angie parker textiles Archives - Angie Parker Textiles

Expecting the Unexpected Weaving Krokbragd at West Dean.

TEACHING WEAVING KROKBRAGD AT WEST DEAN COLLEGE. JANUARY 2026

For me, teaching at West Dean College of Art, Design Craft and Conservation was about much more than teaching.

I suspected this might be the case as other makers and friends have raved about the college over the years. I was curious to find out what the fuss was about. However, I didn’t anticipate is that a teaching gig would bring about a shift in mindset about the future direction of my business.

A soggy Sunday afternoon drive from Bristol to Chichester was the start of my experience. I loaded up the car with my pre-set student looms and triple checked the workshop kit list. I’m lucky to have a ‘weaving krokbragd’ workshop template that easily adapts to different educational settings. It’s provided financial security in my weaving business for a while now, as well as other benefits. (I’ve put in the years to reach this point).

Packing & Unpacking

I was booked to teach a three-day weaving krokbragd workshop. On arrival, I crawled along the very impressive driveway to the majestic entrance of the house. The first evening was all about unloading, setting up, dinner and then welcoming the students with a short introduction. Plus an impromptu loom dressing session! (The course bookings had exceeded expectations. Rather than give up my teaching loom to make up the numbers, one of the students kindly agreed to bring their loom in exchange for an extra long sampling warp).

Exploring the house and estate would have to wait as it was dead of night by the time I finished. After a long day, sleep was calling me.

The impressive driveway was much drizzlier when I arrived in January 2026.

Teaching Weaving Krokbragd

The course followed a typical workshop structure and I enjoyed teaching another lovely group of students. We began by working through the basic principles of the three-shaft boundweave technique together. The students then started finding their own rhythm by designing from the pattern templates that I had prepared.

KROKBRAGD Contemporary Weaver With Colour by Angie Parker — An example of the woven krokbragd patterns that I teach on the course.

We discussed their aims and expectations so that I could ensure the course covered everything they wanted. I was able to adapt so that each student was pushed in their learning. My hope is for the participants to master enough of the weaving krokbragd building blocks so that they can work on developing their own patterns and style. You can read more about my weaving krokbragd courses here. (Coming soon actually).

The workshop space at West Dean was spacious and well suited for weaving on the table looms

The group worked really well together and it was lovely to witness the ‘lightbulb’ moments and see the weaving progress on the looms. We also covered design, colour, rug techniques, selvedges, setts, materials and more….

An example of students weaving krokbragd on the loom during the course.

More than a Short Course Weaving Krokbragd

However, the course, whilst integral, wasn’t the only positive experience. Friendships blossomed and weaving knowledge and life experiences were shared in class and over mealtimes. There was a beneficial sense that everyone was experiencing life at a different pace to ‘normal’.

Personally, abandoning meal prep. for a family of five is a great reason to work away from home. (Though I did leave then fridge fully stocked!) But the ultimate unexpected treat was simply hanging around the opulent hallways and gardens during the breaks in the day. I was overdue a change in scenery it turns out.

Zero meal planning, prep or clearing up. Bliss

Stunning views of the estate on my breaktime walks

Beautiful discoveries around every corner.

Making Myself at Home

Before dinner on our penultimate day I sat with my laptop on the tapestry walled landing, and caught up on admin. feeling quite at home. I was at home! Being surrounded by textile and surrealist art is dreamy.

I discovered that the tapestries which adorned the walls were too tall for the hallway when they were installed. Instead of being cut down to fit the room height, the ceilings were instead raised. How refreshing is that for a textile art fan, (and triggering for project managers, accountants and builders!).

Feeling at home after spending a lot of time in this very spot.

Can you see where the ceiling was raised to fit the tapestries?

The next floor up took a hit on the ceiling height!

History

Before the course my research about West Dean was minimal. I basically knew that the college had originally been set up and funded by aristocrat Edward James. I grew curious to know more and fell down a rabbit hole into a world that’s far removed from mine. Plus, the rumours! Oh my word!. Here’s some official information from the website:

Originally a family home, West Dean was transformed into a centre for education and creativity by visionary patron of the arts, Edward James in 1971. With access to West Dean’s extensive archives and collections, including rare books, historic objects, and works of art. These resources, combined with the surrealist gardens and historic buildings, creates an inspiring environment for learning and discovery.

