V. ABOVE: Otti Berger Bauhaus Vorhangsstoffe gewebt gittertülle (Bauhaus curtain fabrics woven lattice tulle) (Textile sample book) c.1933
V. ABOVE: Otti Berger Bauhaus Vorhangsstoffe
gewebt gittertülle (Bauhaus curtain fabrics
woven lattice tulle) (Textile sample book) c.1933
VI.
RIGHT (Material Study by Otti Berger, Josef Albers' Preliminary Course, Bauhaus Dessau)
c.1927, Edmund Collein
VII.
BELOW Otti Berger in the Canteen on their last day of the Bauhaus, Dessau (1932), Photo: Gertrud Arndt
II.
LEFT Otti Berger – Book (detail),
mid 1930s, cotton, 9.5 x 24.1cm (3
3/4 x 9 1/2 in.
III.
BELOW Otti Berger – Sample of
Upholstery for Tubular Furniture, 1932-1937, Double weave of cotton and plastic fibers, 32.7 x 72 cm (12
7/8 x 28 3/8 in.) Harvard Art
Museums
IV.
LAST Otti Berger – Swatches of Drapery, Wallpaper and Upholstery Materials, 1919–1933, Hemp, two-faced complementary warp weave of 3/3 twill weave and of wrap-float faced 5/1 twill weave, 23.6 x 15.2 cm (9 3/8 x 6 in.), Photo: The Art Institute of Chicago
Textile Teachers:
Gunta Stölzl
Textile Teachers:
Otti Berger
Visual Studies 07
Gunta Stölzl ran the weaving workshop at the Bauhaus as a space for experimentation. She had a deep understanding of material, structure and process, and led her students to experiment with the construction of the cloth. She believed the design came from the making of the structure, rather than it being added after.
mohair
The mohair blanket is a soft, voluminous blanket with a welcoming tactility, hand-woven using the finest mohair with added wool for greater body and increased longevity. Our Artisans follow centuries-old tradition working the Angora fibres into superlatively soft blankets. Smooth and lustrous in texture, each is breathable and lightweight, crease - resistant and kind to sensitive skin.
As a naturally renewable resource needing no chemical treatment, mohair goes gently on the earth in its production while providing strength and resilience when spun into yarn.
newsletter
mohair
The mohair blanket is a soft, voluminous blanket with a welcoming tactility, hand-woven using the finest mohair with added wool for greater body and increased longevity. Our Artisans follow centuries-old tradition working the Angora fibres into superlatively soft blankets. Smooth and lustrous in texture, each is breathable and lightweight, crease - resistant and kind to sensitive skin.
As a naturally renewable resource needing no chemical treatment, mohair goes gently on the earth in its production while providing strength and resilience when spun into yarn.
newsletter
ABOVE: Otti Berger im Bauhaus Gebäude Dessau,
1930, Bauhaus Archive Berlin, Photo: Gertrud Arndt
She was influenced by the ideas of Paul Klee and Wassily Kandinsky, and brought a new way of thinking to textiles that informed generations of weavers after her. Among her students were Anni Albers and Otti Berger, who became two of the most influential textile designers of their time. Her workshop became known for constant experimentation and developing ideas.
She was influenced by the ideas of Paul Klee and Wassily Kandinsky, and brought a new way of thinking to textiles that informed generations of weavers after her. Among her students were Anni Albers and Otti Berger, who became two of the most influential textile designers of their time. Her workshop became known for constant experimentation and developing ideas.
V. ABOVE: Otti Berger Bauhaus Vorhangsstoffe gewebt gittertülle
(Bauhaus curtain fabrics woven lattice tulle) (Textile sample book) c.1933
VI.
RIGHT (Material Study by Otti Berger, Josef Albers' Preliminary Course, Bauhaus Dessau)
c.1927, Edmund Collein
VII.
BELOW Otti Berger in the Canteen on their last day of the Bauhaus, Dessau (1932), Photo: Gertrud Arndt
II.
ABOVE Otti Berger – Book (detail),
mid 1930s, cotton, 9.5 x 24.1cm (3
3/4 x 9 1/2 in.
III.
ABOVE Otti Berger – Sample of
Upholstery for Tubular Furniture, 1932-1937, Double weave of cotton and plastic fibers, 32.7 x 72 cm (12
7/8 x 28 3/8 in.) Harvard Art
Museums
IV.
BELOW Otti Berger – Swatches of Drapery, Wallpaper and Upholstery Materials, 1919–1933, Hemp, two-faced complementary warp weave of 3/3 twill weave and of wrap-float faced 5/1 twill weave, 23.6 x 15.2 cm (9 3/8 x 6 in.), Photo: The Art Institute of Chicago
She was influenced by the ideas of Paul Klee and Wassily Kandinsky, and brought a new way of thinking to textiles that informed generations of weavers after her. Among her students were Anni Albers and Otti Berger, who became two of the most influential textile designers of their time. Her workshop became known for constant experimentation and developing ideas.
II.
ABOVE Otti Berger – Book (detail),
mid 1930s, cotton, 9.5 x 24.1cm (3
3/4 x 9 1/2 in.
III.
ABOVE Otti Berger – Sample of
Upholstery for Tubular Furniture, 1932-1937, Double weave of cotton and plastic fibers, 32.7 x 72 cm (12
7/8 x 28 3/8 in.) Harvard Art
Museums
IV.
BELOW Otti Berger – Swatches of Drapery, Wallpaper and Upholstery Materials, 1919–1933, Hemp, two-faced complementary warp weave of 3/3 twill weave and of wrap-float faced 5/1 twill weave, 23.6 x 15.2 cm (9 3/8 x 6 in.), Photo: The Art Institute of Chicago
ABOVE: Otti Berger im Bauhaus Gebäude Dessau,
1930, Bauhaus Archive Berlin, Photo: Gertrud Arndt
ABOVE: Otti Berger im Bauhaus Gebäude Dessau,
1930, Bauhaus Archive Berlin, Photo: Gertrud Arndt
She was influenced by the ideas of Paul Klee and Wassily Kandinsky, and brought a new way of thinking to textiles that informed generations of weavers after her. Among her students were Anni Albers and Otti Berger, who became two of the most influential textile designers of their time. Her workshop became known for constant experimentation and developing ideas.
ABOVE: Otti Berger im Bauhaus Gebäude Dessau,
1930, Bauhaus Archive Berlin, Photo: Gertrud Arndt
Stölzl entered the Bauhaus in 1919, and it was the students who pushed her to lead the weaving workshop. By 1927 the school named her its first female Master. After leaving in 1931, she continued weaving in Switzerland for the rest of her life. She believed weaving was as much a technical discipline as a creative one. This continues to inform the way textile design is understood today.
Stölzl entered the Bauhaus in 1919, and it was the students who pushed her to lead the weaving workshop. By 1927 the school named her its first female Master. After leaving in 1931, she continued weaving in Switzerland for the rest of her life. She believed weaving was as much a technical discipline as a creative one. This continues to inform the way textile design is understood today.
Stölzl entered the Bauhaus in 1919, and it was the students who pushed her to lead the weaving workshop. By 1927 the school named her its first female Master. After leaving in 1931, she continued weaving in Switzerland for the rest of her life. She believed weaving was as much a technical discipline as a creative one. This continues to inform the way textile design is understood today.
Stölzl entered the Bauhaus in 1919, and it was the students who pushed her to lead the weaving workshop. By 1927 the school named her its first female Master. After leaving in 1931, she continued weaving in Switzerland for the rest of her life. She believed weaving was as much a technical discipline as a creative one. This continues to inform the way textile design is understood today.