Я под сильным впечатлением от такого платья, проекта и смелости людей, которые его сделали!
Пост утаскиваю почти полностью.
Пишет lameta
Я очень сильно впечатлилась, предлагаю прекрасное и вам!
Недавно в лондонском Музее Альберта и Виктории, Великобритания, был представлен настоящий шедевр ткацкого мастерства и нового подхода к старинным технологиям. Этот плащ, накидка или же вечернее платье, кому как нравится, выполнен из цельных "золотых" нитей, производимых пауками-кругопрядами на Мадагаскаре.
читать дальше
Шелк собирали около 8 лет, процесс изготовления платья длился около 4х лет. В нем приняли участие более 80 человек, и более 1,2 млн. пауков
Что любопытно, пауки собирались вручную и специально обученные люди пи помощи специального аппарата брали у них шелковые нити, потом пауков отпускали обратно на волю.
Создатели платья - британец Симон Пирс (Simon Peers) и американец Николас Годли (Nicholas Godley), живущие на Мадагаскаре. Их вдохновили записи и иллюстрации 19 века о королевком наряде из шелка паука, и в 2004 году они начали свои эксперименты. "Мы, действительно, хотели сделать то, чего в мире никто никогда до нас не делал" - говорят они о платье.
обязательно посмотрите сюжет из музея Виктории и Альберта о платье. Видео прекрасного качества, показан процесс создания ткани, эскизов и вышивки. Пряли и вышивали ткань мужчины!
по ссылке - видеоновость на русском
Платье замечательно еще и совим цветом. Это - реальный цвет паутины!
И еще немного фотографий
Что касается ткани из шелка пауков, история ее такова. Впервые, в 1709 году, француз Франсуа-Ксавье Бон де Сент-Хилер (Francois-Xavier Bon de Saint Hilaire вдруг кто захочет еще информацию поискать
) показал, что можно вить нити из шелка пауков. Он варил коконы пауков, расчесывал их, гребнями и делал носки, перчатки, и, предположительно, полностью костюм для короля Людовика 14.
Последний экземляр ткани из шелка паука, о ктором были упоминания, был создан в 19 веке для выставки Universelle в Париже в 1900 году, но сама ткани не сохранилась.
Платье будет выставлено в лондонском музее Витории и Альберта с 25 января по 5 июня 2012 года.
для себя добавлю информации на английском
For the past 7 years, on the Indian Ocean island of Madagascar, a team of 80 people worked to collect over 1.2 million Golden Orb spiders and harvest their silk before returning them to the wild. Thirteen feet of silk, in its natural bright yellow hue, was cultivated and used to create the gorgeously regal cape that’s now on display at London’s Victoria and Albert Museum. The project is the brainchild of American fashion designer Nicholas Godley and British art historian and textile expert Simon Peers, who have both lived in Madagascar for many years, and is the largest example of the material in the world. The last known spider silk textile was made for the Paris Exposition Universelle in 1900 but no examples presently remain.
“The idea of using spider silk to create garments goes back 300 years,” Godley told CNN. “The last significant attempt to succeed was at the turn of the century, when a French Jesuit priest based in Madagascar, Jacob Paul Camboue, experimented with ‘milking’ spiders for their silk.”
Workers collected the silk each morning by harnessing the spiders in special contraptions, which allowed handlers to extract the silk at the rate of 24 spiders at a time. On average, over 23,000 spiders are needed to create only 1 ounce of silk.
“We had 24 spiders harnessed up, the spindle was going, and silk was coming out. That was our eureka moment. We were over the moon, but it was just the beginning,” Peers says.
Because of the tedious nature of extracting spider’s silk—only females produce silk and they are cannibalistic in nature—the process will probably never catch for mass production. Godley says, “From a fashion perspective, it’s impractical. It’s a natural fiber, and it shrinks, so you can’t wash or dry clean it, and obviously it is hugely expensive to produce, so how would you begin to price it?”
Godley and Peers simply created it to say that they did. The cape is covered in embroidered images of spiders, plants and flowers, which took 6,000 hours to create. The cape is also said to be weightless and almost invisible, which makes sense since it’s created out of the same material as spider webs.
“We do a party trick where we get people to close their eyes and we put the tassels from the cape in one of their hands and ask them to guess which hand it is in. Half of them have no clue, and the other half get it wrong — only a few guess, but only because of the warmth. The cape itself is like an invisibility cloak, you almost wouldn’t know you were wearing it, and it has this mystical, ephemeral quality, just like a spider’s web, but also a permanence.”
