NYTM 2026 CALENDAR
work by Elodie Blanchard
Textile Takeover @ Scandinavia House
In the Nordic countries, stitching has long transcended simple decoration or domestic craft. It has been a necessity, a means of storytelling, survival, memory, and care. Shaped by cold climates and long winters, textiles historically became vital vessels of warmth, protection, repair, and continuity, carrying the deep traces of everyday life and cultural identity across generations. The Cold Stitch curated by Ragna Froda brings together contemporary artists from across Scandinavia whose practices engage with textiles as both a tactile material and a profound language. The title refers not only to the geography of the North, but also to our relationship with textiles and the act of stitching itself. A stitch repairs, connects, layers, and transforms. It binds physical fragments together while allowing hidden histories, emotions, reflections on the political climate, and personal narratives to remain visible.
Scandinavia House - Workshop
An interactive session for makers and thinkers to collaborate, connect, and spark new ideas.
Endless Pattern
Online/ Talk / Weaving
Endless Pattern: Weaving, teaching, and design on the BoomLoom Boss
This session will explore the capabilities of the Boss, an award-winning handheld loom that creates complex weave structures and patterns like a multi-shaft loom but has just two pieces and sets up immediately. Traditional looms require that you configure structure first, discover woven patterns later. The Boss lets you explore pattern directly and intuitively without tie-ups, treadles or drafts. The small size and simple interface makes it a powerful, accessible learning tool for material exploration and creative practice, with a range from beginner to expert in one tool.
Designer and founder Lauren Puchowski will discuss the loom and related digital patternmaking tools as a way to expand access to the design language of weaving. We'll examine the creative possibilities in traditional structures such as twill, monk's belt, krokbragd, rosepath, waffle weave, and doubleweave. We'll also touch on applications in public art and personal practice, the loom's active online community, and uses in grade schools, universities and for artists with disabilities. The session will conclude with a Q&A, for a total length of no longer than 60 minutes.
Lauren Puchowski is an artist and maker from North Carolina. Not a weaver, she began experimenting with shedding devices on tiny handheld looms as a way to make weaving an image closer to the gesture of line drawing. A prototype with a rotating heddle bar produced a diagonal rib; that became the basis for the Boss.
Untethered Works
In person/ Talk / Multiple Techniques
Artists Peggy Black, Julia Graziano, and Sarah Pavlik explore abstractions in fiber on Thursday September 10, 2026 from 1-3 PM, and author Nicole Nerhig discussing her book " With Her One Words: Women Weaving their Stories Thursday September 10th, 11:30- 12:30.
Gallery artists Peggy Black, Julia Graziano, and Sarah Pavlik exhibit their recent and evolving textile art, each artist holding a distinct and innovative voice. Working by instinct and intuition, all three are deeply inspired by abstraction as well as the element of surprise and the search for the unknown. Using fiber, these artists create works sensitive to line, shape, color, texture, and stitch, compiling a collection that speaks to their personal dialogue with the materials. From pieced fabrics to dyed, pigmented and painted cloth, this exhibit embodies bold experimentation in fiber. Together, the artists demonstrate the profound relevance of textiles in contemporary art. We encourage the audience to view the exhibition with their own untethered curiosity and imagination.
Special events September 10, 2026
11:30 am - 12:30 pm: Nicole Nehrig, author of With Her Own Hands: Women Weaving Their Stories, will discuss her exploration of the ways women have used textile work to create meaning and purpose in their lives throughout history and around the world. Nicole provides a model for how to create a meaningful life through textiles today that engages our minds and alters our relationship to time.
RSVP to Book Talk with Nicole Nehrig
1:00-3:00 pm: Artist Talks: Black, Graziano, and Pavlik will reflect on their artistic process and practice, including a discussion of specific art works, inspiration, outside influences, techniques, and experimentation, as well as their exploration of design.
3:30-6:00 pm: Opening Reception
left photo: Chris Hay
Textile Art Gallery NYC is an artist run gallery In Chelsea, New York City's premier art district. We are dedicated to exhibiting and selling innovative textile art- abstract quilts, weavings, three dimensional fiber works and all forms of fiber art - that provoke thought, ignite dialogue, and express bold artistic vision.
Fiber Thinks!
In person / Exhibition / Multiple Techniques
Fiber Thinks! is a fiber-focused group exhibition presented at Elsa Kayal Gallery in New York City. It brings together Frid Branham, Ragna Froda, Kathie Halfin, Lin Qiqing, Ollie Hongji Li, and Clayton Okaly. These artists use textile as a rigorous way of knowing an art form that builds culture and meaning through structure, repetition, tension, and touch.
Frïd Branham reads fiber through the built environment and daily ritual, making the everyday newly legible. Ragna Fróða explores how pattern, symbol, and material knowledge circulate across fiber cultures and through time. Kathie Halfin spins industrial paper into yarn to weave plant-like sculptures that follow cyclical time, treating textile as ecological code. Ollie Hongji Li works with knotting and natural dye to create biomorphic forms where technique becomes cosmology. Clayton Okaly draws on the quilt’s communal history, using repetition to hold continuity, belonging, and memory. Lin Qiqing turns weaving into a writing system where meaning accumulates through fragments, symbols, and touch.
