- Following 1.1K
- Followers 5.7K
- Engagement 1.42%
- Avg likes 74
- Avg comments 4
About MĀYA | TEXTILES & DESIGN
MĀYA | TEXTILES & DESIGN (@ateliermaya.eu) is a Visual Arts creator on Instagram, also filed under Art & DIY. The account has 5,737 followers and 108 published posts. Recent posts average 74 likes and 4 comments, an engagement rate of 1.42%.
MĀYA | TEXTILES & DESIGN belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. MĀYA | TEXTILES & DESIGN follows 1,070 accounts, so the audience is roughly 5.4 times the size of the list followed. MĀYA | TEXTILES & DESIGN carries Instagram's verified badge and is set up as an Instagram business account. Flinque files MĀYA | TEXTILES & DESIGN under Visual Arts, with Art & DIY as a secondary category.
The Instagram bio for MĀYA | TEXTILES & DESIGN runs to 17 words across 4 lines. The bio mentions @lizanelouw. The latest activity Flinque has on record for MĀYA | TEXTILES & DESIGN dates from May 2026.
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108 Posts
Of the 10 most recent posts shown for MĀYA | TEXTILES & DESIGN, 7 are carousels and 3 are single images. That mix leans toward carousels. 108 published posts give MĀYA | TEXTILES & DESIGN a moderate archive on Instagram. Against the audience, that is roughly 53 followers for each post published. MĀYA | TEXTILES & DESIGN also keeps 17 story highlights on the profile. All 10 carry captions, averaging 316 words each. The captions are written mainly in English. Words that recur across them include printing, print, through, work and block. The captions tag #blockprinting, #ateliermāya, #berlin, #blockprintberlin and #mindfulmaking.
Where Print Meets Stitch: A Textile Study Developed Inside the Atelier
For the past year, Atelier Māya and Keiko have been developing a shared textile practice between block printing and sashiko stitching inside the atelier in Berlin.
What began as conversations around repair, geometry, repetition, and slow design gradually evolved into a full-day studio format where print and stitch continuously respond to one another through cloth and colour.
Developed through experimentation, field research, and ongoing studio practice, Atelier Māya opens for small group print and stitch sessions throughout the year.
Participants work independently at custom-designed 2 metre print tables while moving between hand-carved wooden blocks, sashiko geometry, test printing, and slow material exploration.
Inside the sessions, we work with an archive of more than 200 hand-carved woodblocks, Keiko’s sashiko patterns, eco-friendly inks mixed in-house, natural fibres, and thread.
The focus is on process rather than outcome. The sessions take place inside a working textile research atelier where block printing is explored as a material and design discipline through rhythm, repetition, colour, and cloth.
Throughout the day, Lizane also shares new larger-format textiles available for exploration. This new print and stitch surface was developed through the ongoing Māya Flow studies, exploring creative restraint, thread, colour, and textile as wall art.
See you behind the print tables.
Māya × Keiko
🔗in bio
ateliermāya.eu l
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#AtelierMāya #Berlin
#Keiko #sashiko
#blockprinting
24 May · Atelier Māya, Berlin
Eight participants.
Eight custom-designed 2 metre print tables.
One full day inside a working textile research atelier. The day moves between block printing and sashiko stitching.
You work independently, building your own textile language through repetition, rhythm, colour, and stitch.
Print establishes structure. Stitch responds.
You work with hand-carved wood blocks, Māya eco inks mixed in-house, new print surfaces developed by the atelier, and sashiko tools from Keiko's own practice.
The textile develops across both processes. You leave with a personal print archive, and a process you can continue or replicate independently.
We keep the doors open until everyone feels they have completed their work.
Eight seats. Eight tables. Always.
Most editions in 2025 sold out.
First session of 2026.
🔗 in bio.
_________________
#AtelierMāya #Berlin
#Keiko #sashiko
#blockprinting
The wax resist explorations at Atelier Māya are inspired by field research and time spent in Bhujpur, Gujarat, where we studied block printing with wax alongside master batik artist Anwar Khatri.
