Palermo poncho by Aessai

London-based sustainable knitwear label Aessai was founded by Argentinian designer Rebecca Kramer in 2017 to celebrate and support South American craftsmanship. The brand works with local communities and female collectives to create its collection of shawls, sweaters and ponchos, using traditional weaving techniques and fine merino wool. Following the brand’s exclusive launch on MatchesFashion.com, Candice Tucker speaks to Rebecca about her design inspirations, working with small producers and the importance of conscious consumption

Rebecca Kramer

1. How was the concept for Aessai conceived?

Aessai was born out of the desire of doing something meaningful; creating a brand with a purpose. The name Aessai is derived from the phonetic spelling of ‘essay’ inspired by a series of interwoven memories and journeys between my Argentinian identity and my European adulthood. Weaving is a very symbolic practice throughout South America, which is where both the brand and myself come full circle with our roots.

Follow LUX on Instagram: luxthemagazine

The label embraces the skills of South American artisans entrenched in sustainability and transparency. It possess a social conscience at its heart with ethical and sustainable values that aim to make a positive impact on the life of the artisan producers and their communities.

2. What inspires your designs?

Aessai designs are inspired by indigenous artisans – they are their designs! I watch them braving the snow dressed in a poncho or weaving a beautiful alpaca blanket to sell in the market. I am the one who interprets their designs and essentially writes “the essay”

Condor wrap by Aessai

3. As you’re based in the UK, how do you ensure that ethical practices are being upheld in your South American workshops?

Our producers are small enterprises with responsible managers who are also part of the same communities; they all share the credentials of having a low environmental impact, being members of the World Fair Trade Organisation, and carrying out cruelty free practices. When a co-operative becomes too big or too overwhelmed we tend to diversify our production and look out for a smaller collectives helping to contribute to their growth.

Rosa blanket and La Paz scarf by Aessai

4. Sustainability has become something of a buzzword in the last few years, how can consumers ensure what they’re buying is actually sustainable?

Some brands are using the word as a marketing tool, some have sustainable ideas, some are pioneers and invest in the research for developing new textiles and fibres… I suppose if someone is really concerned about the sustainability and origins of a product they should always do a bit of homework and do the research before simply adding another article of clothing into their wardrobe.

Read more: Nadezda Foundation’s Nadya Abela on running a children’s charity

5. Do you think there’s a disparity between younger and older generations in terms of their attitudes towards ethical consumption?

I believe that today the average consumer has more acquisitive power and choices than ever before. However, they are also more informed and conscious about the environmental and social damage caused by over consumerism. The older generation were more careful about their consumption choices as the “fast fashion phenomena” simply did not exist.

Grace blankets by Aessai

6. What’s your five year vision for the brand?

We’ve been growing organically for the last three years consistently working on building a name for Aessai in a very saturated and competitive market. I think the time has come for the industry to promote and invest in small ethical brands. I do hope Aessai will be an established brand in the next five years and be in the position whereby it can have an influence on the consumer and be globally recognised for its quality products and work ethics.

View the collection: aessai.com

Artist Amani Althuwaini pictured with her work Present Tense. Image by James Houston

The Sheikh Abdullah Al Salem Cultural Centre brings Kuwaiti contemporary art to Venice with a mixed-media group exhibition by young emerging artists

The Sheikh Abdullah Al Salem Cultural Centre, otherwise known as the ASCC, is a colossal museum complex housing six separate institutions: a Natural History Museum, Science Museum, Museum of Islamic History, Space Museum, Fine Arts Centre and theatre. It’s the largest of its kind in Kuwait with the aim of promoting cross-cultural learning and awareness. With that in mind, the centre’s most recent initiative invites emerging Kuwaiti artists to apply for a residency, in which they are given space to work, and opportunities to exhibit overseas.

Follow LUX on Instagram: the.official.lux.magazine

This summer marks the first edition of the programme, which launched earlier this month with the opening of a group shown entitled ‘In my dream I was in Kuwait’ at the Scuola dell’Arte dei Tiraoro e Battioro . The building itself is a relic of Venice’s rich artistic history; it was once the home of the guild of artists and makers of gold thread and gold leaf. Now the building, offers a grand space for events and exhibitions in one of the world’s most picturesque settings. From the gallery’s top windows, you can watch the boats floating along the Grand Canal and almost imagine that you’ve slipped back in time. As such, the current exhibition of contemporary Kuwaiti art makes for an interesting contrast, uniting not only two distinct cultures, but also eras.

The show is split into two halves with the work of three artists (Amani Althuwaini, Mahmoud Shaker, and Zahra Marwan) currently on display until August when the next three artists will take over.

A selection of artworks by Zahra Marwan. Image by James Houston

Marwan’s small-scale watercolour illustrations, which occupy the first floor gallery space, ahave a picture-book quality both with regards to the light-hearted brushstrokes and their narrative descriptors. The description of After the Fish Market reads: ‘I was able to choose my own fish at the market, and I thought it would come to life at home.’ Yet, many of these miniature works are also imbued with an air of melancholia and longing, depicting characters lost in nostalgia and half sleep states.

Detail of We See Everything by Mahmoud Shaker. Image by James Houston

Shaker’s works in the upper gallery space also contain an element of storytelling, combining photography and painting with handwritten lines from his own poetry in Arabic. Whilst we might not be able to understand the verse, the lettering gives the work the appearance of another era, and thus creates an intriguing tension between tradition and contemporary subject matter.

Read more: What to see at this year’s Masterpiece London

Althuwaini’s work, however, is the most striking both in composition and themes. Present Tense depicts an oversized chest of drawers, which references the Kuwaiti dowry tradition and its contemporary manifestations. The flatness of the piece presents a critique on the modern prioritisation of quantity rather than quality.

Detail of installation artwork He is not your choice by Amani Althuwaini. Image by James Houston

Another of Althuwaini’s installations, entitled He is not your choice, hangs suspended from the ceiling in one corner of the upper gallery. This is a wedding veil embroidered with the story of the artist’s friend who accepted an arranged marriage because of the groom’s perceived eligibility. The veil itself is translucent, whilst the gold lettering appears bold, defiant and doubly inscribed by the sunlight as it casts shadows of the words against the walls.

A weaver at work inside the Tessitura Bevilacqua workshop, Venice. Image by James Houston

Whilst these works offer audiences insights into Middle Eastern artistic practises and cultures, the artists themselves are invited to explore traditional Venetian craft through workshops with weavers Tessitura Bevilacqua and glass maker Leonardo Cimolin amongst others. The central idea being that the Kuwaiti artists will find inspiration for their contemporary practise in ancient methods, and so continue the cross-cultural dialogue.

‘In my dream I was in Kuwait’ runs until 28 November 2019 at Scuola dell’Arte dei Tiraoro e Battioro, Venice. For more information visit: ascckw.com