Textile is one of art history's earliest languages. Cloth has long carried images, symbols, and social codes, marking belonging, recording ritual, and passing knowledge hand to hand. Yet fiber was often relegated to the categories of "decorative," "craft," and "female labor" through gendered and classed hierarchies. The artists in the exhibition challenge these distinctions through dialogue and cross-pollination among diverse identities, as well as through practices rooted in slow labor and sustained attention.
Fiber Thinks! pushes beyond the inclusion of fiber within contemporary art discourse. The exhibition asserts fiber not as a trend, but as a way of thinking. In an age shaped by shortened attention spans and by skimming in search of instant clarity and gratification, textile insists on closer looking and slower reading. Its truth is not immediate but cumulative. It lives in joins and edges, tension and gesture, repetition and repair. Together, these artists illuminate fiber as a contemporary language that remains deeply connected to historical traditions while generating new forms of knowledge, meaning, and relation in the present.
No registration required!
Clockwise: Frid Branham, Ragna Froda, Kathie Halfin, Lin Qiqing, Ollie Hongji Li, and Clayton Okaly
Elza Kayal Gallery is a contemporary art gallery located in Manhattan, New York City founded in 2023. The gallery is a small, 300 square-foot space situated on Broadway in one of Tribeca’s historic buildings. The building is seasoned with other contemporary art galleries and in the radius of major contemporary art players. The founder, Eniko Imre, actively seeks new forms of creative expressions and has been maintaining professional relationships with many of the collaborating artists for over 10 years in different capacities.
Elza Kayal Gallery is named after two women, mothers, in the far reaches of Hungary and India. Women of a prior generation, who in their quiet and persistent way blazed a subtle but sure path for themselves and their family. The gallery aspires to showcase art that demonstrates precision and skill while also eliciting a strong visceral response. We want to provide a platform to artists of diverse backgrounds that make NYC their home and also bring works from across the world to our metropolis. In addition, Elza Kayal Gallery strives to nurture and support women in the entire ecosystem of visual arts, including artists, gallerists, curators, advisors and collectors.
Pollack x Tatter Weaving Workshop
In person / Workshop / Weaving
Spend an evening with Pollack and Tatter exploring the world of weaving over wine and cheese. Try your hand at a variety of looms, experiment with different fibers and techniques, and discover the unique creative possibilities each loom offers.
More open studio than structured class, this evening is all about making, experimenting, and connecting with fellow fiber enthusiasts. Whether you're weaving for the first time or looking to explore something new, come by, get inspired, and weave at your own pace.
Pollack is a boutique design company that specializes in unique and innovative textiles by using a large, varied toolbox of artistry, fiber contents, yarns and weaving techniques.
Tatter is a library and arts nonprofit exploring cloth to tell human stories and cultivate cross cultural understanding.
The Cold Stitch Artist Talks and reception
In the Nordic countries, stitching has long transcended simple decoration or domestic craft. It has been a necessity, a means of storytelling, survival, memory, and care. Shaped by cold climates and long winters, textiles historically became vital vessels of warmth, protection, repair, and continuity, carrying the deep traces of everyday life and cultural identity across generations. The Cold Stitch brings together contemporary artists from across Scandinavia whose practices engage with textiles as both a tactile material and a profound language. The title refers not only to the geography of the North, but also to our relationship with textiles and the act of stitching itself. A stitch repairs, connects, layers, and transforms. It binds physical fragments together while allowing hidden histories, emotions, reflections on the political climate, and personal narratives to remain visible.eractive session for makers and thinkers to collaborate, connect, and spark new ideas.
The Art of Batik: Exploring Wax-Resist Textiles
In person / Workshop / Dyeing
Drishti Jaggi is hosting The Art of Batik: Exploring Wax-Resist Textiles, an immersive workshop that introduces participants to the traditional art of batik and its contemporary possibilities. Through a hands-on exploration of wax-resist techniques, participants will learn how wax and dye interact to create layered patterns, textures, and unique textile surfaces.
The workshop invites participants to discover the process of designing on fabric through experimentation with wax application, color layering, and resist methods. Drawing inspiration from the rich cultural history of batik, the session encourages participants to explore their own creative expressions while gaining an understanding of this time-honored textile practice.
Participants will have the opportunity to experiment with different tools, materials, and approaches to create their own batik-inspired textile pieces. The workshop is designed for all skill levels and welcomes anyone interested in textiles, surface design, and sustainable craft practices.
Through this creative experience, Drishti Jaggi aims to celebrate the beauty of textile traditions while encouraging mindful making, material exploration, and a deeper appreciation for the stories woven into cloth.
Registration link coming soon!
Drishti Jaggi is a New York–based textile artist and designer whose practice bridges sustainability with traditional craftsmanship. Her work explores the cultural significance of textiles through the use of natural fibers, natural dyes, and handcraft techniques. Alongside her studio practice, Drishti leads community workshops that promote creative reuse, textile education, and accessible making. She is dedicated to fostering inclusive and sustainable design practices that connect people through the shared language of textiles, craft, and community.
CO.LAB: Material, Conceptual + Social Intersections in the Studio
Online/ Workshop / Weaving
This virtual session explores the relationship between making, thinking, and collaboration in contemporary studio practice. Through a hands-on paper weaving workshop and group discussion, participants will investigate how ideas develop through experimentation, material engagement, and shared creative processes. The session encourages attendees to view the studio as a space where materials, concepts, and people come together to generate new possibilities for creative work.
