco-friendly weaving techniques, supporting local artisans with fair wages and sustainable jobs. This commitment ensures quality products that reflect our values of integrity and environmental respect.

When looking at your journey so far, what would you do differently?

Looking back at my journey, I probably wouldn’t change much as every challenge has been a learning curve that has shaped AAKS into what it is today. If anything, I would have encouraged my younger self to embrace starting and accept imperfections as part of the process – it’s all a work in progress.

What’s next for your brand? What newness should we keep a lookout for?

We’re excited to bring our collections to new markets with fresh, innovative designs that combine traditional weaving techniques with modern styles. We’re also making progress in exploring the homeware market and plan to launch a unique homeware collection soon. Follow our journey for updates as we grow and evolve.
I

nstagram: @a.a.k.s
Website:  aaksonline.com
Any upcoming markets: Maybe Coterie New York and Shoppe Objet New York

The post August Star Maker: AAKS appeared first on Reclaim Magazine.

Unseen Icons are specialists in rescuing and refurbishing vintage cinema seats.  We’re rebels at heart with a passion for taking the unseen, neglected and forgotten and creating something truly iconic.

What makes you stand out from the crowd?

I guess we’re quite quirky you could say, we love colour and pattern and want to encourage others to be braver in their homes by surrounding themselves with things they love rather than what’s on trend.

What part of the process of making your items do you enjoy the most?

Taking something old, battered and unloved and making it beautiful once more.

When did you realise you were a creative soul?

I’ve always loved making things, my mum was great at making things like Christmas decorations or fancy dress costumers and could also sew really well so I guess I got it from her although when I was younger I never wanted to learn to sew.  As I grew up I had various ventures making things like fairy wings and tutus and selling them at festivals and online.

5. Whats the best feedback you’ve received about your brand or products?

When someone sees our cinema seats and it stops them in their tracks!  Making that wow impression and for people to see how much creativity, passion and handwork has gone in to the finished product.

6. Why is sustainability so important to you personally and how you build your brand identity?

I can’t bear waste and the thought of things that could still have a purpose ending up in landfill is just crazy!  When comes to vintage items this is even more important as once they’re gone, they’re gone for good.  Our whole brand has been built around taking the forgotten and unloved and making it beautiful once more.

7. When looking at your journey so far would you do differently?

Ooh this is a tricky one because I guess its a tough call to say whether I did the right thing choosing to niche down into vintage cinema seats.  I trained in traditional and modern upholstery and originally launched my business with the idea of bringing vintage chairs and sofas back to life but after a couple of years I fell in love with the old cinema seats and built a niche around these.  In some ways this has been fantastic, we have been continuously improving our techniques and I like to think when people think of vintage cinema seats they think of us.  The down side has been that perhaps people don’t realise we are also upholsterers and can reimagine and restore their chairs and sofas leading to less work at times.  Did I do the right thing? who knows, but I’m still loving the cinema seats and live to show them to a wider audience.

What’s next for your brand? What newness should we keep a look out for?

Collaborations are the life blood to a small brand like ours and we have some fantastic ones in the planning stages.  We are going to be working with the lovely Siobhan (@interiorcurve) from Design Masters using her eclectic designs on our cinema seats and then we have a striped collection launching with Colours of Arley

9. How can we find you?

We have a studio in Writtle, Essex

Instagram @unseenicons

www.unseenicons.com

Any upcoming markets:  Goodwood Revival in September

The post July Star Maker: Unseen Icons appeared first on Reclaim Magazine.

Why should I choose reclaimed lighting over new? 

Buying reclaimed isn’t just about sustainability, it’s an investment in preserving, protecting and celebrating the heritage – and uniquely worn aesthetic – of each vintage piece. Vintage lights come with real character, often featuring original, authentic details such as maker’s marks and interesting storied patinas that only come with age, care and repair.

When looking to install reclaimed lighting, what should be considered initially? 

Take time to study the different styles and types available, as well as classic designs and lighting brands (at Skinflint we research and provide information on each product on our website). Where do you intend to put the light and what purpose will it serve? Planning ahead will make sure your light is functional as well as complementing your interior.

