Everyone was talking about the centenary of the Bauhaus movement in 2019. Both in Weimar and in Dessau, weaving mills were one of the most successful workshops. Launching four new decorative fabrics concurrently, drapilux pays tribute to the textile artists of the Bauhaus era. “The designs of the past are true classics now, and we used them as the basis for our designs as they are ideal to mix and match with the current collections thanks to their clean look”, said drapilux designer Herrmann.
The minimalist pattern with the generous repeat (184 cm high x 15.5 cm wide) of this fabric is dedicated to Benita Koch-Otte. She studied at the Bauhaus school from 1920 to 1925, and from 1925 she headed the weaving mill at the Burg Giebichstein School of Arts and Crafts in Halle. The warp and weft of the fabric are the same colour, the actual pattern is achieved solely by making a change in the weave. The colour of the fabric is also subtle. Five of the six colours are in neutral shades. The exceptions are two shades of bright red. “This on-trend colour works extremely well with drapilux 188 and shows that a modern, minimalist look can also be combined with strong colours”, explained Herrmann. Thanks to its downscaled design, which is reminiscent of an on-trend Scandinavian look, the fabric is suitable for use in hotels as well as in offices and the healthcare sector.
Article drapilux 150 pays tribute to the most significant Bauhaus artist: Gunta Stölzl. She is the only woman who achieved the position of master of her profession at the Bauhaus school. In 1931, she concentrated her teaching programme on the development of functional textiles, thus leading directly to the core competence exercised by drapilux. The subtle decorative fabric is created using the Scherli technique. The coloured weft is only partially integrated into a white warp. The other areas of the weft yarn lie loosely on the fabric. These so-called loose threads are cut off after weaving (Swiss term: Scherli). Besides three colour combinations in smoky pastel and neutral shades, drapilux 150 is also available in a white/white colourway. With its subtle pattern, this fabric is also ideal for hospitals.
The work of the artist Margarethe Leuschner, enrolled as a student in Dessau from 1927 to 1930, is reflected in the design of drapilux 185. She later became the assistant to Gunta Stölzl, the weaving mill manager, and always attached particular importance to knowing the material inside out, calculating the amount of fabric required and weaving techniques. The latter is used in the decorative fabric of drapilux 185: a double-sided fabric or also a canvas double cloth. These textiles use a so-called binding chain to hold both of the weft systems together, thereby creating a double-sided pattern. With drapilux 185, eight different warp and weft colours are woven in to create a raised and sunken surface. The result is a look with a wide variety of shades that mixes and matches well. Kirstin Herrmann explained that the complicated weaving technique used at that time required first-class knowledge about weaving: “Our main focus on dobby weaving is ideal for recreating this design era.” All seven colourways can be used for decorative fabrics, bedspreads or upholstery fabrics in a multitude of environments. Thanks to its small repeat, the fabric is also suitable for use in the cruise ship sector.
The new drapilux 809 series is in memory of Anni Albers, who also became internationally famous. After encountering initial difficulties in weaving, she gradually developed her own design language, which consisted of abstract, criss-crossing geometric patterns. Accordingly, drapilux 809 is printed with oversized, isosceles triangles. The colours, in smoky pastel and neutral shades harmonise with the simplified shapes, are very muted with low colour saturation. In this way, the fabric blends in well with the design language of modern interior design.