Presented by Amanda Britton and Johanna Norry, the workshop draws from their ongoing collaborative studio practice and exhibition history. Over the past three years, they have developed a series of exhibitions exploring materiality, process, and collaborative authorship. By sharing elements of their approach, they invite participants to consider the studio as a site of artistic, material, and social exchange, where meaning emerges through dialogue, experimentation, and collective making.
Participants are encouraged to have a variety of paper, photos, thick fabrics, scissors and tape at the ready for the virtual workshop portion.
Amanda Britton and Johanna Norry are textile artists and Assistant Professors in the Textiles + Surface Design program at Kennesaw State University located in Metro-Atlanta, Georgia. They received their MFAs from the University of Georgia. Featured in juried exhibitions and group shows across the country for the last decade, their collaborative work has been showcased in duo shows, Common Threads and Material Archive, at several galleries across Georgia and in 2027 will be featured at the Appalachian Center for Craft in Tennessee. TextileArtist.org published an interview with Johanna and Amanda in 2024 about their unique collaborative art-making practice.
Textiles in the Present: A Dialogue Between Tradition and Digitality
Online/ Talk / Multiple Techniques
For textile designer Františka Benčaťová, textiles are more of a principle, a system of construction, a certain kind of architecture, as well as a vessel for stories, memory, and the present. Textiles are a timeless medium for her, a vision of the future, a platform for experimentation and innovation, a fascinating living organism that subtly and unobtrusively invades our environment. It is close at hand and yet invisible. Textiles are a ritual, a space, and a memory.
In her online lecture TEXTILES IN THE PRESENT: A DIALOGUE BETWEEN TRADITION AND DIGITALITY, you’ll gain insight into her personal observations on textiles. The designer will offer a detailed look at her textile practise, which draws on craft traditions while pushing their boundaries through industrial machinery and programming to reach a new level of innovation. She experiments with her own weaving techniques to process narrow-leaved cattail by hand. She liberates embroidery from its base material and enriches it by sewing on glass beads in collaboration with a digital embroidery machine. She views the simple basket as an archetypal textile object and, through industrial jacquard weaving, creates multiple perspectives on this object—whether as a three-dimensional form directly on the loom or through a surface-level visual illusion. All of her textile approaches are united by curiosity and experimentation across various textile disciplines, a distinctive focus on structure, and an emphasis on the construction and creation of textile objects through innovative methods.
Františka Benčaťová (1996) is a Slovak textile designer based in Prague and a graduate of the Textile Design Studio at UMPRUM (2023). Her work has been influenced by a study visit to KASK in Ghent (BE) under the supervision of Esther van Schuylenberg, as well as a work placement at Simone Post Studio in Rotterdam (NL).
Her work is characterised by an emphasis on the construction and architecture of textiles, which she uses to experiment with materials at the intersection of traditional craft techniques and industrial processing, combined with digital technologies. The playfulness and curiosity of her work are underscored by an optimistic colour palette, tactile spatial effects and a speculative conceptual approach. The designer enjoys pushing the established boundaries of how textiles are viewed and worked with. She perceives textiles as carriers of stories and emotions, as well as a structural principle for discovering and exploring the possibilities of textiles and their existence in the world (contemporary, imaginary, future). The research process is an important aspect of her work.
She currently works as a textile designer in the automotive industry, where she specializes in industrial jacquard weaving and knitting, with a focus on fibre knowledge, textile technology and innovation.
Material Transformations
In person/ Open Studio / Multiple Techniques
Material Transformations
A creative space dedicated to craftsmanship, community, and hands-on making, this partnership brings together artistic exploration and traditional making techniques. Together, the two studios create an environment that encourages creativity, experimentation, and meaningful connections through the handmade process.
No registration required!
There's more happening at this venue! Check other events:
Surface to Form Workshop - textilemonth.nyc/calendar-2026/surface-to-form
Tamar Mogendorff
Recognized for her original soft objects, Tamar Mogendorff is an artist and designer based in Brooklyn, New York. Since founding her studio in 2005, she has created one-of-a-kind textile sculptures, home objects, ceramics, and porcelain works. Her work has been exhibited internationally, and she has collaborated with numerous brands, galleries, and retailers.
Jann Cheifitz
Jann Cheifitz grew up in South Africa, and worked in an anti-apartheid art collective.
She moved to New York in 1994, where she built "Lucky Fish," a business producing "hand-printed in Brooklyn" textiles and clothing, inspired by the spirit of her artwork. For production she worked in collaboration with small print shops local to Brooklyn, producing artisanal products in small batches.
Her new body of artwork is textile based. The works are embroidered, sewn, patched, quilted, painted, screen-printed or made in clay creating a kaleidoscope of images – life and death cycles, fertility, fecundity, fallow times, soil, loam and compost – degeneration producing regeneration, creation and procreation, the body held with the earth's spirit, with the garden as inspiration.
Jann has participated in numerous group exhibitions, and has held a number of solo shows both locally and Internationally.
The Way Words Turn
In person / Exhibition / Wrapping
"In conjunction with New York Textile Month and New York’s September art and design calendar, Scavolini SoHo Gallery, in collaboration with The CAMP Gallery, presents The Way Words Turn, an exhibition-event by Federica Patera & Andrea Sbra Perego.