If lighting has been salvaged from a building and is very old, might it be dangerous? 

In its initial salvaged form, yes. We’ve all heard stories of people purchasing vintage desk lights at car-boot sales and then plugging them in only to blow the circuits at home! That’s where we come in. Buying from a reputable company is always the safest and easiest option.

How do I know if they have been restored to modern standards?

When buying a salvaged light, always check that it has gone through rigorous testing to ensure safety and functionality. Look for LIA (Lighting Industry Association) approved dealers, in-date PAT certifications, and if the dealer offers a guarantee (we offer a lifetime on all of ours).

Will an electrician need to install it? 

As with any light, always get a qualified electrician to review, rewire and install. Never attempt to do this yourself!

Do modern bulbs work in vintage lighting?

At Skinflint all of our lights are rewired and updated with the latest technology ready to accept LED dimmable bulbs, which are extremely efficient and environmentally friendly. There are some great vintage-style ‘filament’ LEDs on the market which offer the same traditional effect.

Do industrial reclaimed lights work in a home environment? 

Most definitely. Provided they’ve been professionally adapted for domestic use they make ideal task lights for desks, kitchen counters, armchairs or bedside tables. Over the years we’ve salvaged a wide variety of machinist lights that once lit up the benches of factory workers, through to medical UV and heat therapy lamps once used to treat ailments, and even operating-theatre lights from hospitals!

Any styling ideas?

Vintage lights are incredibly versatile and we love seeing the inventive ways our clients and interior designers incorporate them into a wide range of schemes. Cut-glassware and opalines are an elegant choice and help create ambience – think entranceways and lounges, or suspended in rows above dining tables and kitchen islands. Large industrial lights also work well here as a statement piece. Alternatively, bulkheads are great for creating impact in small spaces or if your ceilings are low.

WORDS: AMY BRATLEY

The post Advice on using reclaimed lighting in the modern home appeared first on Reclaim Magazine.

Proudly photographing our homes has become a creative pastime for many interiors enthusiasts, sometimes leading to a new career with brand collaborations and more. For those new to photographing their home, we asked professional photographer Cathy to provide some advice. Based in Surrey, her work explores themes of home, sanctuary and the restorative powers of nature. She works with some of the UK’s leading interior and lifestyle magazines, as well as with creative brands and designers.

How did you get started photographing homes?

When I first started as a photographer I took on all kinds of work, but I soon decided that with my long-standing love of all things interior, it would be my dream to one day specialise in this type of photography. Then an opportunity to shoot house tours for Apartment Therapy came up and it all developed from there.

What do you most enjoy about it?

It’s a huge privilege to be welcomed into someone’s home. I find it endlessly fascinating to see how people express their personalities, passions and values in their private spaces, and how they create not just beautiful but highly functional and truly nurturing homes that work for them.

Which one home stands out the most?

I honestly can’t choose just one. My favourites are always very creative and individual homes, especially those belonging to artists: colour consultant and
artist Andrea Curtis’s home with all its shades of blues and greens, and artist Philippa Stanton’s quirky, colourful Brighton home (pictured opposite) are among my favourites.

If someone is taking a picture of their home on their phone, what’s the most important thing to consider?

The one thing I always recommend is to take care to get the horizontal and vertical lines right. This often means holding your phone at chest or waist level rather than eye level; you’ll need to play around to get it right but it really makes all the difference.

What’s the one most common mistake?

The best shots can take time to achieve, so I’d say the most common error is to rush things. Before starting to take a photo, if you take time to tidy away any clutter, consider how best to frame your shot and what items to include, you’ll achieve a much stronger image.

Is it better to set up a styled shot?

The best photos tell a story, so think about what story you’re trying to tell, and choose your props and how to put them together accordingly. I’ll often include something natural such as flowers, foliage or seashells and something vintage, both of which can add texture and character.

What’s your view on image filters?

Enhancing images is an inherent part of the photographic process – it’s how you ‘develop’ the photo and can help you achieve an appealing and impactful final image. Having said that, I personally like a photo to look natural so would advise using filters with a light touch.

