The Art of Extravagant Self-Decor with The Web Has No Weaver

By Alisha Proffitt Photos By Matt Johnson 

Meet Web Richards, a standout local artist who has had us willingly caught in her web for years. “I am a sustainable fashion designer and artist, focused on spinning the ‘trash’ of our current culture of disconnection and greed into glamorous treasures for a more connected, sacred, loving future.” 

The project is called The Web Has No Weaver. “The name was inspired by a philosophical concept from Taoism, emphasizing the universe’s interconnectedness without a single creator or divine weaver. I felt this name really encompassed my goal with my art–to remind each other that we are all connected and we get to create our reality. We have the power to change harmful industries, make the world a more colorful place, break free from constraining labels, and live more freely.” 

This is wearable art that starts in the discard pile, rescued from flea markets, thrift racks, and donation bins. “I have been training my spidey senses when it comes to textiles and objects for a very long time. I grew up treasure hunting at thrift stores and flea markets every weekend. You can really feel if a piece is special, has history, or potential if you tune into its energy. It also helps that I am naturally attracted to vibrant colors and patterns, which always stick out the most.” 

For Web, it’s both scavenging and spellcasting. “I see our bodies as blank canvases and getting dressed as a unique way we get to communicate our inner worlds every day. It’s a universal language that we are all forced to speak, whether we like it or not. Dressing extravagantly is a way I like to honor and celebrate life, while also bringing joy to others and inviting conversation from like-minded strangers. It’s a key to unlock a part of ourselves, and inspires others to unlock it in themselves as well.” 

Narratives are stitched into the pieces. “I often write narratives for my collections, and see my models as characters I am costuming for a film.” 

For their debut, Web conjured The Gleaner’s Grimoire. “I wrote a post-apocalyptic sci-fi about a rebellious community that forms an alliance with nature’s master regenerators: spiders & fungi: to heal themselves and the planet through sustainable, vibrant expression. We staged it in a field, behind the house I was living in with friends during the pandemic, which became a sort of artist commune. So the show was inspired by my life at the time, and how we were all dedicating ourselves to creating art and finding healing in the midst of this intensely dark period.” 

Then came Victorian Athleisure. “The first thing that sparked it was receiving a large donation of secondhand deadstock spandex and jersey, which are fabrics that are typically associated with sportswear. I thought it would be a funny commentary on the current popular style of dressing ‘athleisure,’ which I find to be incredibly boring, and turn it into something over-the-top. I am often inspired by time periods where people dressed more decadently, so I borrowed silhouettes from the Victorian era like puff sleeves, high necks, or draped skirts.” 

The runway, unsurprisingly, did not disappoint. “The models stuffed themselves with chocolate cake to a chopped and screwed soundtrack of Vivaldi. I like to remind people that fashion can be fun and silly– life is a big game of dress up after all.” 

Her work on Arachnephilia! then leaned into spiders and myth. “Spiders have always been my lifelong guides; they show up whenever I need help. They are so misunderstood, thought to be these terrifying, evil creatures when they are actually beautiful and sweet. They are also a symbol of divine femininity in many cultures, and similar to spiders, feminine energy is often misunderstood and subjugated.” 

“In the Greek creation myth, Arachne is turned into a spider as punishment for being too confident in her craft, and for calling out the Gods for their abuse of humans– speaking truth to power. So I wanted the collection to be a celebration of her fierce, feminine, creative energy. The designs mirrored that by becoming a blend of sexy, feral looks hanging in the balance between softness and power.” 

The show was both stunning and jaw-dropping. Web has built a reputation for being bold and unafraid of ruffling a few feathers with her work; this was no exception. “The show began with Angel 004 singing ‘Women’s Work’ by Kate Bush as masked and cloaked figures pulled pins from pin cushions and began pricking her. ‘Women’s Work’ transitioned into ‘Work This P****’, as the figures ripped off their masks and coats to reveal skimpy outfits and started voguing. I loved the idea of messing with the audience’s expectations, setting a serene tone and then doing a sudden 180– turning it into a hot, fun dance party, celebrating the complex and beautiful chaos that is femininity.” 

These days, comfort too has entered Web’s design language. “I used to not think about comfort at all when designing because I thought it would limit my work, but lately I have committed myself to making my pieces extremely comfortable to wear because I want my customers to not only look free but feel completely free to move in the world. I also make all my pieces adjustable, so they can fit multiple different body types, or fit one person throughout different stages in their life because a lot of us go through body changes.” 

She believes the seams themselves are statements. “It is very important to me that when you see a web, you know it’s a web. For example, I sew all of my clothing inside out to make the seams and the hard work of creation visible. Not only is it a beautiful embellishment, but it helps people start to understand how time-intensive it really is to make clothing, and thus we should honor it, and not treat our clothing like disposable trash.” 

What is the spell cast with every web? “I see my designs as spells, helping anyone wearing a web to be more present, live life to the fullest, and remain open to new experiences. I dream about growing and building a team because the world really needs more webs! I would love to create even bigger, more fantastical shows that incorporate large-scale installation work, as well as fashion films. The web is being weaved.” 

For more information visit: thewebhasnoweaver.com