Federica Patera & Andrea Sbra Perego are an Italian artist duo based in New York. Their practice brings together textile art, language, sculpture, installation, and research into verbal roots, exploring how words, materials, and spatial relationships shape the way we understand and inhabit the world.
Conceived specifically for the Scavolini SoHo showroom, the project brings together a selection of works from the artists’ ongoing Roots series, dedicated to verbal roots and to the relationship between language, matter, and the construction of reality. Rather than approaching the showroom as a neutral exhibition space, the artists respond to its architecture, surfaces, materials, and points of visibility through site-responsive interventions developed in dialogue with the space.
As often happens in Patera & Sbra Perego’s practice, the project began with a text: Elémire Zolla’s essay “Language and Cosmogony,” which reflects on the story of Creation in relation to the development of languages across the world, both ancient and modern. For the artists, Roots is a cosmogony: an inquiry into beginnings, into how something comes into being, how it starts, and according to what order."
Opening Reception
Thursday, September 17, 2026
6:00 PM - 8:00 PM
Exhibition
Through Tuesday, October 13, 2026
Monday to Saturday, 11:00 AM to 5:00 PM
No registration required!
We are Federica Patera and Andrea Sbra Perego, an Italian artist duo based in Brooklyn, New York. Federica comes from literature and publishing; Andrea from street art and painting. In 2017, our different worlds merged into a shared practice. Our collaboration intertwines textile- and text-based processes, often incorporating recycled materials. We consider language and writing as porous, living systems, generating layered meanings and narratives that explore how multiple points of view can reveal unexpected forms of universality. From wall-mounted pieces to sculptural objects, immersive installations, and sound- integrated environments, we use scale, calligraphy, and materiality to shape the relationship between viewer, work, and space. By isolating a detail or multiplying it infinitely, we question hierarchical relationships between humans, the environment, and the role of perception.
Haute Texture — Weaving Light in the Studio
Online/ Open Studio / Weaving
Adélaïde Germain opens the doors of her Paris studio for an online visit into architectural weaving. On a hand loom, she works in the spirit of French haute couture, treating swatches of reclaimed matter the way a couturier treats precious fabric. Her pieces are true garments for architecture, gowns that dress walls and let light move through them.
Everything begins with reuse. Eyewear acetate, brass, glass and materials salvaged from events, offcuts and manufacturers become the raw matter of her work, chosen for the way they hold and release light. From these fragments she composes surfaces of high texture, panels, screens and light filters conceived not as decoration but as building material, dividing space and shaping its light and acoustics. Her signature gesture, which she calls sertissage, is born from the meeting of weaving and architecture.
Filmed in her studio at the Manufacture de Belleville and presented in French with English subtitles, the session moves from the raw material to the gesture, then to a reading of her named pieces, including work shown at the Petit Palais in Paris. A live question-and-answer moment closes the event. Germain develops her practice with RÉEMPART, a non-profit turning reclaimed materials into cultural narratives.
Adélaïde Germain is a Paris-based weaver working at the intersection of textile and architecture. On a hand loom, she creates architectural weavings, panels, screens and light filters conceived as building material rather than decoration, through a gesture she calls sertissage, born from the meeting of weaving and architecture. Reuse is her first creative constraint: eyewear acetate, brass, glass and salvaged materials become surfaces that hold and shape light. Her work has been shown at the Petit Palais in Paris. She develops her practice with RÉEMPART, a non-profit turning reclaimed materials into cultural narratives, which supports her research and productions.
Open Streets Reads
In person / Workshop / Stamping
As part of our back-to-school Open streets event, GGripo Art and Design will host a t-shirt decorating workshop for kids.
No registration required!
Representing more than 380 businesses in the vibrant neighborhoods of Brooklyn Heights, Boerum Hill, and Cobble Hill, the Atlantic Avenue Business Improvement District (AABID) is dedicated to promoting the long-term economic development of Atlantic Avenue from Fourth Avenue to the Waterfront.
Upcycling with Blockprinting
In person / Workshop/ Block Printing
Reimagine your textiles and clothes with new hand block printed patterns in this hand son workshop.
For a third year in a row, Cynthia Director Studio is hosting an upcycling blockprinting workshop for New York Textile Month.
In this hands on workshop, there will be a demo about blockprinting, then participants will learn how to block print onto fabric and clothes. All of the blocks we use are sourced from India & we will be using water-based screen printing inks. This workshop includes a piece of fabric to print on.
Please bring your own shirts, fabric, napkins, tea towls, and clothes.
This workshop is offered in the morning or afternoon (both sessions are the same), or make an artistic day retreat and sign up for both sessions.
Sunday, September 20, 2026
9:30 AM - 12:30 PM
2:00 PM - 5:00 PM
Cynthia Director is a fashion and home textile designer, artist and educator based in New York City and New Delhi. She has lived and worked as an international designer in India for over a decade. Her love of color, craft, travel and blockprints is inspired by her time in India. Cynthia is an assistant adjunct professor at FIT and a visiting professor at several design schools in India. She consults with home textile design businesses in the US and India, and has a home decor textile line of craft based products. She received her MA in sustainable textiles from University of the Arts London: Chelsea, and her BFA from Rhode Island School of Design.
Re Fashion
In person/ Workshop / Textile Collage
Celebrating New York Textile Month, we are excited to host an innovative workshop of fashion sketching with a twist.
Exploring textile possibilities using collage techniques with image, paper, acrylics, markers and fabric. Paula Rennis will guide you to the process.