Natural light or artificial lights on?

Natural light, every time! It’s always best to turn overhead lights off, although if you’re capturing a cosy corner, for example, lighting a table lamp will create a lovely warm atmosphere.

If someone wants to progress from using a phone, which camera would you recommend?

It will depend on their budget but also on what else they’d like to use the camera for, which will determine things like how heavy it should be, or whether they want to be able to change lenses. I always recommend finding a local camera shop, as they will give advice and you can try cameras out before making the decision to buy. If they sell second-hand cameras even better, as you can often pick up equipment in pristine condition at a more affordable price.

The post How to take the best photos of your home appeared first on Reclaim Magazine.

Sian noticed a contrast between hand-dyed fabrics and commercially manufactured ones and started experimenting, making natural dyes using plants and flowers. She went back to basics, collecting plants such as gorse, camellias, rose petals and berries, and boiling up mixtures in her kitchen, developing soft, romantic hues of pink, grey, gold or cream.

The process itself is low impact. Everything is done by hand on a small scale and she works to her own secret recipes, producing ribbons with a contemporary edge. ‘I started out experimenting in the fruit and veg department of my kitchen, and using things like tea and coffee. I learnt through trial and error to develop a small palette of colours and every season I expand on that,’ she explains.

She compares hand-dyeing to cooking. ‘It’s all about the process of these chemical reactions and that development of subtle colour. And just as people like to know where their food is sourced from, there’s a story to where these colours come from,’ says Sian, who explains that plant markings show up on the fabric and that appeals to her clients – often florists, stationers, cake-makers and wedding stylists. ‘All these imperfections in the ribbon have their own natural beauty.’

After spending a day gathering plant material, she produces a dye bath on the hob in her home studio. The petals or leaves are made into a solution with water, then gently heated up. ‘It’s the same principle as making a cup of tea,’ she says. Once the colour has been extracted, she adds a metallic fixer or mordant and soaks the fabric in this bath. ‘Then I just let the magic happen – sometimes I’ll leave it in for hours, depending on the depth of colour I’m looking for.’ Once dried, she frays each ribbon by hand, irons and hand-spools them onto a sustainable wooden reel. It’s time-consuming and far from high-tech.

‘People are often surprised by natural dyes,’ she says. ‘To me, it’s like alchemy – out comes something beautiful and there’s such a sense of wonder and delight! Naturally dyed fabric is imbued with nature; it has subtleties and shading and it changes with the light, just as plants and flowers do.’ And therein lies the magic.

Sian’s simple ribbon-dyeing recipe

Fancy having a go? This is a contact-printing recipe that’s easy to do. Note that the colours achieved may not be permanent, and will fade over time. Many people are sensitive or allergic to different plants and some plants are poisonous, so Sian advises researching any you are unsure about. Gloves are recommended when handling plant matter, and always use dedicated equipment for dyeing, rather than your usual cooking pans.

• Gather some plant materials from your kitchen and garden. Use berries in season (raspberries, blackberries or redcurrants), herbs, flower heads and petals from roses, geraniums, cornflowers or anything you can find that is safe to use.
• Take some strips of pure silk, either ribbon or torn strips, and wet a little with a water spray. It is important that the fabric is pure silk rather than a synthetic fibre, to get the best results.
• Lay the silk out on a flat surface and arrange your plant materials and other foraged items onto it. Don’t worry too much about creating a pattern; much of the joy is in experimenting! Roll the silk up and bind with fine string or dental floss.
• Pop the bundles into a bowl of diluted vinegar solution (2 teaspoons of vinegar to 500ml water) and give them a little squeeze to make sure the fabric is thoroughly wetted.
• Using a simple steamer, bring the water to the boil, pop the bundles inside and leave for 5–10 minutes. Alternatively, you could create a mini solar oven: put the bundles in a glass jar, seal and leave for a while for the colours to develop.
• Carefully remove – they will be hot! – and cool a little before unveiling your results. Air dry.

WORDS: ANNA TURNS

The post The natural beauty of plant dyes appeared first on Reclaim Magazine.