West Dean Tapestry Studio has been working with artists and designers to create bespoke tapestries since 1976

Edward James (1907-1984)

Edward James thought of himself primarily as a poet yet his innovations in art, design and architecture mark him out as an unrecognised visionary of the twentieth century. Through his patronage and creative partnerships with prominent Surrealists such as Salvador Dalí and René Magritte, as well as his support of artists including Pavel Tchelitchew and Leonora Carrington, James was involved in the creation of some of the most enduring representations of the avant-garde, including the iconic Mae West Lips Sofa and Lobster Telephone.

Lobster Telephone (also known as Aphrodisiac Telephone) is a Surrealist object, created by Salvador Dalí in 1936 for the English poet Edward James (1907–1984)

The Mae West Lips Sofa is an iconic 1938 Surrealist piece designed by Salvador Dalí for his patron Edward James, inspired by the actress’s lips and created at Monkton House on the West Dean estate in Sussex. (Link at the end of this blog post with more about this piece).

James sought to escape the conventions of his Edwardian upbringing, using his inherited wealth to sponsor artistic expression and to explore the limits of the imagination. His circle of associates indicated a lifestyle as fantastical as the works of art he acquired. In his pursuit of beauty, James meticulously designed every aspect of his world, often seeking to bridge the gap between dream and reality.

Monkton House

This desire to turn the everyday into the marvelous saw James transform Monkton House – a Lutyens-designed hunting lodge built for his family on the West Dean Estate – into a surrealist extravaganza. During the mid-1930s James completely transformed the property both inside and out, commissioning carpets, wallpaper, bespoke furniture and unique fittings. This idiosyncratic retreat, which James used as his main residence when in the UK, was considered to be one of the most remarkable examples of environmental surrealism in the world.

I’ve included these extracts from the West Dean website here, because they help to provide an insight into the unconventional world of James. It’s hard for me to articulate quite what it is that makes West Dean so different from other educational settings I worked in. Though I believe it’s the romance of this fantastical, dream led existence.

Funding

I also became fascinated by James’ decision to fund a college for conservation and the Arts. The logistics and politics of this are of interest to me. On a much smaller scale I am in possession of the late Peter Collingwoods’ collection of looms and library of books on weaving. I’m currently working out a plan to ensure that this collection stays together in the future. Not being an aristocrat, I don’t have the option to sell of my art collection or additional homes as a means of funding, but luckily there are other ways.

James himself had concerns about his legacy as recorded by Christopher Turner in his feature for Apollo Magazine in 2021.

“I didn’t give away my inheritance so that a middle-class couple, bored of watching television, could spend a weekend learning to make corn dollies for less than it would cost them to stay at a hotel in Torquay”.

The irony of this is I’m certain that a portion of the funding to sustain the college today comes from the the pockets of the middle class craft enthusiast. Those who have the means to sign up for a niche craft course such as mine. Importantly, these private bookings help to ensure that the college can still offer arts scholarships & bursaries. Many wouldn’t be able to access courses without them. As a tutor I feel happy in my role to support this.

Changing Gear

It’s normal for me to be slightly distanced from the rest of the world when I’m away from home teaching. However, i did feel as though I was living in a different time when I was at West Dean. It was such a refreshing change after the winter and it got under my skin. One month later, as I write this, I realise that this change in gear was needed. It was good to step back and assess the lay of the land as I work towards incorporating the Collingwood acquisitions into my studio life. I still have heaps of research to do, but I’m glad to have some clarity about my next step.

I’m also glad that I pursued this teaching opportunity as it’s been a while since I put myself in the path of an unexpected outcome. It’s a reminder to always keep an open mind. Simply placing yourself in a different environment will generally feed the soul. Quite a fitting way to sustain a creative business.

Weaving Peter and Jason Collingwoods looms into my business plan is quite a mission.

How This Came About

Finally, for anyone reading who might like to teach at West Dean, it might be useful to share how this opportunity came about. I owe a lot to Patricia van den Akker from The Design Trust. It was during her Firestarter event in March 2025 that I met Rosemary Marley. Rosemary was the short course manager for West Dean before she stepped away from the role at the end of last year. The serendipitous meeting reminded me that a teaching post at the college had once been on my business bucket list, long before I had an appropriate workshop model. Rosemary and I continued our conversation via email. When it was decided that I was a good fit we set about arranging the dates and marketing the weaving krokbragd class.

