Blog https://chardakfabric.com ru Fri, 13 Mar 2026 19:26:06 +0300 History of our workshop https://chardakfabric.com/tpost/xrkvek0ts1-history-of-our-workshop https://chardakfabric.com/tpost/xrkvek0ts1-history-of-our-workshop?amp=true Mon, 12 Jan 2026 17:38:00 +0300 Tanya Redko About us The story of a workshop that grew from a hobby into a craft. About weaving, engineering, wool as a living material, old looms, and family-run factories in Serbia. About fabrics with character, history, and meaning.

History of our workshop

How it all began

Our weaving journey did not begin with business or brand ideas.

It began with an almost adolescent interest in craftsmanship and an attempt to understand how things are actually made.

Weaving emerged as a hobby in the context of historical reenactment. We made medieval costumes, sewed our own shoes, and tried various crafts, all in an effort to create as much as possible with our own hands. But it was the fabric that really caught our attention.

Weaving unexpectedly combined two important things: manual labor and engineering thinking.

The first machine and the first mistakes

In 2011, at around the age of 19, the first loom was assembled.

There was little information on the internet at the time — or rather, there was, but you had to know how to search for it. Photos of old hand looms, articles, and museum images were used.

The loom took about two months to assemble — literally from boards bought at a hardware store. And, surprisingly, it worked the first time. Not perfectly, but it worked nonetheless, despite some problems.

Three months after the start of the experiments, the first fabric appeared — linen, plain weave. The first pants were sewn from it. The fabric was far from ideal and was eventually lost, but it was this experience that became the point of no return.

The path through practice

From the very beginning, learning took place through practice.

Attempts to read textbooks quickly revealed that most of the information was either too academic or too abstract. Real understanding came through hands-on work, through mistakes, through repetition.

Much was learned through museums, archival photographs, videos, and experiments. This path is not the fastest, but it is the most honest.

Even now, the learning process is not over. We continue to try, make mistakes, invent, and rethink.

Why wool?

Over time, it became clear which material I wanted to continue working with.

Wool became my main and favorite fiber.

It is elastic, lively, and malleable. It forgives mistakes—it stretches and returns to its original state. This makes the weaving process more flexible and allows me to work with form and texture more deeply.

Linen, on the other hand, is strict and unforgiving: one wrong tension and the thread breaks. It does not tolerate mistakes.

Today, we most often work with 100% natural sheep's wool — sometimes melange, sometimes dyed. Some of the yarn comes already dyed, and some we dye ourselves using various techniques. Color, heterogeneity, and a lively structure are all important to us.

Engineering approach and family roots

By education, I am a physicist, chemist, and materials scientist.

Engineering thinking has always been close at hand and has become an integral part of my craft.

My grandfather played a big role in this—he was a man who was always repairing motors, taking apart mechanisms, and making things with his hands. This approach—“take apart, understand, put back together”—became a natural way of interacting with the world.

Perhaps that is why weaving was never just “manual labor.” It was always research.

Moving and a new stage

Over time, the hobby grew into a profession.

And then the workshop underwent another transformation—this time in a different country.

After moving to Serbia, we had to start all over again. Here, we began working with old industrial looms. Now we have several of them, and each one has its own story.

Purchasing and launching industrial equipment was one of the most difficult stages. These looms are old and often require repairs, replacement parts, and modifications. Each new loom is first completely disassembled, studied, and reassembled.

We consciously choose equipment with a minimum number of sensors and electronics, giving preference to mechanics.

Serbian manufactories and living history

Serbia had many local family-run manufacturing businesses with a long history.

These were small-scale operations, often founded decades ago, where the machines were part of the family's heritage.

The first machine was purchased from just such a family: a workshop founded by an elderly craftsman, now around 90 years old, and which is now run by his daughter. Many of the machines there stand idle, but behind each one there is a life and a story.

Getting to know these people, their stories, and their attitude to their craft became an important part of our journey.

How weaving changes your view of the world

Working with fabric changes your perception.

Over time, you develop a professional bias: you look at any object and immediately see how it was made, what equipment might have been used, what technologies are behind its form.

This applies not only to fabrics. It is a way of seeing the world through processes, structure, and material.

Today and beyond

Today, we create fabrics for designers and projects that are truly close to our hearts.

We work with natural materials, complex textures, and fabrics that have character.

