About

Amandine Fabry, born in 1977, is a Belgian textile designer. Her interests and career are rooted at the heart of textile materiality and its challenges. An active figure in the textile sector for over twenty-five years, across diverse roles and practices, she brings together, through the practice of weaving—her enthusiasm and her reflections on the very definition and making of fabric.

Deeply engaged with weaving, she approaches it as a language to be explored, both in the conception of woven textiles and in the graphic strength of their representations. She began her career as a senior designer in the automotive industry, where she conducted research and development for numerous production models. In 2003, with the launch of the textile design program at the Académie Royale des Beaux-Arts de Bruxelles, she joined the teaching team and, alongside successive department leads, contributed to shaping the pedagogical direction of the textile studio.

The project seeks, between the lines, to contribute to a textile cultural heritage too often left on the margins. Thread is a linear element that traces lines within fabric. The stripe is therefore not emphasized arbitrarily; it honors the entire textile culture. Through its close affinity with textile know-how, the stripe acts as a link between the earliest gestures of weaving and the technologies employed today. The memory of these gestures nourishes the reflection necessary for the development of these textiles. The mental visualization between the hand and the conception of what is to come becomes a condition for the possibility of innovative textile creation.

The stripe gives volume to color. It creates a trompe-l’œil effect and sustains a form of ambiguity through its graphic strength. It both reveals and conceals; it catches the eye and stimulates the gaze, too expansive to remain still. It is this elusive, vibrant quality, along with its fundamental kinship with fabric, that has made the stripe the point of convergence for this research. The overlap between art and design, and the experimentation undertaken, have raised ontological questions about the way textiles inhabit our cultures and human narratives. The textile lexicon brought forward by this research stirs the history of textiles and evokes, one might say, whispers, parallels between graphic expression, materiality, and history.