The initial vision for West Dean college was to preserve specialist craft training in conservation and offer student bursaries. In order to continue to offer this, short courses like mine help the college to meet it’s targets. And in return, I get to share my passion and knowledge about weaving krokbragd with wonderful students. As well as my tutor fee’s and new found connections, I got a bonus mini-break and an unexpected wealth of inspiration for the re-shaping my business in the future…

Here are links to the rabbit hole I referred to earlier on:

https://en.wikipedia.org/wiki/Monkton_House,_West_Dean

https://www.theguardian.com/artanddesign/2021/oct/17/how-dalis-lips-sofa-began-life-on-the-back-of-an-envelope

A tale of a tapestry

https://apollo-magazine.com/edward-james-surrealism-patron-salvador-dali/ (behind a paywall)

https://www.selvedge.org/blogs/selvedge/artist-rugs-carpets-the-edward-james-footprint-and-pawprint-carpets-1930s?srsltid=AfmBOopzYe9g-Xunu6nmGjq6JtE0fxMxl2-DZ7IVS4VI_QmUzwqVL2pS (behind a paywall)

NEW BOOK-AVAILABLE NOW

KROKBRAGD – CONTEMPORARY WEAVING WITH COLOUR. Order here.

How can you tell when a non-writer is writing a book? Take a look in their kitchen cupboards. (They’re likely to be suspiciously tidy!)

As part of a 2014 business training program by The Crafts Council, I was asked to write a list of career aspirational goals beyond my wildest dreams. Writing a book about krokbragd was not on that list!

However, ten years later…

Like most non-authors, writing a book on the topic I’ve been passionate about for over 30 years was something that sat in the periphery of my consciousness, alongside things like running a marathon, mastering the piano, and sustaining a crop of tomatoes. Challenging and fulfilling things things that I most likely won’t get around to in this lifetime.

But when I was asked by The Crowood Press publishers at the beginning of 2022 if I would write a book for them, the flattery overcame any resistance and I agreed to deliver 50,000 words and images by February 2024. This would give me two years from the start of the conversations. Ages! I’ll have it done in eighteen months…easily!

It turns out that I’m with Douglas Adams when it comes to deadline, as he famously retorted,

“I love deadlines. I love the whooshing noise they make as they go by”.

Yes, the plan of suggesting a long lead time with the intention of delivering early was the sort of line that could win a prize at the Edinburgh Fringe Festival for it’s ‘laugh out loud’ sheer idiocy. How a woman in her fifth decade still hasn’t accepted that tasks will always grow to meet the deadline is the second most surprising thing about this book. The first, is that it did in fact get finished as is now available to order through my website. Yes, I actually did it!

Image of the new krokbragd book by angie parker — KROKBRAGD – CONTEMPORARY WEAVING WITH COLOUR. Actually existing beyond the million files in my long suffering and now unrepairable laptop.

Writing the book was an interesting experience and I enjoyed most of it. I took some advice from writer friends and focused on small chucks and tried to be disciplined. (Well, apart from a bit of Tupperware sorting on occasion). The book itself follows a popular formula covering history, equipment, materials, technical skills, inspiration, planning design, colour, rugs, applications and projects. Actually finishing the book and getting it in the right shape to deliver to the designer, however, was a whole different skill-set and not one that was suited to my ad-hoc methods of working. But; I persevered, asked for help when I got stuck, and eventually the final red line went through the last item on the seemingly never-ending to-do list. The sense of relief overshadowing any feeling of achievement in that moment.

In between the lines (and the 400+ photographs) I now see the incredible talent of the designers and editor who created a beautiful layout from the huge number of files I sent to the publishers inboxes. I see the generosity of the books contributors and supporters, the teachers who passed on their weaving skills and the friends, family and colleagues who encouraged and supported me along the way. The acknowledgements on the back page was by far the easiest part of the book to write and I could probably have written another 50,000 words on that. (And yes, I’m sorry for everyone that I missed out!)

So, here it is. A hardback book about contemporary krokbragd weaving, with my name and designs on the cover. It’s quite surreal and I’ve a new level of respect and admiration for anyone who has ever written a book before, and I’m in complete awe of those who do it for a living.

