CAROLYN KERR
Kumihimo: Wearable Art
Art has always been an important part of my life. My mother was a fashion designer and, in later years, an abstract painter. As a result, I grew up experimenting with different media, surrounded by art, artists, and designers.
After high school I studied textile design at the Fashion Institute of Technology, but left to begin a career in the hospitality industry. I joined a major hotel chain, working my way up to banquet manager and eventually, catering director. After several years, I and a chef partner struck out on our own, launching a catering business in Dallas, TX, the success of which was based on outstanding presentation. We discovered that basic design principles—color, texture, proportion, placement—are as important on a banquet table as they are on a canvas, tapestry, or in a formal garden.
After several years in Dallas, our family (my husband, two-year-old son and I) moved to Miami where I fell in love with ceramics. I worked in my backyard studio with my two kilns for many years, selling my pieces in local art festivals and specialty boutiques.
Then, in 2010, I was introduced to kumihimo. Kumihimo, meaning “gathered threads,” is a Japanese form of braid-making dating from the 4th-6th century, in which cords and ribbons are made by interlacing strands. The distinctive feature of braids is the movement of three or more strands or threads intersecting indirectly with each other, allowing for both design flexibility and strength of cord.
At the time, I belonged to the South Florida Jewelry Guild where a workshop in kumihimo was being offered, and I signed up for the class out of curiosity. I borrowed a marudai from the instructor. A marudai is the frame used for braiding kumihimo, consisting of a round top surface known as the kagami, which means “mirror” (each braid is considered a reflection of the braid-maker). The mirror has a central opening and is supported by four legs connected to a base. The stand is used with weighted bobbins and a counterbalance bag containing weights. I left the workshop with a beaded, braided necklace and a new marudai of my own. I have not stopped braiding since.
Carolyn Braiding on the Marudai
Today, most of my pieces are made on the marudai or on a foam disk. I combine fine silk threads and yarns in many different colors and textures, precious stones, silver, and Japanese glass beads to create unique pieces that balance refined sophistication with unexpected, playful details. I have taken many workshops in wire work, precious-metal clay, bead weaving, as well as kumihimo and combine all of these disciplines to create my own style. I belong to the American Kumihimo Society where I am able to learn from the best teachers from all over the world. Being a member of this organization has allowed me to connect with other creatives and form wonderful, lasting relationships.
“Bee Balm”: 22”; Japanese silk, Japanese metallic thread, acrylic yarn, pearl, Japanese seed beads
“Larkspur”: 22”; Japanese silk, Japanese metallic thread, acrylic yarn, pearl, lapis, Japanese seed beads
The inspiration for many of my pieces comes from nature. With my husband and two dogs, Coltrane and Ziggy, I alternate between living in New York City and in the Berkshire Mountains in Massachusetts. In Massachusetts, I have wonderful, colorful flower gardens where, in summer months, I derive much of my inspiration. In fall, my pieces are inspired by the beautiful tapestry of autumn colors that cover the mountains. Also, since becoming a member of the Textile Study Group of New York I have been greatly impressed by the originality, quality, and sophistication of members’ work and can feel new influences seeping into my own thinking.
“Andean Mountains”: Japanese silk, Keshi pearl, Japanese seed beads, aquamarine, peridot, and Swarovski crystal
“Forget Me Not”: 22”; Japanese metallic thread, acrylic yarn, pearl, lapis, Japanese seed beads
I start with a color scheme and individual braids that I view as my canvas, bringing different elements together until I have a finished piece. I find the braiding very meditative and good for my soul. I am now working on spring necklaces with embroidering on top of the braid. I primarily make fiber-based necklaces but I am very interested in exploring more sculptured pieces and wall hangings.
“Lilac”: 22”; Japanese silk, Japanese metallic thread, pearl, garnet, Japanese seed beads
“ Kyoto”; Japanese metallic thread, Japanese silk, pearl, precious metal clay, 24Kt. gold, Japanese seed beads
In 2014 and again in 2019 I spent time in Japan studying fiber braids with Makiko Tada, a renowned master teacher of the art. As a result of those experiences, I became fascinated with Japanese silk and the wide variety and complexity of braids. Since studying in Japan, my focus has been on fiber braids. I love the endless variety of textures and colors. The Japanese aesthetic has taught me that clean, simple design speaks directly to peoples’ sense of balance and proportion and leaves an impression that is both lasting and emotionally satisfying.
Great design is color, story, rhythm, texture.