Michelle Mohr

Textile worker

©Marc Dietenmeier

©Michelle Mohr

Not knitting but knotting

Michelle works with natural and dyed sheep wool
She has developed a unique knotting technique inspired by traditional macramé
She creates carpets, cushions and rugs

The urge to create has been a part of Michelle Mohr’s development since her childhood days, however the mode of expression wasn’t clear from the get go. After an apprenticeship as a visual merchandiser, and studies in architecture, it was the internship with a Berlin made fashion designer that brought her in touch with the material of choice from then on: sheep’s wool. “In the end, all the threads of education, experience and passion have now come together to form what I do now” states Michelle. Her works are characterised by a special technique inspired by traditional macramé that she developed during her studies of textile design at Kunsthochschule Berlin-Weißensee “I wanted to develop a technique with which I could make carpets that are not woven and therefore independent of tools.” The minimalistic but sensual designs she creates have been widely acknowledged.

Interview

©Marc Dietenmeier

©Marc Dietenmeier

What differentiates your approach from traditional macramé or knitting techniques from the Orient?: My rugs are knotted, not woven. They look similar to knitted carpets but are much firmer, less flexible and therefore very dimensionally stable. The focus of the design is on the structure of the surface, a unique feel is created.
Does this technique also allow for new designs?: Yes, this knotting technique can be used to create patterns that clearly stand out from those of the traditional weaving techniques. An interplay between structure and pattern is created. Both sides of the rugs can be used as tops, both sides have two completely different structures and thus create entirely different effects.
What keeps the fascination for your craft going?: I am still fascinated by the undyed wools that I work with – they can be combined with each other, but also with dyed wool. They result in very harmonious colour combinations. Part of the challenge in working with a very old traditional material is developing new methods and looking at the material in new ways.
To what extent is your craft connected to your region and your living environment?: I moved to the Wendland region of Lower Saxony when I started my own business. There are many sheep here whose wool I can directly use for my work. Fortunately, a regional wool combing mill has been established with which I closely work now. My wish would be to work exclusively with regional wool at some point.

Michelle Mohr is an expert artisan: she began her career in 2012