еще статья:
Hanging on the wall in the newly-renovated African gallery in the Art Institute of Chicago is a bright gold textile woven in traditional Malagasy patterns. Among the ceramic jars of Peru, Congolese ceremonial masks and Navajo blankets dating back centuries, it appears to fit right in. However, this particular textile is actually unprecedented in African art. Lighter than traditional silk yet incredibly strong, this textile is the result of nearly five years’ work by the artists behind it as well as more than a million Golden Orb spiders.
The textile, created by Nicholas Godley and Simon Peers, is the only known spider silk textile in the world. It will be on exhibit at AIC until Oct. 31, and will be taken to London’s Victoria and Albert Museum in January 2012.
The Making of the Textile
“It was such a fantasy to do anything like this that it seemed almost madness to even try it,” Peers said in recollection of the early days of working on the textile.
The production of spider silk, originally an idea concocted in 18th century France for competing with Chinese silkworm silk, was last pursued in Madagascar at the end of the 19th century. Prior to the last failed attempt to create a viable industry of spider silk, there were records of only a few notable items made from it. Since then, they have all been lost along with historical techniques for harvesting and weaving spider silk.
When Godley and Peers partnered in 2003 to begin work on reinventing spider silk production, they had little to guide them besides illustration of old devices thought to harness the spider while it is silked. Inspired by the textile culture of exotic Madagascar with its historical flirtation with the Golden Orb spider, Godley and Peers devoted themselves to experimenting with spider silk.
“It was a significant challenge on many levels,” Peers said. “You need a lot of silk to make anything and producing enough spider silk for what we wanted to create was more of a challenge than either of us anticipated.”
Godley and Peers’ team manually caught female Golden Orb spiders every morning, making sure to store them separately so they don’t cannibalize each other. Then, workers would extract silk from the spiders by poking a patch on their undersides where their spinnerets are. Silk from the spinnerets would stick to the finger, and the spider would produce more silk as it is pulled.
“It was a colossal, epic undertaking, which is basically why it doesn’t exist out there,” Peers said. “If it were easy, there would be other people out there doing it.”
An Interdisciplinary Art
The spider silk textile may be described as something of a cross between science and art—a historical, anthropological, classical and experimental study in fantasy.
Godley and Peers explained that they could have woven the spider silk into any number of forms and designs—perhaps something more contemporary to reflect the experimental process of creating it. However, they decided to adopt a pattern indigenous to the Madagascar Merina people as a way of paying respects to the island country that captivated and inspired them.
In that way, the textile could pass for work of native Malagasy art at the same time that it would be equally acceptable in a contemporary art gallery. The variety of museums that have been scheduled to host the textile in its trek around the world also speaks to its interdisciplinary nature.
The textile debuted at New York City’s American Museum of Natural History, a natural science museum, before being transferred to AIC, an art museum chosen for its prime location in the center of the country and for its timely reconstruction of the African gallery. After Chicago, the textile will journey to the V&A Museum, which features design arts.
Peers summed up the eclectic allure of the spider silk textile by suggesting the use of spider silk alone speaks to the magnitude of the task and the message of the art.
“When Simon says the medium is the message, it’s very true in the sense that the medium is being shown in all these different places, and it holds relevance in all these different venues,” Godley said. “Where all these artworks are pigeon-holed in various categories, this work transcends all those boundaries.”
Phobia and Myth
Godley and Peers said they strove to maintain conceptual purity throughout the making of their textile. The message, they said, depends on what the idea of spider silk means to the individual viewer.
Because many people harbor some degree of fear for spiders, the beauty and luminosity of its golden silk contrast with the way they’re traditionally viewed. Godley said there is something about spiders which sets people on edge, and when they see something beautiful made of spider silk, the juxtaposition creates an interesting dynamic in their minds.
“Spiders are frightening in some ways and in other ways wonders of nature,” he said. “Culturally, there’s a dual fascination of wonder and fear.”
For Peers, the Golden Orb spider itself was an object of inspiration in the making of the textile.
“We were both enthralled by the spider,” he said. “We’re very aware of the effect it has on people. It really turns heads and makes people wonder about what is possible, and it gives us a huge satisfaction.”
Godley, left, and Peers
Пост утаскиваю почти полностью.