What we explore in Berlin builds on the teachings of the master craftsmen we work with through our research.
We love resist printing and are drawn to resist techniques because of the rawness and unpredictability.
Wax is inherently unstable. It can drip, splatter, crack, and resist in ways that cannot be fully controlled. The same application does not produce the same result twice.
Wax printing with woodblocks requires a different way of working. It demands attention and a willingness to accept mistakes and to be open to experimentation.
“It was really lovely to experiment. It was trickier than I expected,” Charlotte noted after the session.
It is a challenge. The process sharpens attention and rewards patience.
“I felt free and confident enough to explore and test out the various techniques,” Kate reflected.
Through test printing, participants develop confidence. Everyone finds flow in creative experimentation. Control over the final outcomes becomes less important. It is process-led creativity.
“Like pure magic, seeing the transformation of a blank fabric into a piece of art,” Karina described.
Colour enters only once the resist has been established.
“I was very inspired. I was surprised that when it first comes out of the vat it is green and then goes blue,” Patricia noted.
Indigo reveals itself slowly. The colour we know and love transforms through oxidation. Dyeing with indigo cannot be rushed. It asks for patience.
By the end of the session we know it is not about what is made, but an understanding of how to work through process, material, colour and with slow crafts.
This is where our work and research continues.
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Block Print, Wax Resist and Indigo
A small group studio session within a working textile research studio.
🔗 in bio
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#AtelierMāya #BlockPrintBerlin
#blockprinting #waxresist
#indigodye
The past four months of test printing and mark-making have been challenging and transformative. We have explored wax resist in Bali and Malaysia, and at the end of last year spent time in Bhujpur, Gujarat, India, exploring block printing with wax.
We were introduced to the tools our teacher and mentor, master batik artist, uses in his creative practice.
Anwar’s tools are fascinating. A mason’s float is used to level and compress the sand base of the traditional printing table, alongside iterations of the one-of-a-kind Anu Pen, Anwar’s own tool for drawing with wax resist.
In his studio, he uses woodblocks, bundled sticks, brushes, sponges, metal forms, and tools he designed himself. Each is chosen for its unique effect and carries years of exploration.
These instruments form part of the woodblock and wax traditions and his practice shaped through research and exploration, spanning more than 15 years.
In our own explorations, we are learning to listen to the medium and build on the knowledge of our mentor.
Wax is highly responsive; imperfections and cracks are part of the language we love.
In resist, tools never behave the same way twice. The same effect cannot be recreated. We value the mistakes and the accidents. Machines cannot replicate these designs.
Building on Anwar’s teachings, we have begun developing our own plant-based wax in the studio. We are exploring wax resist with natural indigo and rooibos tea. What we learned in Bjupur continues in Berlin.
Anwar shares his knowledge with confidence. He understands the rules and breaks them with elegance. We admire his spirit of exploration and commitment to evolving the language of surface design.
Anwar’s work, and the pieces we created under his guidance, are displayed throughout the atelier. They form part of the space and the stories we share.
We highly recommend a visit to Bhujpur for Anwar’s craft, and for the vegetable samosas in the village and small cups of chai, made by Anwar’s wife, which somehow taste better than anywhere else.
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#AtelierMāya #AnwarKhatri
#blockprinting #waxresist
#textileresearch
I started Māya in the middle of ‘24, feeling rather isolated in Berlin. Being from Cape Town and used to a “lekker vibe” around me, it was hard to find a sense of community here.
I was searching for something I could not find. I wanted to ground myself in my practice and research, and decided to build a community rooted in creative curiosity and an appreciation for exploration through slowcrafts.
Since launching our workshops in November ‘24, we have welcomed over 300 participants into the atelier. What has grown from this is more than a series of print experiences. It has become a block print and craft community. We are grateful to build Atelier Māya with our small circle of friends.
This week, we hosted our first collaboration with Les Amis, welcoming members of their community for a test print exploration.