Glance at a collection of Kate Kato’s work and you’d be forgiven for thinking that the 3D insect sculptures she creates from recycled and reclaimed materials were real specimens. Look again and it’s then that you notice a stitch of embroidery, a word on a recycled scrap of paper or a flash of wire, and realise that every beetle, butterfly, bug and flower has been meticulously shaped, carved and occasionally embroidered to create a natural world in sculpture. From her studio on the Welsh borders – which she describes as a ‘mini museum’ – Reclaim talks to Kate about her curating collections which inspire curiosity and joy.

What inspired you to create these intricate sculptures?

When I was little my mum used to take me to museums, as apparently it used to keep me quiet. I used to spend a lot of time in the natural history section looking at displays of beetles and butterflies. My family were really into nature and I grew up with a love of collecting things from the outdoors. I was always artistic and used to be a graphic designer, but when I had my first child seven years ago I stopped working and wanted to start doing something creative. I wanted to make really lovely detailed botanical illustrations, but I can’t draw that well, so I thought why not try to make them 3D, as in my head that made a lot more sense. So I started to make bugs and plants out of paper. Because I’d studied bookbinding, I was used to working with paper and had the tools and knowledge, so it made sense.

They’re very realistic. Do you have to study each species?

read a lot of non-fiction and love to discover new insects and plants. There’s usually a theme that runs through each of my collections, such as wild flowers that grow on the verge near where I live. I do a lot of research, collect the real specimens and study them, like an illustrator studies something when they’re drawing. For instance with plants, I’ll take them apart and flatten them out, so I can make templates from them and reconstruct them. If I can’t get hold of the real thing I’ll read a lot about their background and do online research. The research helps me understand how they interact with each other, which is helpful for the dioramas because I need to know how they would look when they were growing in the wild together.

It must be a long process. How long does a butterfly take to make, for example?

I do my research and work out the pattern first. I have a technical sketchbook where I keep my final designs. The research and experimenting takes a few days, then a peacock butterfly, for instance, takes me about two hours to stitch and put together. Generally, I spend a lot of time photographing stuff or bookmarking pages in books, collecting research that isn’t necessarily for anything specific, but knowing that one day I’ll want to revisit it. I also follow scientists
and entomologists on Twitter and make a note of any new cool discoveries.

Why do you use recycled and reclaimed materials?

I mostly use recycled paper, old wire and thread. People often give me their junk – which is good and bad – but I particularly like old magazines and catalogues. I like the pictures where the colours blur in the background because they make really good insect shells, giving them texture and depth. I also use damaged books, old letters and old maps.
Where I can I buy second-hand, or recycle bits of old things – like pulling the threads from an old embroidery, for instance. Wire I get from electricians who give me pieces they’ve pulled out of the walls that they would otherwise chuck away. Occasionally I use old fabric – recently I took pieces from an old pillowcase for some of the moth bodies and caterpillars I’ve been making. I don’t feel I need to buy new materials when there are old and broken things that are perfectly usable. And it adds an extra story to my sculptures. I deliberately leave bits in so you can see they’re made from used materials; that’s one of the things people find interesting and encourages them to look even closer. It’s then that they start asking questions about the materials and about the real bugs. Hopefully they end up learning something new about nature.

Tell us about your commission from Sotheby’s.

When they emailed me I thought it was someone trying to trick me! They commissioned me to do a window display full of butterflies for their fine jewellery store, Sotheby’s Diamonds in Mayfair, London. We were renovating our house at the time and living with my mother-in-law, but I thought ‘I have to do this job!’ so I was up quite late on a number of evenings, stitching butterflies and attaching them to wire to create the display.

What do you love about being an artist and maker?

I’ve always loved the learning aspect of it. I’m passionate about curiosity, and provoking it in others. That’s what I really love. People often turn into big kids when they see my work and I love that we can have excited conversations about bugs – finally there’s a purpose for my crazy obsession! My work is also great because I can do it during school hours. Most of the time I’m working in the studio but I enjoy going out and exploring too. I take our dog, Bill, on lots of walks and class it as research! Part of what I want to achieve through it is to educate people and make them more aware of nature. A lot of people are scared of bugs, but they look at my work and then start asking questions. The more something is in front of you, the more you begin to understand it, and I hope my work leads people to pay more attention to nature.

