Charlotte Wakefield

Name: Charlotte Wakefield

Studio location: South East London, Home Studio

Website / social links: wovenform.com, @wovenform

Loom type or tool preference: 24 shaft Louet Magic Dobby Loom

Years weaving: 11 years weaving / 3 years as a business

Fiber inclination: Merino wool, mohair, alpaca, a lot of my yarns are deadstock from British mills and factories

Current favorite weaving book: A Handbook of Weaves

 

 

1. How did you discover weaving and was what your greatest resource as a beginner?

During my Art Foundation Course I had my first attempts at weaving, just on a wooden frame and the freedom and excitement of not having a plan and just seeing what happens really appealed to me. Once I got to University and had a go on one of the Ashford Table Looms, I was completely sold on weaving, with the physical practice and the endless possibilities for experimentation, through fibre, structure and colour. My greatest resource at University were my tutors, technicians and the other students. They were and still are an invaluable source of information.  

2. How do you define your practice – do you consider yourself an artist / craftsperson / weaver / designer / general creative or a combination of those? Is this definition important to you?

First and foremost, I would consider myself a weaver/artist, but I do think when you run your own business you become a person with many hats, so it is much harder to define yourself. The element of my work which I get the most enjoyment and excitement from is weaving so that always will be at the heart of what I do.

3. What is your creative process, from the initial idea to the finished piece? Are there specific weave structures, looms, or fibers that are important to your process?

I am constantly taking photos of architecture and details of textures when I am on my travels. When I am sitting down to start designing, I like to pull these photos out and see what speaks to me. I love to zone in on different textures, colours and patterns and pull-out sections which inspire me. When it comes to weaving, I like to be very free, so I will pull together some ideas for the warp, take lots of different yarns off my shelves and then sit down and have a play around to see what works. Each piece I hand weave is an individual one-off piece, this enables me to be really experimental and just weave and see what happens.

4. Does your work have a conceptual purpose or greater meaning? If so, do you center your making around these concepts?

A fundamental thing for me is to make the world a kinder, more beautiful, considered place. Each piece is handwoven to size so there is very little waste, and we work with a range of mills and factories using up their deadstock, which is luscious yarn leftover from their production which would normally be wasted. The textiles and fashion industry can be so wasteful so anything I can do to help is really important to me.

 

5. What is your favorite part of the weaving process and why? What’s your least favorite?

My favourite part of the weaving process is once the loom is all set up and ready to start weaving. Sitting there with the blank canvas of the warp in front of me with all my ideas running through my head, this part is so exciting to me. I find weaving really therapeutic and relaxing, which is especially important in the world we are living in at the moment. I love the slow nature of the work and how much time and love is put into it. My least favourite part of weaving is probably warp winding, this can take a long time especially if you are working with a thin fibre and I am always too keen to get the warp on to start weaving!

6. Do you sell your work or make a living from weaving? If so, what does that look like and how has that affected your studio practice?

Yes, I sell my work on my website and in a few stores across the world and I do a lot of commission work for people which I really enjoy. I am working towards the future of being able to weave full time, but I currently have a part-time job too, it helps to take a bit of pressure off me when it comes to finances. I hope in the future to be able to have a studio/shop space where people can visit, experience weaving first hand, have a coffee, chat all things design.

7. Where do you find inspiration?

I think everything can be an inspiration but for me architecture is the gift that keeps on giving. One building alone can be the source of so much inspiration and spark off ideas for an entire collection. I love the combinations of colours, textures and patterns used to make the built world so stunning and exciting. London is such a great place to take in architecture as every road is different to the previous one, we have a really unique mix of architecture built through different times and I love to go for a walk with my camera and see what I come across. 

8. What other creatives do you admire – weavers, artists, entrepreneurs – and why?

I admire hugely anyone who is creating in their own way and making it work for them, whatever their skill or craft may be. I admire friend Alessandra of AEAND massively, I have seen her develop her business and craft in an incredible and authentic way from doing New Designers One Year On together to her work being on the front cover of Elle Decoration last year, it is amazing to see.

9. If you could no longer weave, what would you do instead?

I would still want to be doing something creative, I think I would probably try my hand at pottery. My in-laws have recently retired from running their own pottery business, so I have a good amount, I do not have a huge amount of natural talent, but I really love it. Love getting stuck in and working with my hands. 

10. Do you have any upcoming exhibits, talks, or events the community should know about?

I will be taking part in Design London is September 2021, showcasing my range of handwoven textile art pieces.