Today, I find myself reflecting on the group of women we met, the conversations shared across the print tables, the focus and flow, the laughter, and the short but meaningful exchanges we had.
“I am looking forward to learning the story behind block printing, to get a feel for it and to try out a craft that is new to me.”
— Bara
There is something powerful in watching someone try something for the first time. The initial hesitation, then curiosity, and then a shift. That moment when fear of failure settles into patterns. I love witnessing that. I love seeing confidence grow.
“Experimenting while using minimal tools helped to tame the perfectionist in me!”
— Bara
“I am encouraged and inspired, surprised how many different styles can be made.”
— Katharina
“It was such a wonderful play and exploration!”— Saraï
"I feel absolutely relaxed, light and inspired to create.”— Natalie
“It made me forget about time. My thoughts, worries and insecurities were fully silenced.” — Bara
My heart is full.
To, thank you for trusting us with your community.
And to those who joined us, thank you for your openness and your willingness to colour outside the lines.
_________________
#AtelierMāya #Berlin
#blockprinting #slowcraftfs
#mindfulmaking
Sample book, 1899–1901
Accession no. 1936-31-5
Cooper Hewitt, Smithsonian Design Museum, NY
Samples of silk ribbons
I return to lines often in my work.
In the atelier, I have explored lines through direct printing, mud resist, and now wax resist with indigo. Each print process changes how a line behaves on cloth. With experimentation, some lines are sharp and controlled, while others shift or break. Now with wax, it also crackles.
When I found these designs, I did not see lines as decoration. I saw textile samples that we can study.
These samples explore the spacing, the width of the lines, and repetition. Lines are notoriously difficult to print. I enjoy that challenge.
I am drawn to imperfect misprinted lines. These are difficult for a machine to replicate and show the hand in the work. Misprints show where pressure shifted or alignment changed. I know that material also responds in its own way.
This is what makes hand-printed textiles one of a kind and what interests me as a printmaker.
In resist techniques, a line can never be fully controlled. With mud and wax, it moves and, depending on the thickness, can also crack and crackle. The dye reacts, and the edges of the print change.
These samples reminds me that working with lines is about spacing and creating rhythm. With lines, I learn how patterns build on cloth through simple tools and creative exploration.
I work with a wide range of tools in the atelier, including blocks, brushes, and sponges that can make lines. Each tool produces a distinct mark. I am drawn to the tools that create disruption. I am excited to see how we will use our tools with wax and indigo in our upcoming sessions.
This is Print Thinking in practice.
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Sample book, 1899–1901. Accession no. 1936-31-5. Cooper Hewitt, Smithsonian Design Museum, New York.
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Māya Anthology: All our work and shared knowledge are grounded in museum archives, textile research, and lived practice with artisans.
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#MāyaAnthology #printdesign
#blockprintberlin
#printmaking #blockprinting
People arrive at the atelier with a simple intention: to learn block printing, to make something with their hands or to try a print technique.
But the experience does not stay there.
What begins as an introduction to our research and a discussion on technical process quickly becomes something more immersive and personal.
“I felt like a child again, discovering new things, skills, colors and patterns.”
— Carrie
Participants enter a rare state of focus and mental stillness. External distractions fall away and attention settles fully on the only thing we need to do: align a block on fabric.
“It was a time where I did not think about anything but color on fabric. I learned to explore without fear.”
— Emmanuelle
Working with the hands becomes a way of reconnecting. It is a return to something slower, more tactile and more grounded in a world that often moves too fast.
In this process of Print Thinking, letting go happens naturally. The work asks for trust in the material, in the exploration and in the unknown, and most importantly in our own way of making.
“Structure in chaos. I learned to just go for it, not think too much, and be surprised.”
— Carrie
“I came to engage with repetition, but realised I need to push it further.”
— Le Hang
With that, confidence builds. Decisions are made and risks are taken.
“Super calm, creative and happy. I learned something I had no idea I would enjoy this much.”
— Sepideh
For many, this is not a one-time experience. It is the start of an inspiring creative exploration in print.