KROKBRAGD – CONTEMPORARY WEAVING WITH COLOUR has been on sale to pre-order from November 2024 and is now available for next day dispactch from my online shop. All the details are here.

And for those who ask if it’s something I’d do again? I think I have some weaving to be getting on with for now…

Would you like 2 tonnes of wool with that?

When the once-in-a-lifetime opportunity to purchase the entire contents of the Collingwood rug weaving workshop came up, my gut instinct, without much hesitation, was to snap it up.

Admittedly, the UK’s most prominent and successful rug weaver, Jason Collingwood, announced his retirement a little sooner than I had expected. I wasn’t quite ready, but it was only a ‘small’ matter of logistics.

I simply had to move three full-size looms, all the additional equipment, and approximately 2 tonnes of yarn from Nayland in Colchester, to my shared studio space in Bristol. Only that! Oh, and the sampling loom made from a piano! Fortunately, the reality has allowed this to happen in stages, so much less overwhelming.

Three looms in the Collingwood workshop-Nayland. Photo: Theo Rooden

Serendipity

There were signals from the onset that this was the right move.

Firstly, I’d set my heart on one day owning the Harrisville shaft switching loom after weaving a rug on it in 2014. I voiced this intention at the time, and possibly a few times since, which put me at the top of the list when Jason decided to sell up. (Does anyone reading know if there are any more of these looms in the UK?)

The fact that I could make the figures work was obviously the biggest factor.

Initially, I expected to move my workshop to new premises for more space. However, in a serendipitous twist, the two adjoining spaces in my studios became available (was it something I said?), and I was able to expand without having to move.

It’s a bit of a squash and a squeeze and it certainly ain’t ‘Instagram pretty’, but it’s working for me and I love being at BV Studios. I can walk to work and it’s filled with so many amazing artists and friends.

Closing a chapter and cobwebs

The move is taking longer than originally estimated, but personally, I think this is better than an abrupt end to this chapter. There’s so much weaving history and some incredible cobwebs in The Old School and I’m conscious to be respectful of what came before. Two more trips should cover it though and I’ll miss my 24-hour mini-breaks driving a white van.

In the meantime, I’m knuckling down to some intense core strengthening and some hardcore rug weaving. And whilst I’ve no inclination, nor the skill set to emulate the prolific business model used by the looms previous owners, I do have productivity targets that require an improved level of stamina and endurance. (Note to self-Time to Plank).

Insane or savvy?

And the wool… Yes, let’s not gloss over the wool-shaped elephant in the room. A wise friend advised me not to go near it, but I’m trusting my gut instincts as they’ve served me well so far, and a deal’s a deal.

One section of the wool storage in the Collingwood workshop.

That said, my inner critic is screeching expletives on a regular basis about the ridiculous amount of yarn I’ve just transported across the country. Luckily, my inner advocate is louder, and I’m reminding myself that I now have the option to grow my business without buying new raw materials…ever again!

I’ll also try to sell what I don’t need over the coming months so drop me a line if you’re in the market for some good quality sustainable wool.

Life is a fairytale…by the brothers Grimm. Illustration: Vera Southgate

Yes, right now I feel I’m playing all the key roles in a weaving version of Rumpelstiltskin, although fortunately, no infants need to change hands in return for weaving this heap of wool into rugs.

There’s plenty more to share about my plans for this unusual business move. It feels nuts to be surrounded by more wool than I’m ever likely to weave, and so many looms.

However, it also feels right that this special collection of looms is staying together for the time being, and I’m looking forward to the time when I can open my studio doors for other weavers to use them, while I (to coin someone else’s phrase), pick up the baton to take on the world…one rug at a time. That should be shuttle really, shouldn’t it?

Angie Parker Phtoto: Alice Hendy Photography

Angie Parker is a weaver, designer, and colourist, based at BV Studios in Bristol. She trained in rug weaving in the 1990s and started her textile practice 8 years ago. Subscribers to her newsletter are the first to see new designs and also get access to special offers and exhibition news. Sign up here to keep in the loop.

Focus/21

Design Centre, Chelsea Harbour with Contemporary Applied Arts

I’m delighted to showcase my original one-off handwoven artworks and digitally printed designs at this prestigious event from 20-24 September 2021

The remaining chair from the Danis Disruption Collaboration with Jonathan Rose Design also featured alongside the work of other members of Contemporary Applied Arts.