Пишет lameta
Я очень сильно впечатлилась, предлагаю прекрасное и вам!
Недавно в лондонском Музее Альберта и Виктории, Великобритания, был представлен настоящий шедевр ткацкого мастерства и нового подхода к старинным технологиям. Этот плащ, накидка или же вечернее платье, кому как нравится, выполнен из цельных "золотых" нитей, производимых пауками-кругопрядами на Мадагаскаре.
читать дальше
Шелк собирали около 8 лет, процесс изготовления платья длился около 4х лет. В нем приняли участие более 80 человек, и более 1,2 млн. пауков
Что любопытно, пауки собирались вручную и специально обученные люди пи помощи специального аппарата брали у них шелковые нити, потом пауков отпускали обратно на волю.Создатели платья - британец Симон Пирс (Simon Peers) и американец Николас Годли (Nicholas Godley), живущие на Мадагаскаре. Их вдохновили записи и иллюстрации 19 века о королевком наряде из шелка паука, и в 2004 году они начали свои эксперименты. "Мы, действительно, хотели сделать то, чего в мире никто никогда до нас не делал" - говорят они о платье.
обязательно посмотрите сюжет из музея Виктории и Альберта о платье. Видео прекрасного качества, показан процесс создания ткани, эскизов и вышивки. Пряли и вышивали ткань мужчины!
по ссылке - видеоновость на русском
Платье замечательно еще и совим цветом. Это - реальный цвет паутины!
И еще немного фотографий
Что касается ткани из шелка пауков, история ее такова. Впервые, в 1709 году, француз Франсуа-Ксавье Бон де Сент-Хилер (Francois-Xavier Bon de Saint Hilaire вдруг кто захочет еще информацию поискать
) показал, что можно вить нити из шелка пауков. Он варил коконы пауков, расчесывал их, гребнями и делал носки, перчатки, и, предположительно, полностью костюм для короля Людовика 14.Последний экземляр ткани из шелка паука, о ктором были упоминания, был создан в 19 веке для выставки Universelle в Париже в 1900 году, но сама ткани не сохранилась.
Платье будет выставлено в лондонском музее Витории и Альберта с 25 января по 5 июня 2012 года.
для себя добавлю информации на английском
For the past 7 years, on the Indian Ocean island of Madagascar, a team of 80 people worked to collect over 1.2 million Golden Orb spiders and harvest their silk before returning them to the wild. Thirteen feet of silk, in its natural bright yellow hue, was cultivated and used to create the gorgeously regal cape that’s now on display at London’s Victoria and Albert Museum. The project is the brainchild of American fashion designer Nicholas Godley and British art historian and textile expert Simon Peers, who have both lived in Madagascar for many years, and is the largest example of the material in the world. The last known spider silk textile was made for the Paris Exposition Universelle in 1900 but no examples presently remain.
“The idea of using spider silk to create garments goes back 300 years,” Godley told CNN. “The last significant attempt to succeed was at the turn of the century, when a French Jesuit priest based in Madagascar, Jacob Paul Camboue, experimented with ‘milking’ spiders for their silk.”
Workers collected the silk each morning by harnessing the spiders in special contraptions, which allowed handlers to extract the silk at the rate of 24 spiders at a time. On average, over 23,000 spiders are needed to create only 1 ounce of silk.
“We had 24 spiders harnessed up, the spindle was going, and silk was coming out. That was our eureka moment. We were over the moon, but it was just the beginning,” Peers says.
Because of the tedious nature of extracting spider’s silk—only females produce silk and they are cannibalistic in nature—the process will probably never catch for mass production. Godley says, “From a fashion perspective, it’s impractical. It’s a natural fiber, and it shrinks, so you can’t wash or dry clean it, and obviously it is hugely expensive to produce, so how would you begin to price it?”
Godley and Peers simply created it to say that they did. The cape is covered in embroidered images of spiders, plants and flowers, which took 6,000 hours to create. The cape is also said to be weightless and almost invisible, which makes sense since it’s created out of the same material as spider webs.
“We do a party trick where we get people to close their eyes and we put the tassels from the cape in one of their hands and ask them to guess which hand it is in. Half of them have no clue, and the other half get it wrong — only a few guess, but only because of the warmth. The cape itself is like an invisibility cloak, you almost wouldn’t know you were wearing it, and it has this mystical, ephemeral quality, just like a spider’s web, but also a permanence.”