We admire designers who care about history and prefer natural and sustainable materials in their work. This is very close to our hearts—and it is with these people that we want to collaborate, creating something truly special for them.

]]> Types of weaves in our fabrics https://chardakfabric.com/tpost/tx3pvuknp1-types-of-weaves-in-our-fabrics https://chardakfabric.com/tpost/tx3pvuknp1-types-of-weaves-in-our-fabrics?amp=true Sat, 17 Jan 2026 17:09:00 +0300 Tanya Redko About fabrics An article about the types of woven fabrics we produce: plain weave and 2/2 twill. It describes the characteristics of the pattern, density, color combinations, melange yarn, stripes, herringbone, and the technical capabilities of our looms.

Types of weaves in our fabrics

The fabric weaves we produce

This article is about the types of fabric weaves we can produce for you.

Plain weave

The first type is plain weave. This is the simplest and most basic weave, in which the warp and weft threads alternate with each other. For clarity, we have added a weave diagram.

If you use yarn of one color, the fabric will be monochromatic. For a more interesting visual effect, we often use melange yarn. For example, in the photo, you can see a blue fabric that contains about 10% black fibers in the yarn. This gives the surface depth and a lively texture.

At the bottom left is a fabric with a green weft. Here, the weave is particularly easy to see. Colors can be combined in different ways — from very contrasting combinations to soft, restrained options.

In the middle right is a striped fabric. In this case, every eighth warp thread is white. We can make stripes of different widths and in different rhythms, depending on your wishes.

2/2 twill weave

Let's move on to the next type of fabric — 2/2 twill weave. Here, the characteristic diagonal twill pattern is clearly visible. This weave can also be made with a weft of any color. Most often, we produce this fabric in one color, using melange yarn.

Compared to plain weave, this fabric is slightly denser and more voluminous.

If we change the direction of the twill, we get a herringbone pattern. It looks especially striking with a contrasting weft, but can be made almost invisible if desired. See the photo below on the right.

We rarely produce diamond weaves, as requests for them are infrequent, but technically, it is also possible.

If you have fabric samples, you can send them to us 👈🏻

Our looms are equipped with 4 to 8 healds, which allows us to create more complex and varied weaves. We will be glad to discuss your ideas and find the best solution for your project.

]]> KOROB KOROB — clothing and witchcraft https://chardakfabric.com/tpost/mhec4svj11-korob-korob-clothing-and-witchcraft https://chardakfabric.com/tpost/mhec4svj11-korob-korob-clothing-and-witchcraft?amp=true Thu, 22 Jan 2026 20:36:00 +0300 Tanya Redko Designers KOROB KOROB is a brand that works with form and material at the intersection of craftsmanship and cultural memory. The pieces are inspired by the clothing of artisan tailors and historical costumes, combining functionality with a symbolic layer.

KOROB KOROB — clothing and witchcraft

KOROB KOROB views clothing as a form of ritual and a way of interacting with reality. Inspired by the craft of artisan tailors and the image of a sorcerer, the brand's items exist on the border between the everyday and the sacred. Clothing is both a tool and an artifact: a gesture, a pocket, or a sequence of actions becomes part of an everyday spell.

Brand origin

The KOROB KOROB brand appeared in 2022 as a development and continuation of the story begun by the Infundibulum brand.
The new project inherited the attention to form, material, and symbolism—and took a step deeper, toward folkloric thinking, ritual, and archaic experience.

The name KOROB KOROB itself refers to a fairy-tale formula, to a closed space inside which knowledge is stored:

There is a hut in the forest, a room in the hut, a box in the room...

This repetition, this incantation, is not just text, but a way of building the world layer by layer: from the forest to the house, from the house to the room, from the room to the box, from the box to the thread, bread, trace, backward movement. The brand's clothing is structured in the same way: it gradually gathers meanings, allowing the wearer to enter into them at their own pace.

Materials and working with fabric

For the FW24 and FW25 collections, the brand used dense tweed made from virgin wool—a fabric created specifically for the project in our chardak_fabric workshop in Novi Sad, Serbia. Production was carried out on restored looms from the 1950s, which directly references the logic of slow, conscious craftsmanship.

A double-breasted jacket made of thick wool tweed, created on restored looms from the 1950s. The silhouette and construction are inspired by the clothing of seasonal workers in the 19th century. This is a utilitarian piece, designed for long-term wear, with an emphasis on shape, weight, and texture.