Sunday September 20th, 3-5pm
1 class - $48.00 [2 hours]
A 2-hour workshop at the artist's studio at 18th St & 4th Ave. Park Slope, Brooklyn.
Upon registration you will receive the address.
Price includes all supplies. Limited space to 12 spots.
Any questions please reach out to paularennis@m2viscom.com
Argentinean by nature New Yorker by heart, I came to the US on a Fulbright Scholarship for a master's at Pratt Institute and studied
painting at The Art Students League of NY.
My imagination runs full speed looking at fashion magazines searching tor uniqueness, color and patterns, but only seeing outfits without personality. Nothing speaks to me. So I re-fashion the fashion magazines one page at a time. Once I find a pose that attracts me I create the outfits and accessories that I would love to see, adding some humor too dressing them with my "textiles" of acrylic, markers, paper, tape and fabric.
Textiles Close Up
Online/ Talk / Textile Industry
Textiles Close Up: Virtual Roundtable - The Dressed Body & Wearable Innovations
This September, the Textile Society of America invites you to join a live virtual roundtable that brings together curators, scholars, artists, and cultural practitioners from across Central New York for an engaging exploration of textiles, collections, and contemporary research.
Taking place on September 23, 2026 this 90-minute online program expands upon the themes explored during Textiles Close Up: The Dressed Body & Wearable Innovations in-person event in June, while welcoming a broader audience from around the world. Participation in the June program is not required.
During the September online session, each presenter will give a brief presentation highlighting objects, collections, or site-specific practices from their institution. A moderated discussion led by TSA Board Member Alexa Griffith Winton will follow, inviting participants to reflect on how textiles mediate identity, the impact of materials and technologies on clothing and adornment, and the responsibilities of institutions in interpreting living cultural traditions.
The session will include time for questions from the audience and interaction with presenters. The session will be live-streamed, making it accessible to a global audience. Recordings of the program will be made available, and registered participants will receive a notification when the recordings are available.
Founded in 1987, the Textile Society of America is a United States 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, political, social, scientific, and technical perspectives. Our 1,000 members worldwide include curators and conservators, scholars and educators, artists, designers, makers, conservators, scientists, collectors, and others interested in fiber and textiles. We are committed to developing leadership initiatives, membership, and programming rooted in the plurality of textile histories, producers, and purposes. With an eye toward expanding our voices and audience, we will focus on inclusion of underrepresented groups, and advocacy for robust diversity of our personal and professional viewpoints.
Rethinking Textiles in an Age of Waste
Online/ Talk / Dyeing
Rethinking Textiles in an Age of Waste: A Study of Japanese Traditional and Contemporary Textiles, based on a year of field research in Japan.
This talk presents research and findings from Larissa Zemke's Master's thesis, Rethinking Textiles in an Age of Waste: A Study of Japanese Traditional and Contemporary Textiles, developed through a year of field research in Japan (2019–2020). Using a research-creation methodology, the project examines how traditional Japanese textile practices and philosophies offer lessons for textile sustainability today, with a focus on translating those insights into the activewear industry.
Drawing on archival research, interviews with artisans, and hands-on material experimentation, the talk explores how Japan's textile heritage, from bast fiber cultivation to traditional dye and weaving practices, informs more circular, less wasteful approaches to material design. Larissa shares how these findings shaped tangible design proposals, illustrating how traditional knowledge can inform contemporary innovation in fast-moving, high-waste sectors like activewear.
Attendees will gain insight into Japan's textile traditions as a living case study for sustainability, practical frameworks for applying historical practices to modern material challenges, and a window into research-creation as a methodology bridging academic research and design practice.
This talk is ideal for designers, brands, and researchers seeking grounded, culturally rich approaches to rethinking material use and waste in the fashion industry.
Larissa Zemke is a textile expert and material innovator focused on sustainability, natural fibers, and circular practices. Her international career across New York, Paris, Vienna, Kyoto, and Montreal spans print and embroidery, knitwear, leatherwork, dyeing, visual merchandising, and product management. She has contributed to an open-source textbook on corporate social responsibility published by SUNY, and is currently co-authoring a fashion-sector edition of the book.
Larissa holds a Bachelor's degree from the Fashion Institute of Technology and a Master's in Design from Concordia University (2023), rooted in a year of field research in Japan on sustainable fiber systems. She aims to advance innovation across the global apparel industry.
Larissa Zemke's consulting practice supports brands and institutions in advancing circular, responsible material practices through slow fashion frameworks and design with care. Her work has been shared through exhibitions, talks, workshops, and publications at leading design schools in New York, Montreal, and London. Recent collaborations include developing a biodegradable insulated jacket with Quebec industry partners and research conducted with Harvard's Innovation Lab.
She is also building a personal platform dedicated to slow fashion and sustainability. Larissa is open to interdisciplinary collaborations driving circular innovation across the global fashion industry.
Soil to Surface
In person / Exhibition / Dyeing
Soil to Surface highlights the creations of small-scale women farmers, women’s cooperatives, and internationally recognized designers from Türkiye, alongside the work of School of Art and Design students, faculty, and alumni at the Fashion Institute of Technology (FIT). Proposing an alternative framework where farmers, craftspeople, and designers operate on equal ground, the exhibition sees the FIT community actively reimagining these materials for contemporary design through technical experimentation and innovative thinking.
