Mira Sohlén x STOF

Up next: Story with Mira Sohlén. We came together on a rainy Tuesday afternoon, where Mira welcomed us in her beautiful home, together with her friend & photographer Shahrnaz. It’s been a pleasure to play around with Mira’s wonderful tapestry, along with some of our favorites from STOF. See for yourself below ;)

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Opus I with Mason Martin Margiela boots, lamps Papiro by Paolo Pallucco and chair prototype by Tom Emerson

Mira is a designer and artist based in Antwerp, Belgium. Originally from Sweden, she grew up in Paris and studied fashion design both at the Amsterdam Fashion Institute and at the Gerrit Rietveld Academie. 

Coming from fashion, where she was the lead designer of FALKE, Mira decided to go fully into textile in 2020. While still having a soft spot for the finest materials, this was her new way to express her creativity and playfulness.

“I love to work with my hands, and everything I have explored within design and textile has led me to this. I wanted to find a way to challenge classical craftsmanship but with a modern approach. I always search for unorthodox ways to execute projects; and I’m naturally drawn to deconstruction and reconstruction. The relationship between new thinking and high quality material is the result of sustainable innovation.”

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Opus XXXIII with Ann Demeulemeester vest & A.F. Vandevorst shoes
Rock ’n roll chair by Sigurdur Gustaffsson 

Material wise Mira likes to play around with linen, thick wool and more. The choice of materials is endless since she likes to experiment with the potentiality of different materials. The most important thing is that it allows her to build texture and other details. It all starts with a tufting gun, before going to the next step - arranging the pieces in every way possible. 

Composition and graphic creations are important to Mira. This is thanks to her grandmother, who was a key figure in her life. “She taught me how to sow and and it was her who gave me a passion for textile in the first place. So yes, you could definitely say that my creations are dedicated to my grandmother.”

Mira’s grandmother was born deaf, and she grew up communicating with her through sign language. “Lacking the power of hearing, also meant she lived an entire life without knowing music. However, I was always fascinated by the fact that she could dance in rhythm as she would feel the music through sound vibration.”

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Opus XXV with Ann Demeulemeester jacket & Haider Ackermann skirt

When assembling the pieces into compositions, Mira likes to go with the flow. There are no restrictions concerning the scale, form or colors. However, you see often different shades of green, beige and brown that radiate balance all together. When working on a piece she doesn’t pinpoint herself to a certain final result, and she never draws either. 

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Opus XXVI with Dries Van Noten shoes & Ann Demeulemeester vest, Furniture: Mario Bellini for B&B Italia, 'Gli Scacchi

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Opus XXXVI with Comme des Garçons vest , Ann Demeulemeester glove, A.F. Vandevorst boots

This is because she wants to give herself the space to experiment, to not rush anything and especially to do all of this while being in touch with her feelings. She likes to think of her way of working, the same way a composer does. Aiming to find patterns of beauty, form, harmony and expression of emotion. That’s also why each tapestry is called “Opus” followed by its chronological roman numeral. Opus comes from Latin and stands for a work, used for a particular piece of music by a composer.

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Opus XXVI with corset by A.F. Vandevorst, glove & hairy vest by Ann Demeulemeester, scarf by Dries van Noten and vintage bag

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Opus XXXIII with Veronique Branquinho vests
Marble pieces: METAPHORA 3 BY MASSIMO & LELLA VIGNELLI FOR CASIGLIANI

It is as if different shapes are dancing and Mira’s aim is to capture just the right moment where Opus becomes a visual and tactile form of music.

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Thank you Mira and Sharnaz for this lovely get together.

Tapestry by Mira @mira_sohlen_tapestry

Photography by Shahrnaz Javid @shahrnaz__

Furniture via Alain Hens Gallery @alain.hens

Text by Karina Zharmukhambetova