My Textile design path

My path into textile design has been shaped by so many things — my Latvian roots, a love for colour and pattern, printmaking, and the bold style of Zandra Rhodes. It’s been a winding journey, full of different materials, techniques, and a deep appreciation for handmade traditions.

Growing Up with Latvian Textiles

I grew up in a Latvian household, where handwork was just a part of life. Stitching, embroidery, and weaving were everywhere — and linen was always front and centre. In Latvia, linen has long been a source of pride, and every home had some woven linen treasures, especially after the Soviet Union fell and there was a renewed interest in national identity.

There were always hand-embroidered pillow covers, pincushions, and crafts made at summer camps — all featuring ancient Latvian symbols passed down through generations.

All Latvians who are actively involved in cultural events, such as Song and Dance Festivals have a national costume

Womens’ costumes include long, woven wool skirts, matched with a billowy Linen blouse, often a woollen wrap (vilaine) which is hand embroidered and finally, a beaded headband, for young girls. In some cases, the headband could be of brass, dependant on the folk costume.

Like many Latvians, I also had a tautas tērps (folk costume). Women’s costumes are beautiful — long wool skirts, flowy linen blouses, embroidered wraps (vilaines), and beaded or brass headbands for young girls. Married women usually wear linen kerchiefs or felt caps, decorated with embroidery or beadwork.

My very first folk costume was made from store-bought fabric because we couldn’t afford an authentic one. My mom and I stitched a yellow chain stitch onto a printed blue stripe to give it some extra flair. Later, my parents gifted me a second-hand Piebalgas costume — and I still have it to this day.

Playing with Colour and Pattern

One of my earliest experiences with dyeing came from something simple: colouring Easter eggs with onion skins, flower petals, chives, and herbs. I didn’t know it then, but that was the beginning of my fascination with natural colour.

In Art school and University, my concentration was Printmaking

As I became more proficient in silkscreen printing on paper, the natural continuation would be to someday print on fabric.

As the years went by, I continued to work in various art mediums, including coloured pencil drawing, papier mache, collages and airbrush on paper, canvas and fabric.

A Turning Point in India

After retiring from teaching, I finally took a long-awaited trip to India. I spent time in Gujarat, visiting textile artists who have been block printing, weaving, and dyeing for generations. Even though they mostly worked with synthetic dyes, their artistry left a huge impression on me — and inspired me to explore natural dyes more seriously.

I had always worked with synthetic inks, especially with my airbrush, so switching to natural dyes was a big shift. Using them with an airbrush is a whole different challenge — one I haven’t quite mastered yet, but it’s still on my list!

Where I Am Now

Printmaking is still my main technique, but working with fabric adds a whole new dimension. The way cloth drapes and moves makes the print feel alive — like wearable, touchable art.

Lately, I’ve been using mostly upcycled cotton and linen. I love the idea of giving old fabric a second life. It feels right, especially since I care deeply about the environment. Reusing what already exists is just a natural part of how I work.

My dyed and ecoprinted upcycled fabrics

In my most recent studio work, I am sewing together some of these fabrics to create new items. Recently, I finished sewing a functional, patchwork style summer jacket using some of my indigo dyed napkins.

These days, I focus on creating textiles that are useful — things people can wear, travel with, or use in their daily lives. I’ve taken a step back from making wall art and exhibiting, at least for now. I’m more interested in making pieces that are meant to be lived with, not just looked at.