Agricultural waste and local textile materials are repositioned in a contemporary context, allowing multiple narratives to emerge across time and geographies, while creating new paths for creative businesses to be local, sustainable, and value-driven.
Central to this process are women farmers and women’s cooperatives in Türkiye, whose knowledge, labor, creativity, and lived experience have transformed agricultural byproducts into new material possibilities. Their relationship with the land has been cultivated across generations. Working with pomegranate peels, walnut husks, nettle leaves, onion skins, bay leaves, and barley straw, they transform these materials into plant-based dyes, paperlike surfaces, and handcrafted embellishments. By integrating agricultural production with artistic practice, Soil to Surface challenges conventional hierarchies and suggests a more inclusive and socially just model for creative collaboration.
The exhibition opens on Thursday, September 24 and is on view at the FIT Art and Design Gallery through November 1, 2026.
The Art and Design Gallery at FIT showcases the work of students, faculty, and distinguished alumni, as well as invited guest artists and collaborators. It is a window into the College and a window out. The exhibition spaces serve as a place to foster learning and innovation.
Breathing Patterns
In person/ Exhibition / Embroidery
Breathing Patterns is an exhibition of hand-embroidered wall works and accompanying scent compositions that explore geometry as a living, embodied system. Created through slow, repetitive hand needlework, the embroidered forms draw on geometric patterning as a language of structure, care, and endurance. Each stitch accumulates time, marking the quiet labor of the hand while transforming rigid systems into intimate, tactile surfaces.
The geometric patterns suggest order and repetition, yet they are never mechanical. Slight irregularities—inevitable in handwork—introduce breath, vulnerability, and presence. These deviations become central to the work, emphasizing the body behind the pattern and the feminist lineage of needlework as both domestic labor and creative resistance.
Scent functions as an invisible counterpart to the stitch. Developed in dialogue with the embroidered forms, the fragrances move through space as thread moves through cloth—activating memory, emotion, and physical awareness. Rather than illustrating the visual works, scent extends them, allowing the patterns to be felt as atmosphere and duration.
Together, embroidery and fragrance invite a slower mode of attention. Breathing Patterns proposes making and sensing as acts of care, where repetition becomes meditative and geometry becomes intimate—measured not only by the eye, but by the body in time and breath.
No registration required!
Anna Novakov is an interdisciplinary artist working across textile, scent, and installation. Rooted in traditions of hand needlework, her practice draws on Serbian cultural heritage and the labor of domestic craft to explore memory, lineage, and embodied knowledge. She integrates olfactory elements to extend the sensory experience beyond the visual, creating immersive environments that engage touch, smell, and sound. Her work often examines themes of diaspora, transformation, and intimacy, positioning the handmade as both material and method. Through repetition and subtle variation, Novakov constructs poetic spaces where personal and collective histories quietly converge.
Negotiated Skin
In person / Exhibition / Biomaterial
Negotiated Skin is an immersive, cross-media solo exhibition by New York-based artist Freda Xia, presented at Time To Be Happy Gallery. Bringing together wearable sculpture, suspended membrane works, mineral-pigment paintings, material studies, photographic documentation, and sound, the exhibition creates an evolving environment in which soft sculptural forms and paintings enter into close dialogue across body, material, time, and space.
For this exhibition, Xia develops translucent, membrane-like forms through layering, collapse, and visible acts of repair. Her fiber works evoke the presence of the body without depicting it directly, moving between garment, sculpture, and installation. Alongside them, mineral-pigment paintings of heads passing through New York City subway spaces offer a more figurative expression of Negotiated Skin, tracing bodies in motion, proximity, and separation.
The exhibition itself becomes an exploration of boundaries and negotiation: between intimacy and exposure, abstraction and figuration, material fragility and shared presence. Through layers of negotiation, skin becomes a surface of connection and immersion. During the opening, an organic sound environment, celebratory drinks, and light refreshments invite visitors to linger, gather, and engage with the work through embodied encounter, conversation, and perception.
No registration required!
Freda Xia is a multidisciplinary artist and designer based in New York. With a background in painting, fashion design, and textiles, she is currently pursuing an MFA in Textiles at Parsons School of Design. Her practice moves between biomaterials, wearable sculpture, soft textile structures, and installation. Working with hand-reeled raw silk, wool, fruit waste, and protein-based biomaterials, she creates membrane-like forms that explore bodily memory, rupture, repair, and transformation. Her work investigates textiles as living systems of protection, adaptation, and material alternatives to petroleum-based surfaces.
From Farm to Fabric: Indigo Cultivation in the Lowcountry
Online/Workshop / Textile Industry
Join Heather Powers, President of the International Center for Indigo Culture and SCAD alumna (Fibers BFA, 1998), and Professor Jessica Smith as they guide Fibers students through cultivating and processing Indigofera suffruticosa at the BACK40, SCAD's sustainable urban farm.
This virtual program is designed to educate consumers, artists, and farmers about the importance of this irreplaceable regional agricultural and cultural resource. It explores indigo's history in the Lowcountry, the coastal region from north of Charleston, South Carolina, through Savannah, Georgia, to Jacksonville, Florida. Once a major colonial cash crop and source of the region's iconic deep blue dye, indigo is now being revived by Gullah Geechee farmers and artisans to preserve cultural heritage, sustain family lands, and produce natural, non-toxic dyes.
