Portfolio

MAITE SOSA METHOL

In English, "sea" means ocean. In Spanish, "sea" is a form of the verb ser, to be. This intersection of meaning inspires my project. This knitted garment, inspired by my home in Uruguay, reflects the textures and movement of the sea. Honoring Iemanjá, the ocean goddess, February 2nd each year connects us deeply to nature, a heritage I reflect in my textile explorations.

I’m drawn to water’s fluidity, motion, and reflective surfaces. Noctilucas, bioluminescent organisms that light up Uruguay’s coast at night, evoke mystery and playfulness. I explore contrasts—light and dark, stillness and movement—along with themes of magic and the sacred, guiding my choice of fuchsias, blues, purples, and iridescent tones.

Sea (2024)

Knitted garment Photo: Ignea Rivero Model: Romina Di Bartolomeo Makeup: Gaia Assistants: Guzmán Bergereau and Cecilia Mieres

Knitted samples developed using a single-bed Silver Reed knitting machine, including punch card jacquard samples, partial knitting, lace, slipped stitches, and tucked stitches, as well as various embellishment and finishing techniques such as crystallization and embroidery with pearls and beads

Knitted samples (2024)

Inspired by 're-designing gender,' this collection prioritizes comfort, movement, and vibrant hues for both men's and women's clothing.

The eclectic blend of satin, organza, and materials like cotton jersey and cuff fabric aims to challenge gender stereotypes.

This fusion redefines associations, breaking the link between elegance and femininity while introducing comfort and function into traditionally elegant materials.

Persona

Ready-to-Wear Collection Photo: Ruso Tomosky Models: Melina Barrios and Joaquina Rijo

A video created from embroidery samples, reflecting on themes of heartbreak and how pain manifests within the body. The piece also explores vulnerability and anxiety, focusing on their weight, omnipresence, and unpredictability.

May our tears become mariposas (2025) Digital and hand embroidery https://youtu.be/vgfR88o99PY

PIXELS AND STITCHES (2020)

PIXELS AND FIBERS (2020)

PLEATING EXPLORATION (2021)

IDENTITY QUEST (2019)

CRISTALIZATION (2020)

Movimiento is a hybrid piece—part garment, part interactive costume, and part performance. In exploring ways to enhance human body motion, I used light as a poetic medium to make movement visible, resembling drawn traces.

The costume integrates an electrical circuit with a motion sensor, LED lights, and embroidered optical fiber. Using a camera, projector, and specialized visual design software, the dancer becomes a canvas, with light traces projected onto them, creating a dynamic feedback loop.

Movimiento: An interactive costume for amplified embodied performance (2021) Interactive Costume

https://youtu.be/Xh0YXBoMfDA Dancer: Daniela Olivera

This 3D-printed accessory was crafted specifically for Uruguayan artist PHORO's concert—an intimate blend of electronic sounds, visuals, and scenic elements.

The accessory evokes concepts such as depth, introspection, and fragility. Inspired by bioluminescence and the animal world, the subtle neon light vividly contrasts against the surrounding darkness.

Profundidad (2023) 3D printed accesory

Textiles 3D is an experimental research project focused on the development of new materials. It encompasses both aesthetic and functional exploration, pushing the boundaries between the digital and material realms.

A collection of twenty 3D-printed textile swatches was developed, designed using CAD software and printed with Fused Deposition Modeling (FDM) printers. The collection showcases designs ranging from articulated to chain-like and mesh structures. This project was exhibited as part of a solo exhibition at the Faculty of Architecture, Design, and Urbanism in Montevideo, Uruguay, in 2022.

TEXTILES 3D (2022-2023) 3D Printing

https://youtu.be/zUmR43vjpHM?si=JvFdy0DrznwbSVgc

RETOPOLOGIA INVERSA (2022-2023)

This 3D-printed costume was custom-designed for Uruguayan performer Lucia Mato, drawing inspiration from insect spikes and hairs. The research originated from a desire to merge traditional textile materials with digital tools. The piece distorts the human silhouette, enabling certain movements while restricting others, while also concealing the wearer's face and identity.

Three-dimensional cones were printed directly onto microtulle, conceptualizing the costume as a second skin—one that challenges conventional clothing norms, evokes sensations of prickling and discomfort, and embodies transformation.

Retopología inversa (2022) 3D printed costume design

https://youtu.be/JpfNakCBk-E?si=ZMoouHN93GqMKRRf Performer: Lucia Mato