“It was great fun. I learned that I will continue with printing.”
— Timo
By the end, each person leaves with their collection of test prints and, for some, finished works of textile art. But what they take with them is far more valuable: the ability to find flow, to trust their own creative decisions, and to work with their hands in a way most people have forgotten.
Māya Print Programme
🔗 in bio
Berlin · April & May
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#ateliermāya #berlin
#slowcrafts #mindfulmaking
#blockprinting
Rooibos (Aspalathus linearis) grows in the Cederberg mountains of the Western Cape. These mountainous regions, with very hot, dry summers and cool winters, create the conditions in which this plant thrives. Rooibos tea is not a true tea, but a tisane, or herbal infusion, made from the dried leaves of the Rooibs plant.
I grew up with this bush tea as part of everyday life. It was present in the most ordinary ways. We drank the tea, I bathed in it, and, growing up, I also used it to wash my hair. My grandmother often spoke about its health benefits, and I carried her teachings with me into adulthood. I have always been curious about this plant.
Now, through my research into natural dyes and colour, this plant has re-entered my practice.
As I continue to work with plant-based colour systems, rooibos has naturally become part of this research, not only for the tone it produces, but for its broader health properties.
Over the past year, I have been working with rooibos as a dye, testing its behaviour across printing, painting, and, more recently, layered dye processes with wax resist.
This current study follows a studio-made soy milk treatment, with the cloth left to “rest” for one week. This is followed by a single-extraction method. Deeper colour tones are achieved when tannins are released through one controlled heating phase. The richest colours was developed through repeated cold dye cycles over 5 days.
In this very slow process, the cloth is immersed, dried, and reintroduced, allowing oxidation to gradually deepen the tone without additional heat.
I had success with my wax resist block print explorations the past weeks and the cold rooibos dye bath. I will share more on this process soon. What continues to interest me is how this beautiful, earthy colour develops through heat, immersion, and layering over time. The challenge now, is to continue to develop the wax mix for the wax resist.
This study forms part of our ongoing exploration of colour, material memory, and time-based processes within the Māya Print Lab.
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#AtelierMāya #naturaldyes
#rooibostea #bushtea
#southafrica
On our first Print Weekend of ‘26, the print tables slowly filled with colour and print experiments made by curious hands. Participants were introduced to our world of woodblocks and pattern. Some stepped into block printing for the first time and were inspired to try a new craft. Everyone joined with the same intention: to slow down and create with their hands.
Sessions began with curiosity about craft itself. Silvia shared that she has “always been attracted to crafts that are connected with traditions” and wanted to understand “the process and all the steps that lead to a finished piece.” That curiosity is where textile practice begins, a desire to understand how material, colour, and technique come together on cloth.
Printing is not only about technique but also about exploration and discovery. Anna reflected that the process kept her thinking about “psychology, patterns, narratives and symbols.” For us pattern is more than decoration; it becomes a visual language that carries meaning.
Material discoveries are a highlight. Different textiles respond differently to tools. Anja reflected “I discovered printing on coarse linen and I will definitely continue experimenting.” Through printing, the character of the textile reveals itself.
We also reflect on the relationship between colour and form. Jasmina observed: “I learned that colour and form, even simple combinations, can produce something very beautiful.”
Participants worked side by side, observing each other’s discoveries. Sabrina reflected on the atmosphere: “It’s great to work together with everyone at a big table, that is so inspiring.”
The rhythm of printing, always memorable. Sara reflected that she was excited “to create something with my own hands, to focus and slow down for some time.” Later, Jasmina described the experience simply as “Meditation, I forgot everything and simply enjoyed the work.”
Moments like these remind us why we love printing. It is all about exploration, discovery and the quiet rhythm of printing together, what we call Print Thinking.
_________________
#ateliermāya #Berlin
#slowcrafts #mindfulmaking
#blockprinting
Susan Bosence, Hand Block Printing and Resist Dyeing, 1985 Mint-condition copy Bosence was an artist, educator, and pioneer in handblock and natural resist printing
I decided to start sharing some of the books from our growing library at the atelier. Our books have sparked many interesting conversations and projects.