WORDS: AMY BRATLEY

The post Paper artist Kate Kato on her obsession with bugs appeared first on Reclaim Magazine.

Curious things happen when you apply threads of brightly coloured yarn to black and white photographs. A peasant woman becomes an empowered goddess, cultural icons look ablaze with creative genius, authority figures suddenly look rebellious, funky or even downright ridiculous. Mexican-born Victoria Villasana’s nimble needle has been transforming vintage photographs for six years now – her disruptive, thought-provoking work has appeared everywhere from the Saatchi Gallery to tequila bottles to random street corners in South London.

How did you start out creating your art?

I was always a closet artist – although I studied design instead of art. In 2014 I was in London working as a stylist, which I enjoyed, but something was missing. Everything I created had to follow a strict brief and I wanted to do my own thing. So in my spare time I started making collages with the fashion magazines I had lying around at home. Then I started to incorporate heavy textile thread – I think that’s my Mexican heritage coming through. Textiles are very big in Mexico; our indigenous cultures have been using it for millennia. I really wanted to do something bold – I like things bright and colourful, also a very Mexican thing! My memories of home were of big, colourful markets and bright dresses. I didn’t want to make the patterns overtly ethnic though, as I didn’t want to be guilty of cultural appropriation – so I kept things geometric and modern.

When did it become more than just a hobby?

I didn’t see this as a career at all. I was just playing around, learning about the materials more as I went and creating all this art that was just sitting in my desk drawer. I was living in East Dulwich at the time and one day I saw this guy in my street putting up a little paste-up [a form of street art where the piece is pasted onto a wall rather than painted directly onto it]. I love street art but had always thought of it as big murals – for the first time it occurred to me that I could do it too. So I just put something up – a picture of a guy embroidered with the words ‘Find your way’. People seemed to like the work; it’s kind of feminine, a little bit 3D and the yarn moves around in the wind. They’re very ephemeral pieces; I’m lucky if they last more than six months.

Did this lead to wider recognition?

I started making more political work about refugees. It attracted photographers and bloggers, and as the community got to know about my work they started to tag me or ask me to collaborate. After that, the commissions came in.

When did vintage photographs become part of your work?

I’ve always loved history and old things. When I lived in London, I spent a lot of time exploring the charity shops and vintage stores and at first I started looking around for old postcards, but I came to realise there were other artists working with those in a similar way and I wanted to do something different. Then people started asking me to work with portraits of pop culture icons. For me, a lot of my work is looking to the past and adding something modern. That’s why I started to combine mediums that don’t normally mix – photography, which is very contemporary, and textiles, that’s very ancient.

Where do you source your photographs?

Mostly I find them on the internet, so they are in the public domain. Then I print them on photographic paper or, for larger works, on canvas.

Where do you get your ideas from?

I like going into the past, exploring it and making a new version. For example, I was a bit annoyed that you hardly see anything in the history books about the female Mexican revolutionaries – the soldaderas – and decided to create a tribute. As I was researching that I got another idea and ended up creating two series – one about the soldaderas and another celebrating the human spirit. I found pictures of people hugging, dancing, making funny faces. The more you look into the past the more you find that we’re constantly dealing with the same problems and arguments. But the same positive stories keep resonating as well – we’re still dancing and hugging. We really don’t change.

How would you describe your creative process?

It’s very intuitive. When I used to paint I was very rigid with myself – things had to look exactly right. But with the embroidery I can really chill out. I start with a colour combination and then just go with it. I never plan a piece.

And do you still share your art on the street?

Oh, yes. Art is my living so I like to get paid commissions, but street art is very playful and I really enjoy it, especially when I’m travelling. I’m like a dog – wherever I go I have to leave my mark behind!

@villanaart

The post Victoria Villasana: The textile artist weaving stories appeared first on Reclaim Magazine.