SKU: 43364582810

2026 Mexico Retreat - 4 Dyes, 48 Colors - REGISTRATION

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2026 Mexico Retreat - 4 Dyes, 48 Colors - REGISTRATIONMEXICO RETREAT Ultimate Natural Dyeing Challenge: 48 colors from 4 natural dyes Dates: 3 10 February 2026 In 2026 I will host two retreats in San Miguel de Allende This retreat is the Ultimate Natural Dyeing Challenge: 48 colors from 4 natural dyes. Dates: 3 10 February 2026 You will walk away with printed recipes and instructions, and a full set of 48 colors of (silk) yarn skeins and wool fabric. From the rooftop studio space of the Case Angelitos

MEXICO RETREAT Ultimate Natural Dyeing Challenge: 48 colors from 4 natural dyes - Dates: 3-10 February 2026

 

In 2026 I will host two retreats in San Miguel de Allende

This retreat is the Ultimate Natural Dyeing Challenge: 48 colors from 4 natural dyes. Dates: 3-10 February 2026

You will walk away with printed recipes and instructions, and a full set of 48 colors of (silk) yarn skeins and wool fabric.

 

From the rooftop studio space of the Case Angelitos hotel, with stunning views of San Miguel de Allende we will explore:

 

Natural dyeing as you have never seen it before. We dive into the fascinating story of Antoine Janot, an 18th-century Master Dyer. Through his recipes, we understand how to mordant, how to make a dye bath and optimize it. You will learn everything about subtle shading, and how to adjust colors using post-mordants. This is a fit for you if you are really serious about natural dyes, and you wish to understand them for once and for all! 

 

What people said about this workshop:

“ A life-altering experience”

“ These techniques create a world of options for those who wish to use only a few readily available ingredients and recipes that are easily accessible.”

“I felt so accomplished and my dyeing experience gained a whole new level of beauty. I felt empowered to go back to my dyes at home and try out my new skills with confidence. “

 

San Miguel de Allende is fabulous for shopping, delicious food, and art.

In the evenings, you can grab an Oaxacan ice cream in the central town square and listen to the Mariachis. 

 

Location:

San Miguel the Allende is a prize-winning Mexican town with all the colorful charm of Mexico, in a lovely mild climate. 

The hotel: seven nights in Casa Angelitos a 5 star hotel with rave reviews. 

Your spacious, sparkly clean room with comfortable beds awaits you, owner Roger Jones will assist you with everything you need. 

 

Yes, you can bring a non-participating partner (they have lots of fun too!)

Yes, you can share a room with another participant (bring a friend and share the fun!)

 

Your non-refundable registration fee ensures your place in the retreat and in the hotel. 

Installments available. 

 

Total participation fee payable before November 15, 2025, talk to me about installments for your participation fee.

Please, do not book flight tickets before November 2024 (in the unlikely event we have to move something around.)

 

The program:

Tuesday 3 February Check-in starting from 15.00. Welcome dinner at 19.00.

Wednesday  4 February         Dyeing the Blues, set up your indigo vat and dye 7 shades of blue

Thursday 5 February        Dyeing Yellow and Green

Friday 6 February        Dyeing Red and Orange 

Trip to the Organic Farm Via Organica for lunch and inspiration. Learn all about this amazing social enterprise that is changing lives. 

Saturday 7 February         Day Off - Free program - Go shopping or visit the hot springs!

Sunday 8 February        Grays, browns and olive hues.

Monday 9 February         Pinks and Purples. Marking all our samples. Farewell dinner with traditional Mexican food.

Tuesday 10 February         Breakfast and checkout.

 

What is included in the artist retreat?

7 nights in hotel Casa Angelitos

Delicious welcome and farewell dinner.

Organic farm-to-table breakfast (Yes, they actually grow their vegetables on their own farm nearby).

Coffee and tea bar available all day. 

5 days of instructions

Lunch on all instruction days, transfers from and to Via Organica

Saturday is your day off for shopping and cruising the town.

Printed handouts with recipes and instructions.

You will create a full set of 48 silk or wool skeins (TBD) and wool fabric pieces

 

Please note:

Inclusion is so important to me, and I make sure my studio is accessible to all. However, San Miguel is a hard place to go around if mobility is an issue., and the hotel is full of stairs, and no elevator. You will receive a questionnaire to assess how we can make sure you can join us. 

We have no problem accommodating vegan/gluten-free/dairy-free/kosher requirements, you will be able to indicate all your special dietary needs in the questionnaire. 

You will receive different forms to fill in before we can confirm your participation, please return them to me signed asap to secure your spot.

After you have received your confirmation, your registration fee is final and not refundable. See terms and conditions in the forms for payments and refunds. 

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Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
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New fav. My teenager loves it
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Phoenix, US
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I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on January 22, 2026
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dra
Omaha, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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