This idea of transition, transience, and dual belonging perfectly matches the philosophy of KOROB KOROB —clothing for those who are “in between.”

Korob Korob website

]]> Care instructions for our woolen fabrics https://chardakfabric.com/tpost/ann61e7ti1-care-instructions-for-our-woolen-fabrics https://chardakfabric.com/tpost/ann61e7ti1-care-instructions-for-our-woolen-fabrics?amp=true Thu, 05 Feb 2026 16:41:00 +0300 Tanya Redko About fabrics How to wash, dry and handle natural wool properly. We explain temperature limits, wool cycle use, flat drying and low-heat ironing to preserve texture, stability and longevity of the fabric.

Care instructions for our woolen fabrics

Authentic wool fabrics for conscious design

Our wool fabrics are created for designers who work with authenticity, sustainability, and a conscious approach to materials. We are inspired by historical technologies where origin, tactility, durability, and environmental friendliness are important.

Naturalness and sustainability

We use 100% wool and strive to minimize interference with its natural properties. The color palette of our fabrics is based on muted, natural shades close to those of natural and traditional dyes. This is a conscious choice in favor of sustainability, durability, and visual calm.

Small production batches, the absence of aggressive finishes, and the material's predictable behavior make our fabrics suitable for slow fashion, capsule collections, and designer projects.

Fabric processing after weaving

After weaving, the fabric undergoes professional wet-heat treatment and stabilization. This is an important stage that prepares the material for further work by the designer.

This treatment:

stabilizes the dimensions of the fabric;
reduces residual tension in the threads;
improves drapability and plasticity;
makes the fabric ready for use without additional pre-decating.

This allows the fabric to be used immediately in a project.

Material individuality

Each batch of fabric is unique. Minor differences in shade, density, or texture are a natural result of working with natural raw materials and traditional processing methods.

We consider these characteristics to be part of the material's character rather than a flaw — it is precisely these characteristics that are valued in authentic and sustainable design.

Fabric care: recommendations for designers

Basic care

Washing: delicate wash at a temperature of up to 30 °C, preferably on the “Wool” cycle.
Detergents: special detergents for wool, without bleach.
Spin cycle: minimal or off.
Drying: only flat on a horizontal surface.
Tumble drying: not permitted.
Ironing: at low temperature, with steam or through a damp cloth.
Bleaching: not permitted.

Professional care

For complex shapes or commercial use, professional dry cleaning is acceptable. It is recommended to indicate that the fabric is made of natural wool without intensive chemical finishing.

What is important to consider

Despite preliminary stabilization, wool remains a living material. Residual shrinkage is possible within the acceptable limits typical for natural fabrics.

In the following materials, we will discuss in more detail:

How can we further change the density and character of the fabric
What methods allow you to adapt the material to specific design tasks
How to work with wool as part of a sustainable and long-term approach

]]> Melange wool: blending fibers and customization https://chardakfabric.com/tpost/l34to7kgk1-melange-wool-blending-fibers-and-customi https://chardakfabric.com/tpost/l34to7kgk1-melange-wool-blending-fibers-and-customi?amp=true Fri, 27 Feb 2026 16:20:00 +0300 Tanya Redko About fabrics About the production of 100% wool melange yarn in our workshop. Blending fibers, developing natural shades, and customizing colors for the collection.

Melange wool: blending fibers and customization

Melange yarn is formed during the fiber blending stage. The color is added before spinning.
We work with 100% wool. Dyed wool fibers of various shades are used in production.

How color is created

The fibers are mixed in a specified ratio.
For example, 80% red + 20% black creates a deep wine shade.
Adding 3–10% of another color changes the temperature, depth, and saturation of the final yarn.

After mixing, the fiber is combed and evenly distributed, then spun into yarn. The color is voluminous, with a natural structure.
Each batch can be tailored to a specific task.

Palette and working with shades

We have palettes of basic colors. They can be combined with each other.

Options:

selection of a ready-made shade
correction of an existing shade
development of an individual color with a specified percentage composition

We are moving towards colors found in nature, natural and industrial metallic shades: deep reds, smoky, earthy, complex gray-green, muted warm and cool tones.

Melange allows you to obtain a color that looks uniform from a distance but reveals a heterogeneous texture up close.

