March '23

The thread of her life copied the journey of a thread through fabric with its many ups and downs. Annelise, née Fleischmann, had some talent but was no wunderkind. In spite of her milieu’s lack of faith in her, she got accepted to the famous Bauhaus art school. There, against her will, she had to elect textile production. In the end, though, her heart uncovered a soft spot for this craft. All that in spite of the fact that socks are knitted, not woven.

Anni gradually started gaining popularity not just in her field, but also for it. However, fate had another surprise in stock. Even though her family had been openly protestant for several generations, the rising wave of Nazism did not overlook her Jewish roots. She emigrated to America, the post-war birthplace of many new trends in both art and production. Our protagonist was able to marry these two worlds like nobody else.

Her concept was a simple one: reduce art to its basic principles until it can be handled by the target craft. For example, Monet’s impressionist water lilies are quite difficult to set up on a loom. Basic shapes such as circles and squares in several primary colours are a breeze for a weaver.

This approach had three identically important consequences. First, Anni became an icon of both industry and art. Second, human life benefitted from the addition of artfulness to everyday consumer goods. Third, the Supreme Sock Council’s job was a little bit easier in March thanks to Picasso’s counsel and Anni Albers’ contributions to art.