As part of the Madrid Design Festival and chaired by Alejandro Klecker, the general director of the Royal Tapestry Factory, the conversation at the flagship store of Gancedo delved into the world of textile design, with insights from a diverse lineup of speakers. Federico Antelo @Federicoantelogranero, Raquel Rodrigo @arquicostura and brothers Luis and Lorenzo Gil of Plantea Studio @plantea_estudio.
Federico Antelo, hailing from Buenos Aires, shared his trajectory from fine arts to fashion and accessories design, ultimately blending artistry with design in a unique hybrid approach. Raquel found her path through theatre and window dressing, unexpectedly venturing into the textile world through a showcase project. She said:
“ Well, I also come from Fine Arts, also from that career that everyone asks us what you do for a living? And well, I thought it was so difficult to make a living from art that I wanted to specialise in scenography. Well, I specialised in theatre, but I wanted to study. In Madrid, since I’m from Valencia. I’ve been window dressing, commercial interior design, thinking it was a way to make art in the street, paying you every month and nothing. Well, I did a showcase project as with cross stitch, like any other that could have been and by chance I got into the textile world in this way, as a project within the window dressing.”
The conversation touched upon various facets of textile design, from personal journeys to broader reflections on the industry’s evolution.
Architects Luis and Lorenzo talked about their journey from large-scale projects to composing atmospheres in smaller settings. This transition highlighted the evolving role of textiles in shaping spatial experiences within the built environment.
Federico reflected on the contemporary landscape of textile design, noting a burgeoning appreciation for textiles as pieces of art in their own right. “The textile is being put at the centre of art and design,” he remarked, highlighting a shift towards recognising the intrinsic value of textiles beyond their utilitarian function.
Raquel echoed this sentiment, emphasising the intersection of craftsmanship and urban art in her work. She observed a growing demand for sustainable practices, reflecting a broader shift towards conscious consumption in the industry.
Amidst discussions on trends and materials, the speakers found resonance in their shared appreciation for the tactile qualities of traditional fabrics. “The better the quality, the better the print,” remarked Federico, underscoring the enduring allure of natural fibres in textile creation. “I haven’t really investigated those new materials, mainly because of a matter of touch and hardness, the resistance of the material. Natural fabrics, the traditional ones, work much better for me now. They offer better quality, and the impression is better because there’s an association between the quality of the ink and the good material, like good linen or cotton. Anyway, what I try to do is to give… work on a contemporary image with traditional materials.”
The dialogue also touched upon sustainability, with the creators acknowledging their responsibility to minimise environmental impact. From conscious material choices to minimalistic design principles, sustainability emerged as a guiding ethos shaping contemporary textile practices.
In exploring the interplay between analog and digital processes, the speakers affirmed the enduring relevance of hand craftsmanship in textile design. While digital tools offer efficiency, the tactile experience of hand-drawing fosters a deeper connection to the creative process.
Referencing his sketchbooks which were on display at the back of the store, Federico explained “that is where I make the drawings of what I then stamp precisely. I believe that the process has to be delayed and reflexive, because it is in that delay that things emerge and that is something I don’t find in digital. If it is true that I use digital in some part of the process as design, many times surfaces like to check repetitions and see how to get an idea of how. It’s going to be the final configuration of something. But all the really creative initial part is 100% by hand.”
Double Suspendido, the installation by Federico Antelo hung in the window of Gancedo, Madrid.
Speaking about his influences Federico said: “ I have two main references, one is Albers, I can’t really distinguish between Josef Albers and Annie Albers. I can’t distinguish between the couple because I really think it’s a question of machismo. There is a lot of Albers’ work that also belongs to Annie. So there I can’t divide much, but I like a lot of women from that period. Annie Suna (about whom I cannot find anything online) and Sonia Delaunay is another one. Especially because of the multidisciplinary thinking they had about design, that is, how their minds worked, uh, in textiles as well as in scenography. And that also has a lot to do with how I approach my work in a more encompassing way of the textile and its multiple applications. So those would be my references. And then, to tell you the truth, I’m not ashamed to say that I’m not very. I mean, I’m very closed up in my work and I’m not so much watching what’s going on. I mean, I have a lot of references.”
Speaking about trends in the industry, Federico remarked:
“Trends, which I find interesting, firstly I should say that I don’t follow them because I think I have a job that has to do with a personal image that I am developing and I don’t have the feeling that I am following trends.
With this thing of not paying attention to trends. I remember that Alejandro de la Sota, a Spanish architect, used to say that he was watching the trains go by, but this thing of getting on the passing train as if you were missing it, you were missing something at the moment. There are artists who are able to stay in their place watching the trains go by and suddenly you catch yours. And at that moment the spotlight is on you and a little later others appear, but you stay in a firmer position. He said, like the woodpecker, always tapping again and again in the same place until he ended up one thing deeper in front of the magpie, who is the one who gets carried away by the brightness of the moment.”
As the conversation drew to a close, the speakers reflected on the timeless allure of textiles, rooted in childhood memories and primal instincts. “We always have the feeling that they take us back to the past,” remarked one of the brothers, encapsulating the profound nostalgia woven into textile design.
Federico’s sketchbook
