There's a calming state of purity that can be reached when in the presence of natural materials, particularly as they float in abundance around you.
At least that's how it felt to be surrounded by the party of organic cottons, Irish linens and glistening hemp silks that delicately perimeter artist and designer Cesca Dvorak's home studio. It's a satisfying juxtaposition to observe, as the process to create Dvorak's curious, whimsical work often reflects something a little more aligned with the chaotic good: research deeply, experiment freely.
We sat down with Cesca to discuss her love of folk art, how both her former life as a costume designer and the purity of children have influenced her work, and the delightful magic of a Polish Christmas.
Hi, Cesca! How have you been feeling as we continue to move through this year?
I’ve been feeling quite energised so far this year and moving with optimism. I’ve been working on a collection of woven woollen rugs that will be launched soon, which is so exciting. I’m also developing new versions of things I’ve made before and some completely new pieces.
Great to hear. It's an exciting time for you! Let's start with your creative process: what does it look like? Does conceptualisation come first, or does the making?
It’s a bit of both. Sometimes I think of an image or phrase and draw it right away and then it’s a long time until that becomes a textile piece that anyone will see, or never. But some things come about from experimenting with materials with no thoughts or agenda. In a way the fact that I have limited training in lots of textile techniques is helpful. I love researching lots of things and taking photographs.
Cesca wears the Casma Ring, alongside a ring belonging to her Babcia
Silk Patchwork Quilt & Polish Folk Dance Cushion by Cesca Dvorak
It's true that you entered textiles from an interesting vantage point, having worked previously as a costume designer in Film & Theatre. Is there anything from your former job that has lent itself as useful in your work today?
Interesting question. I really value having been trained to research deeply. To understand and communicate a character effectively, you should be very curious about the times they lived in, what clothing was available to them, what was expected of them, what choices they could have made... this is all important to storytelling.
Now with my work, I want the things I design to feel part of a world and have a unique character. I do sort of think of them as clothes or accessories for people’s homes.
Where does your love of folk art come from? And what about it inspires in you an urge to create?
I think it comes from a natural fondness for the spirit in which it’s made, and maybe there’s a closeness to how I like to work. I was around objects from all over the world from a young age that my family owned which made an impression, too. I’m drawn to music and art that is quite raw and full of heart.
There’s a playfulness to your work that reminds me of the child-like joy to make freely, without the urgency to polish and tweak away any essence of said playfulness. Are there ways in which you think that your own children, or in turn the role of being a mother, has influenced your work? Granted, we're squeezing in this conversation while your kids are at school.
I think having children has influenced my work for the better as I find them, their artwork and their ideas so inspiring and funny. Their approach to creativity and life can be so uninhibited, pure and amazing. The limits on my time mean that I have to work very instinctively, but the lack of time is also a challenge.
I also think there’s a sweet balance of art and utility to your pieces. When it comes to the way that people interact with your work, what purpose do you hope that it serves? Is functionality important to you?
I feel like an artist, but want to create things that people can use and carry about. Functionality is so important; I try to make things that are striking and lovely to use so that they are treasured for a long time. When people tell me they’ve taken a blanket on their travels or given a cushion as a gift, I’m so happy.
The Fine Knife Edge Bracelet and a silk-covered hot water bottle, handmade by Cesca
You work exclusively with natural materials. What aspects of these fibres do you think are undermined in today’s world when access to synthetic or blended materials are easier and cheaper to obtain?
Maybe people are less and less aware of how beautiful they are! Especially to touch. Wool, silk, cotton, linen; they age well and are nicer to be around than synthetic fabrics.
There are environmental costs to making anything (cotton is very water intensive, etc.) but my feeling is that if you’re going to make anything, it should be high quality so that it’s worth existing and owning.
What is your relationship with jewellery? Are there any pieces that you hold close to your heart?
I love jewellery, and always wear it. Gold in particular. I also love diamanté and quite 80s-looking pieces. I have a few precious things: my wedding ring that has carved orange blossoms, a ring that belonged to my Babcia (Polish grandmother) that I never take off, a tiny beetle my parents bought me when we were in Egypt, and a heart pendant my friends made me for my birthday.
Cesca wears the Decontra Earrings
Do you have a favourite folklore art, tale or other tradition that you come back to time and time again?
A fond memory is being very small with my family at Wigilia (Polish Christmas). There was a tradition my Babcia upheld that we didn’t begin to eat and celebrate properly before the first star was seen in the sky. And then we lifted the tablecloth and beneath were lots of pieces of straw. We younger ones had to take a piece of straw and see if it looked like a letter. That letter was supposed to be the first initial of who we would marry.
Looking for more?
Follow Cesca on Instagram @cescadvorak and online cescadvorak.com