This new series, Ink and Cloth, focuses on research and process, I will share the books, manuals, and rare finds from the Māya Library, the resources that shape our explorations into print, dye, and storytelling through cloth.
In recent months, I’ve been tracing knowledge back through The Classical Dyeing and Printing Handbooks, there are some outstanding technical manuals from the 18th and 19th centuries that hold the recipes, methods, and experiments of earlier craftspeople. With my nose deep into these old books, I am guided with my explorations at Māya.
I stumbled on the book Hand Block Printing and Resist Dyeing, 1985. I will use this book as a technical guide in my research and also learn more about the artist’s work. I am happy to continue to follow the footsteps of the revolutionary woman printers from the past.
The pages of this book carry practical methods of print exploration and a deep respect for process. I am learning so much. Reading through these old manuals and books, remind me again of the way knowledge was shared through books, long before digital archives, the internet and social media.
All the insights from these old manuscripts and books are shaping the Māya natural dye palette for print and mark making.
I am excited about sharing the knowledge in our workshops in the months ahead. I am even more excited about history and the stories of the past that are finding their way back onto cloth.
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Ink and Cloth: Our research draws from historical manuals, traditional dyeing and printing handbooks, and ongoing collaborations with artisans and studios, this is the foundation of how we learn, print think, and teach at Māya.
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#inkandcloth#printdesign
#blockprintberlin #printingwithmaya
#blockprinting
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MĀYA | TEXTILES & DESIGN's engagement
MĀYA | TEXTILES & DESIGN's engagement rate on Instagram is 1.42%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 70 followers. An average post collects 74 likes and 4 comments, close to 19 likes for each comment.
Engagement rate
1.42%
- Avg likes
- 74
- Avg comments
- 4
- Interactions : followers
- 1 : 70
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Who is MĀYA | TEXTILES & DESIGN?
MĀYA | TEXTILES & DESIGN (@ateliermaya.eu) is a Visual Arts creator on Instagram, also filed under Art & DIY. MĀYA | TEXTILES & DESIGN carries Instagram's verified badge and is set up as an Instagram business account. The Instagram bio for MĀYA | TEXTILES & DESIGN runs to 17 words across 4 lines.
How many followers does MĀYA | TEXTILES & DESIGN have?
MĀYA | TEXTILES & DESIGN has 5,737 followers on Instagram (5.7K). MĀYA | TEXTILES & DESIGN follows 1,070 accounts, so the audience is roughly 5.4 times the size of the list followed. 108 published posts give MĀYA | TEXTILES & DESIGN a moderate archive on Instagram.
What is MĀYA | TEXTILES & DESIGN's engagement rate?
MĀYA | TEXTILES & DESIGN's engagement rate on Instagram is 1.42%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 70 followers. An average post collects 74 likes and 4 comments, close to 19 likes for each comment.
What does MĀYA | TEXTILES & DESIGN post about on Instagram?
Flinque files MĀYA | TEXTILES & DESIGN under Visual Arts, with Art & DIY as a secondary category. Of the 10 most recent posts shown for MĀYA | TEXTILES & DESIGN, 7 are carousels and 3 are single images. The 10 recent Instagram captions Flinque holds for MĀYA | TEXTILES & DESIGN repeatedly use the words printing, print, through, work and block. MĀYA | TEXTILES & DESIGN's captions carry hashtags such as #blockprinting, #ateliermāya and #berlin. MĀYA | TEXTILES & DESIGN writes those captions mainly in English. MĀYA | TEXTILES & DESIGN keeps 17 story highlights, which open with a free Flinque account.
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MĀYA | TEXTILES & DESIGN's contact details are not published on Flinque's public profile. The Instagram bio links to 2 external sites, and a free Flinque account opens those links. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist MĀYA | TEXTILES & DESIGN and use Flinque's outreach tools wherever a contact route is on file.
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