What does this give the designer?

Melange yarn in fabric provides:

complex color without sharp transitions
stable visual texture
calm base for cut and shape
ability to precisely adjust shade for collection

Color can be matched to reference, brand identity, or existing product line.

Production capabilities

Both single-color and melange fabrics are now available for order.

The minimum order quantity is 70 meters.
Custom colors can be developed.

We already have some fiber shades available:

yellow — 220 kg
red — 140 kg
blue — 100 kg
blue and white — 40 kg
dark melange — 17 kg
dark brown — 8 kg

100kg of fiber ~ 80kg of yarn ~ 110m of fabric.

More details about all available colors for yarn mixing and pre-orders can be found in the product card.

]]> Tianjian Xiao https://chardakfabric.com/tpost/bcpz69vvh1-tianjian-xiao https://chardakfabric.com/tpost/bcpz69vvh1-tianjian-xiao?amp=true Fri, 13 Mar 2026 18:50:00 +0300 Tanya Redko Designers Tianjian Xiao is a designer who explores the balance between structure and comfort. Her clothing combines architectural lines, natural fabrics, and traditional sewing techniques to create calm and thoughtfully designed pieces for everyday life.

Tianjian Xiao

The understated elegance and poetry of everyday clothing

Designer Tianjian Xiao views clothing as a balance between structure, comfort, and understated expression. Her work explores how clothing can become a natural extension of the body—thoughtful, serene, and precise, without overwhelming the wearer.

The brand was born out of a very personal desire: the search for clothes that she truly wanted to wear. Unable to find pieces that combined clean lines with comfort, Tianjian Xiao began designing them herself—clothes that are easy to care for, comfortable for everyday wear, yet retain their quality, sophistication, and unique details.

For her, creating clothing is a continuous process. From drafting patterns and draping to selecting materials and assembling the garment—every step becomes part of a creative experience in which she immerses herself completely.

Philosophy: Clothing That Serves People

Her designs are calm, understated, and structured. The shapes are clean and well-considered, ensuring that the clothing remains expressive without being overpowering — it doesn’t draw attention to itself, but allows the wearer’s personality to take center stage.

Natural fabrics play a special role. The designer selects high-quality materials with a soft, natural texture that ensure comfort and allow the clothing to move freely with the body.

Every detail is carefully considered and often crafted by hand. This approach maintains a sense of order and harmony while allowing the clothing to “breathe” and interact naturally with the body.

Sources of inspiration: architecture, craftsmanship, and time

Tianjian Xiao's visual language is shaped by personal experience, artisanal traditions, and a sense of the passage of time.

She is particularly drawn to architectural lines and geometry—the clarity and structure inherent in architecture. In her work, she translates these forms into soft fabrics and fluid silhouettes.

Traditional Chinese sewing techniques also play a significant role. In particular, these include methods in which the seams remain hidden, and the surface of the garment is smooth and seamless. This subtle craftsmanship bridges the gap between contemporary designs and centuries-old artisanal traditions.

The fabric itself is just as important. Tianjian Xiao is drawn to materials that evoke a sense of time: washed fabrics, textured surfaces, and natural hues reminiscent of tree bark, earth, or water.

She is drawn to a natural color palette—deep browns, greens, and dark reds, as if shaped by rain, wind, and time. Through her fabrics, she strives to convey these natural qualities.

The creation process

Tianjian Xiao compares clothing design to the creation of a soft architectural form.

Every piece begins with a “skeleton”—its silhouette, proportions, and structural lines. Next, fabrics are selected that support the structure while remaining soft and flexible.

The patterns are cut by hand and refined to highlight the garment’s shape while maintaining freedom of movement. The designer often tries on the prototypes herself to see how the garment moves and how comfortable it is.

In the final stage, the final version of the product is created in collaboration with experienced craftsmen, combining artisanal skill with precise technical workmanship.

Tianjian Xiao designs clothing for people who value comfort, quality, and subtle details.

These pieces are not meant for bold self-expression, but for a quiet presence in everyday life. They do not dominate the wearer, but gently accompany them—like a protective layer that naturally becomes part of their daily experience.

Over time, the clothing begins to live alongside its owner: it absorbs their habits, movements, and experiences, gradually becoming part of their personal story.

Tianjian Xiao Shop

]]>