еще статья:
Hanging on the wall in the newly-renovated African gallery in the Art Institute of Chicago is a bright gold textile woven in traditional Malagasy patterns. Among the ceramic jars of Peru, Congolese ceremonial masks and Navajo blankets dating back centuries, it appears to fit right in. However, this particular textile is actually unprecedented in African art. Lighter than traditional silk yet incredibly strong, this textile is the result of nearly five years’ work by the artists behind it as well as more than a million Golden Orb spiders.
The textile, created by Nicholas Godley and Simon Peers, is the only known spider silk textile in the world. It will be on exhibit at AIC until Oct. 31, and will be taken to London’s Victoria and Albert Museum in January 2012.
The Making of the Textile
“It was such a fantasy to do anything like this that it seemed almost madness to even try it,” Peers said in recollection of the early days of working on the textile.
The production of spider silk, originally an idea concocted in 18th century France for competing with Chinese silkworm silk, was last pursued in Madagascar at the end of the 19th century. Prior to the last failed attempt to create a viable industry of spider silk, there were records of only a few notable items made from it. Since then, they have all been lost along with historical techniques for harvesting and weaving spider silk.
When Godley and Peers partnered in 2003 to begin work on reinventing spider silk production, they had little to guide them besides illustration of old devices thought to harness the spider while it is silked. Inspired by the textile culture of exotic Madagascar with its historical flirtation with the Golden Orb spider, Godley and Peers devoted themselves to experimenting with spider silk.
“It was a significant challenge on many levels,” Peers said. “You need a lot of silk to make anything and producing enough spider silk for what we wanted to create was more of a challenge than either of us anticipated.”
Godley and Peers’ team manually caught female Golden Orb spiders every morning, making sure to store them separately so they don’t cannibalize each other. Then, workers would extract silk from the spiders by poking a patch on their undersides where their spinnerets are. Silk from the spinnerets would stick to the finger, and the spider would produce more silk as it is pulled.
“It was a colossal, epic undertaking, which is basically why it doesn’t exist out there,” Peers said. “If it were easy, there would be other people out there doing it.”
An Interdisciplinary Art
The spider silk textile may be described as something of a cross between science and art—a historical, anthropological, classical and experimental study in fantasy.
Godley and Peers explained that they could have woven the spider silk into any number of forms and designs—perhaps something more contemporary to reflect the experimental process of creating it. However, they decided to adopt a pattern indigenous to the Madagascar Merina people as a way of paying respects to the island country that captivated and inspired them.
In that way, the textile could pass for work of native Malagasy art at the same time that it would be equally acceptable in a contemporary art gallery. The variety of museums that have been scheduled to host the textile in its trek around the world also speaks to its interdisciplinary nature.
The textile debuted at New York City’s American Museum of Natural History, a natural science museum, before being transferred to AIC, an art museum chosen for its prime location in the center of the country and for its timely reconstruction of the African gallery. After Chicago, the textile will journey to the V&A Museum, which features design arts.
Peers summed up the eclectic allure of the spider silk textile by suggesting the use of spider silk alone speaks to the magnitude of the task and the message of the art.
“When Simon says the medium is the message, it’s very true in the sense that the medium is being shown in all these different places, and it holds relevance in all these different venues,” Godley said. “Where all these artworks are pigeon-holed in various categories, this work transcends all those boundaries.”
Phobia and Myth
Godley and Peers said they strove to maintain conceptual purity throughout the making of their textile. The message, they said, depends on what the idea of spider silk means to the individual viewer.
Because many people harbor some degree of fear for spiders, the beauty and luminosity of its golden silk contrast with the way they’re traditionally viewed. Godley said there is something about spiders which sets people on edge, and when they see something beautiful made of spider silk, the juxtaposition creates an interesting dynamic in their minds.
“Spiders are frightening in some ways and in other ways wonders of nature,” he said. “Culturally, there’s a dual fascination of wonder and fear.”
For Peers, the Golden Orb spider itself was an object of inspiration in the making of the textile.
“We were both enthralled by the spider,” he said. “We’re very aware of the effect it has on people. It really turns heads and makes people wonder about what is possible, and it gives us a huge satisfaction.”
Godley, left, and Peers
@темы: красиво, утащено, интересное
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18.05.2012 в 14:25цвет конечно очень необычный
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18.05.2012 в 20:01-
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22.05.2012 в 13:37Kioshi, я даже и не думала, что от паучков может быть что-то полезное в таком плане