Do one thing today…for better mental health

There’s really no need to point out that this year has been challenging for everyone, in varying degrees, and as we approach World Mental Health Day on 10th October, there’s never been a better time to shine a light on the work of MIND – the mental health charity. They are actively trying to help those who are suffering from new or worsened mental health problems as a result of the pandemic, as well as campaigning relentlessly to improve services, raise awareness and promote understanding.

Charities have been dealt a double blow this year. Demand for their services has increased significantly and fund raising opportunities have been scaled back for obvious reasons. Whilst I can’t fix the negative impact of COVID-19, I can make a small change to the way I sell my luxury woven textiles, and the decision to donate 10% of the profits from sales of The Bristol Blanket to MIND works for me on a few levels.

I could have done this privately of course, but I’m making the donation part of the story for a few reasons. The main reason is that I think that now, more than ever, we need to keep the conversation about mental health at the top of the list. I’ve no specialist experience in this area, but I do know that things need to change with attitudes and the way many of us handle this part of our lives.

Another reason is that it’s slightly unsettling to have a business that’s doing okay when so many industries and individuals are suffering this year. (Rest assured, I’m thankful). Making this one change means that not only can I see a percentage of my profits go towards helping an organisation that can make a real difference, but it’s also helping my own mental well-being.

The Bristol Blanket. Photo: Article Studio

The Bristol Blanket is all about feeling good. The bright colours in this sumptuous lambswool blanket are designed to lift spirits and bring joy to homes. Inspired by the colourful Bristol houses which brightened up daily lock down walks, the blanket was created in partnership with Bristol Weaving Mill. The optimistic design reflects the connections with our neighbours and local community, which for many were strengthened during lock down. As an artist, I set out to design a textile that reflected the special bonds that formed from the shared experiences, in the hope that we continue to strengthen them and support each other more in the future. The response so far has been astonishing.

Available from www.angiepakertextiles.com

It’s a Bristol thing….. The Bristol Magazine October 2020

Saturday 10th October is World Mental Health Day and the message from MIND for this year is ‘Do one thing…for better mental health’. Whether it’s going for a brisk walk or doing something creative simply do one thing that improves your mental well being. There’s loads about it here.

Take me to the Bristol Blanket Shop

Angie Parker Photo: Alice Hendy Photography

Angie Parker is a weaver, designer and colourist, based at BV Studios in Bedminster. She trained in rug weaving in the 1990’s and started her textile practice in 2014. Her latest collection of handwoven designs and small batch produced textiles has been launched ahead of schedule in September 2020. Subscribers to her newsletter are the first to see new designs and also get access to special offers and exhibition news. Sign up here to keep in the loop.

The Bristol Magazine

It’s not everyday that I see one of my woven designs on the cover of a Magazine, and it’s it quite fitting that The Bristol Blanket has made it’s editorial debut in this beautiful October edition of The Bristol Magazine.

I’m delighted to see the images from Article Studio, the stunning furniture from Timberwoolf, my portrait by Alice Hendy Photography and not forgetting the superb team at Bristol Weaving Mill for making this launch so exciting.

See the full issue and feature here

Five feel good things I’d like you to know about The Bristol Blanket

The design is inspired by Bristol’s colourful houses, which brightened up our daily walks during lock down in the Spring. Read more here

It is woven in partnership with Bristol Weaving Mill. A renowned micro mill in the heart of my home city of Bristol which specialises in innovative design. Read more here

The optimistic colours in this sumptuous 100% lambswool blanket are designed to lift your spirits and bring warmth and joy to your home, and it is so soft. (I provide samples for those who prefer to feel the quality of a textile product before they invest. Drop me a line if you’d like to receive one).

The design reflects the connections with our neighbours and local community which for many were strengthened during lock down. As an artist I wanted to design a collection that echoed the special bonds that formed from the shared experiences, in the hope that we continue to strengthen them and support each other.

For every blanket sold, 10% of the profit will go to MIND- the mental health charity.

I’m delighted to launch The Bristol Blanket ahead of schedule and hope I can help to bring warmth and joy to more people this winter. I get that most of us like to know just how soft a blanket is before buying so get in touch here if you’d like me to pop a sample of the cloth in the post. Drop me a line if you have any questions and head over to my online shop to check out this uplifting new design from my Bristol studio.