• 2012
Wollen sweaters
150 x 120 cm

    Wollen sweaters
    150 x 120 cm

  • Studio Brieditis & Evans

    Studio Brieditis & Evans

    Katarina Brieditis (b. 1968) & Katarina Evans (b. 1969)

    Behind the Studio Brieditis & Evans are Swedish natives, Katarina Brieditis and Katarina Evans. Since 2003, the artist duo has dedicated itself to textile art, working at an intersection between art, design and craftsmanship, giving birth to artistic projects with social and ethical dimensions.

    The Re Rag Rug Project

    Studio Brieditis & Evans began their experimental Re Rag Rug project in 2012, exploring the social and ecological sustainability of the rug. Studio Brieditis & Evans’ objective for this project was to make twelve different tapestries and rugs using various techniques with one thing in common: all of them were made from recycled textiles, such as cotton t-shirts, wool sweaters and tweed jackets. Here are some of their global ideas around the project:

    The rug is the ultimate textile furnishing, in Brieditis & Evans’ opinion. Through times it has been used on floors, beds, walls, tables and roofs. All over the world, rugs protect people from draught and cold. They have a major impact on the acoustics of a room, they gather groups of furniture in a space, create a room within the room and serve as aesthetic features. Rugs should withstand being stood on, walked on and crawled on, and they are important bearers of culture for many people.

    The craft. By using different types of rags in combination with a variety of sewing, plaiting, crocheting, knitting, macramé, rolling, cutting, appliqué, embroidery, structure-and-relief effects, three dimensionality, colouring and dyeing techniques, Studio Brieditis & Evans sought to create twelve new qualities and expressions of rugs.

    The material used in the Re Rag Rug project is considered worthless: Industrial waste, excess materials, and discarded t-shirts and woolen sweaters from the Salvation Army’s chain of secondhand stores. The clothing donated is a waste that cannot be sold i.e. torn and ripped sweaters or shrunken woolen clothes.

    All material is good material if only you find the right use for it. Man has always sourced materials in nature and the nearby environment. In the urban lifestyle of today there are mountains of waste; it is like a second nature. T-shirts and sweaters are mass-produced for global consumption. All over the world they are bought, used and thrown away. If new ways can be found for using and refining materials, this waste can become a resource.

    Studio Brieditis & Evans’ work is carried out in a free and experimental manner, but the rugs they create have a high artistic value and the fact that they are made out of recycled materials is a bonus.

    The design process starts with their hands and the material, to find techniques that bring the best out of the unique properties of each material. This leads them to the artistic process, where they find possibilities and qualities to develop with the potential of being refined and transformed. The limited colour palette provided by the selected materials that are given to Brieditis & Evans’ is an additional challenge that they find inspiring.

    Re Rag Rug is an example of how design is a way to work with sustainability, and shows that a seemingly worthless material can be elevated, gaining nobility and artistic value. Many of the rugs are made with craft techniques that do not require large spaces or machines, that could potentially be manufactured in cottage industry settings in textile producing countries. Such a production method, using waste, is not only ecologically sustainable but also socially sustainable — as it becomes a platform for developing crafts and creating jobs.

    The twelve Re Rag Rugs were later exhibited internationally, in Sweden, Hong Kong and France. The travelling project allowed Studio Brieditis & Evans to experience how the rug is so important to many people and different cultures. Not only was there a global interest in design and textile crafts, but equally in the questioning of consumption issues and the importance of recycled materials.



    10 ans/Design, 10 ans d’acquisitions du cercle design, Musée des Arts Décoratifs, Paris, France

    Konsten att ta tillvara, Sörmlands Museum, Sweden


    One side of the other at Fiberspace Gallery, Stockholm, Sweden


    Entrance and detour at Gallery Sadelmakarlängan, Österbybruk, Sweden


    Clouds at Åhléns City, Mästersamuelsgatan, Sweden

    Stockholm Design Week, Sweden

    PAD Art Genève, Galerie Maria Wettergren, Switzerland

    Threads & Fibers, Contemporary Scandinavian Design, Galerie Maria Wettergren, Paris, France


    Handscape at Atelier Muji, Yurakucho 2F, Tokyo, Japan

    Nouvelles vies – Éco-conception, upcycling et recyclage dans le Design VIA, Paris, France

    Design Miami/Basel, Galerie Maria Wettergren, Switzerland

    PAD London, Galerie Maria Wettergren, UK


    Design Miami/ Basel, Galerie Maria Wettergren, Switzerland

    Ventura Lambrate, Milano, Italy

    PAD Paris, Galerie Maria Wettergren, France

    Galleri GKF, Visby, Gotland, Sweden

    Best Carpet Award, Domotex in Hannover, Germany

    Institut Suédois, Paris, France


    Handarbetets Vänners Galleri, Djurgården, Stockholm, Sweden

    Textilmuseet/Textile Fashion Centre Borås, Sweden

    Hong Kong Design Institute, Hong Kong


    100% Design, London, UK

    ELLE Decor Magazine, Travelling exhibition, Stockholm, Malmö and Göteborg, Sweden

    Falkenbergs Museum, Sweden

    Murberget in Härnösand, Sweden

    Landskrona Museum, Sweden


    Textilarkivet in Sollefteå, Sweden

    SHIBORI – TO DYE FOR, Konstfack, Stockholm, Sweden

    Falkenbergs Museum, Sweden

    Färgfabriken, Stockholm, Sweden


    The Business Boudoir at Habitare in Helsinki, Finland

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