Over two days, the SCAD Fibers department and Heather Powers demonstrate cultivating and processing indigo leaves into dyestuff, covering harvest, fermentation, filtration, drying, and storage.
Day One - Thursday, September 24, 12:00 PM – 3:00 PM
Examines indigo's significance as both cash crop and art form, including tools and methods used by enslaved people, many from West African indigo-dyeing traditions, and how contemporary artists and farmers carry the practice forward today. As students harvest plants, Heather will demonstrate a fresh-leaf vat using freshly picked leaves.
Day Two - Friday, September 25, 9:00 AM – 3:00 PM
Covers pigment extraction, an all-day process open to tune in and out of, culminating in filtration of the extracted indigo for drying and storage.
All stages will be recorded and shared with registered participants afterward.
Jessica Smith is an artist and designer based in Savannah, Georgia. Her studio practice investigates the social and political role of textiles in Western culture, with a focus on authentic material production, from natural dye to 3D printing. She is a fibers professor at SCAD and co-author of Overshot (UGA Press, 2020).
Heather Powers career in textiles began with a BFA in Fibers (SCAD). Her creative practice (weaving & natural dyeing) informs her projects as a collection consultant and appraiser across design, research, and education. In 2021, she earned an MA in Historical Craft and directs the International Center for Indigo Culture.
M.PATMOS - Multiple Events
In person / Multiple Events / Multiple Techniques
Opening And Trunkshow Of New Works By Studio Isabelle Ormieres
Thursday, September 24, 2026
6:00 PM - 8:00 PM
We are delighted to welcome the talented Isabelle Ormieres to the shop for an opening of her new body of botanical dyed collage and larger works alongside a trunkshow of new botanically dyed silk scarves.
No registration required!
In person / Workshop / Dyeing
Botanical Dye Workshop With I Dye For You Aka Studio Isabelle Ormieres
Saturday, September 26, 2026
1:00 PM - 4:00 PM
We are delighted to welcome the talented Isabelle Ormieres to our backyard for a very special botanical dye workshop. Details to follow.
RSVP coming soon!
In person / Workshop / Embroidery
Expressive Repair At The Atlantic Antic
Sunday, September 27, 2026
12:00 PM - 6:00 PM
We are delighted to welcome the talented Miron Kiselov to our outdoor Antic location for an epic 12 foot long table length Expressive Repair Workshop.
No registration required!
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OPENING OF NEW WORKS BY ATELIER MIRONI - SUNDAY, SEPTEMBER 13TH, 3-6 PM
We are delighted to welcome the talented Miron Kiselov to the shop for an opening of his new body of smaller works alongside a an exhibit of his ongoing community artwork.
EXPRESSIVE REPAIR DARNING AND SEWING CLASS - SATURDAY, SEPTEMBER 19 , 1-4 pm TBC (Backyard).
We are delighted to welcome the talented Miron Kiselov for a special Expressive Repair Class. Details and pricing TBC.
M.PATMOS is a modern luxury womenswear brand designed for thoughtful living. Rooted in sustainability, our pieces balance clean, modern silhouettes with warmth and wearability.
Our brick and mortar shop is located in the heart of Boerum Hill, Brooklyn. More than a boutique, we've created a space for community, conversation, and considered dressing.
MPATMOS.com
studioiormieres.wixsite.com/studio-i-ormieres
Surface to Form
In person/ Workshop / Multiple Techniques
Surface to Form: Print Paint & Sew, Textile Sculpture, Object or Decor
A two-part workshop led by Jann Cheifitz and Tamar Mogendorff exploring the transformation of surface pattern into soft dimensional relief and textile sculpture.
Beginning with printmaking and painted imagery, participants will experiment with layering, shaping, padding, and stitching to transform two-dimensional surfaces into tactile sculptural forms. Working intuitively, we will explore the relationship between image and object, color and form, creating unique textile pieces that exist between painting, sculpture, and textile.
No prior experience is necessary. Basic hand-sewing skills are helpful.
Saturday, September 26 11:30 AM - 4:00 PM
Tuesday, September 29 6:00 PM - 9:00 PM
There's more happening at this venue! Check other events:
Material Transformations Open Studio -textilemonth.nyc/calendar-2026/material-transformations
Tamar Mogendorff
Recognized for her original soft objects, Tamar Mogendorff is an artist and designer based in Brooklyn, New York. Since founding her studio in 2005, she has created one-of-a-kind textile sculptures, home objects, ceramics, and porcelain works. Her work has been exhibited internationally, and she has collaborated with numerous brands, galleries, and retailers.
Jann Cheifitz
Jann Cheifitz grew up in South Africa, and worked in an anti-apartheid art collective.
She moved to New York in 1994, where she built "Lucky Fish," a business producing "hand-printed in Brooklyn" textiles and clothing, inspired by the spirit of her artwork. For production she worked in collaboration with small print shops local to Brooklyn, producing artisanal products in small batches.
Her new body of artwork is textile based. The works are embroidered, sewn, patched, quilted, painted, screen-printed or made in clay creating a kaleidoscope of images – life and death cycles, fertility, fecundity, fallow times, soil, loam and compost – degeneration producing regeneration, creation and procreation, the body held with the earth's spirit, with the garden as inspiration.
Jann has participated in numerous group exhibitions, and has held a number of solo shows both locally and Internationally.
3D printing Lace Lab
Online/ Workshop / 3D Printing
3D printing Lace Lab explores the future of textile craftsmanship through experimental lace structures. This online workshop invites participants to discover how 3D printing machine works and how 3D printing technology can be applied to textiles.
Using Adobe Illustrator, I will demonstrate the complete process of creating a simple 3D-printed lace sample—from digital modeling to preparing the slicer file and printing it on a 3D printing machine. Participants will see how a 3D-printed lace sample is created from start to finish. If you have Adobe Illustrator, you’re welcome to follow along and create your own 3D printing file during the workshop.
Next, the workshop explores how 3D-printed components can be integrated with embroidery, knitting, and crochet through a series of samples, and how different materials influence texture, flexibility, and structure. Participants will gain insight into the design workflow, from digital modeling to combining 3D printing with traditional textile techniques.
RSVP link coming soon
Kaixin Zhou's work explores the relationship between structural lace and the modern woman. She is constantly seeking ways to combine tradition with contemporary design. Through her work, she aims to reshape the image of women.
Woman image changes, moving from vulnerability and sacrifice to seeking self-wholeness. Using my work to show the rational, powerful and beautiful side of women. I use lace to represent woman, so I rebuild lace, I combine new technology 3D printing with traditional textile technologies( like crochet, knitting and embroidery) to create a new style lace. They are structural and a little bit hard while maintaining a sense of delicacy. They embody the strength and resilience of modern women.
Machine Stitch
In person / Talk / Embroidery
Machine Stitch: A Talk on Digital Embroidery & Materiality
This artist/designer talk focuses on digital embroidery in creative work, expanding industrial applications to uncover unique human sensitivities of the machine stitch. The conversation will bring together Response Patterns, a collaborative project by Anette Millington and Travis Fitch, and artist Ragna Froda, to discuss experimentation, machine collaboration, and embroidered materiality.
Response Patterns is a collaborative project that leverages Anette Millington’s expertise in pattern and print, and textile embellishment, with Travis Fitch’s in-depth knowledge of digital tools, geometry, 3D-printed embellishment, and architectural design. The ongoing study of geometric and biological patterning informs their research on machine embroidery. Considering the language of patterning- units, symmetries, and algorithmic scale- they work with the embroidery machine to create tactile symbols and surfaces.
Ragna Froda is an Icelandic artist, curator, and educator with a background in fashion/ textile design. Her work focuses on the process of making, working with colors and textures, and the history and culture of symbols and patterns in textiles. Ragna will discuss her “Here we go again” series of digital embroideries. The artwork, originally sketched in ink, undergoes a transformation through embroidery, guided by her assistant Bobby, the embroidery robot. As a team, they explore life events, histories, and dreams.
The talk will highlight shared interests in material experimentation to expand the lexicon of machine embroidery and add emotive and temporal qualities. Examples include the use of environmentally responsive materials, such as UV-sensitive threads, and textural substrates made from fabric collage and quilting. The conversation will also focus on interventions and design processes for working with digital embroidery software and improvisation between machine and maker.
Response Patterns is a collaborative project that leverages Anette Millington’s expertise in pattern and print, and textile embellishment, with Travis Fitch’s in-depth knowledge of digital tools, geometry, 3D-printed embellishment, and architectural design.
Ragna Froda is an Icelandic artist, curator, and educator with a background in fashion/ textile design. Her work focuses on the process of making, working with colors and textures, and the history and culture of symbols and patterns in textiles.
The Garment that Remembers
Online/ Talk / Knitting
The Garment that Remembers: what our clothes know, and who tells their stories
Every garment carries a history: the hand that made it, the origin of its yarn, each repair and each new owner. For most of fashion's history that history has been lost the moment a piece leaves the maker. This live talk asks what changes when a garment is designed to remember.
Working live from her studio on the Fleurieu Peninsula in South Australia, designer and researcher Angelina Russo builds a poncho from vintage and deadstock yarns on vintage knitting machines, in a practice rooted in Italian textile heritage from the Sannio region. Because each piece cannot be replicated exactly, you watch its record assemble, stage by stage, as the poncho comes together.
Alongside the making, you read a garment of your own. Using a card provided online, you sort its fibres into natural and synthetic, look for proof that the fibre is what the label claims, and set down what you expect of the piece, how long you will keep it and how often you will wear it. The card then stays with the garment and waits, in a pocket or a drawer, for the day a decision about its future is due. That small act, a record that travels with a garment, is the everyday form of what the emerging Digital Product Passport is reaching towards.
What you'll leave with:
A card to keep with one of your own garments, written now and answered later
A way of reading any piece you own for the record it carries, and the record it has lost
A route to follow when a forgotten garment asks to be kept, repaired, passed on or recovered
This is a live session, presented before dawn from the other side of the world, with time for questions.
Angelina Russo is a designer and researcher, and the founder of Fleurieu Made, a circular knitwear studio on the Fleurieu Peninsula in South Australia. Working from vintage and deadstock yarns on vintage knitting machines, in a practice rooted in her Italian textile heritage, she makes one-off pieces meant to be carried for years. Alongside the studio she develops the FM Circular Fashion IQ Index, which makes circular practice visible and verifiable. Angelina researches how garments might carry their own records of origin, repair and afterlife, returning fashion's memory to the makers and wearers it belongs to.