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Interviews & Profiles

The Queue: Kristin Colombano

Ancient technique and dreamy landscapes collide in Kristin Colombano’s painterly felted textiles.

In The Queue, the San Francisco–based owner of textile brand Fog & Fury talks about her extensive felting tool kit, her favorite wools, and the evocative patterns in nature that inspire her work.

By Shivaun Watchorn
January 14, 2026

Photo by Maren Caruso

Kristin Colombano working in her San Francisco studio. Felted textiles hang on the wall behind her.

Ancient technique and dreamy landscapes collide in Kristin Colombano’s painterly felted textiles.

Kristin Colombano became entranced by felt while on a trip to Mongolia in 2010. After sleeping on a steppe in a cozy, felt-covered yurt, she walked into a souvenir shop in Ulaanbataar that was playing a video showcasing the 5,000-year-old method of wet felting. A few years later and some 5,800 miles away, she enrolled in a wet-felting workshop in San Francisco, where she still lives and works. Colombano, who was working as a photographer at the time, took to the physically demanding process immediately. “I love most mediums,” she says. “I fall in love easily with materials and immediately want to play and explore their possibilities.” 

Today, Colombano uses the wet-felting technique—combining just water, soap, and friction to make wool fiber into felt—and a veritable library of wools to create her line of bespoke textiles, which she sells under the name Fog & Fury. Her pillows, blankets, upholstery fabric, and wall hangings—whose muted palette and varied textures evoke the cloudy environs of Northern California—are in demand by designers and decorators, who layer her lush home goods into their projects. Deborah Bishop wrote about Colombano’s work in “Felting with Feeling” in the Winter 2026 issue of American Craft.

Photo courtesy of Fog & Fury

Colombano lightly wet-felts pieces of wool, cashmere, mulberry, and Muga silk using a ball brause. The pieces will be layered and felted into a Lunaria blanket.

How do you describe your work or practice in 50 words or less?

I craft handmade felt textiles for interiors using the ancient wet-felting method. I transform raw wool into sophisticated textiles by manually fusing layers of fiber using just warm water, soap, and friction. The resulting organic compositions are as visually beautiful as they are deeply tactile.

Tell us about sourcing materials for your works in felt. Where do you procure wool? 

I attend regional fibershed events to source from local shepherds and farms. I have found exceptional mohair and soft Romney [an English sheep breed] to work with in Northern California, as well as other states. I also source wool from the UK. My favorites are from British sheep breeds such as Bluefaced Leicester, Manx, and Shetland. Italy has great dyed wool, silk, and flax.

What about the dyes?

I have done both botanical and acid dyeing. I appreciate that both techniques require their own  expertise! For now, I prefer to procure archival (typically acid-dyed) combed roving so that it’s ready to work with. I think in color like an artist does with paint. I blend hues and a variety of natural fibers to create my own material palette.

Photo by Maren Caruso

Bundles of flax (top), silk (left), and a hand-carded wool color match (right) sit atop samples of Colombano's Terrain and Flare felts.

“I think in color like an artist does with paint.”

— Kristin Colombano

Where is the wildest place you’ve sourced fiber from?

I wish I could say Tanzania or Greenland, to name some unexpected exotic locations. But, alas, I haven’t sourced from anywhere too wild yet. I have been given some wild, unusual fibers such as qiviut and bison. I’ve also had more than a few people ask if they could give me their dogs’ or cats’ fiber to work with.

What are your go-to tools for felt making?

My ball brause is beloved. It’s a handheld sprinkler used to gently and evenly wet wool surfaces before felting. It was originally created to water bonsai plants and has been co-opted by us wet felters. The palm washboard was designed specifically for wet felting; it has a textured surface that aids in rubbing fibers together. I use a nap riser brush as a finger flicker to carefully open curly locks, and I have sharp pointed tweezers stashed around my studio to pick out bits of grass or burrs that are stuck in the fibers—charming reminders of farm life!

Photo courtesy of Fog & Fury

A ball brause (bottom) and palm washboard (top) are among Colombano's favorite felting tools.

“I’ve had more than a few people ask if they could give me their dogs’ or cats’ fiber to work with.”

— Kristin Colombano

You point to your surroundings as inspiration for your work. Tell us about specific landscapes and tableaux that inspire you. 

I am inspired by California’s diverse landscapes and its magical light. I feel fortunate to live near the coast—gazing into the sea’s horizon is my minimalist nirvana. I am mesmerized by nature’s patterns, such as the effects of water and wind on sand, the intricate designs of shells, shifting cloud formations, and the rugged bark of redwoods and desert palms. I think fractal-based designs are beautiful when translated into felt.

If you were going to design a dream room in your house, which craftspeople’s work would you include?

I would love a Fold Sofa with mohair upholstery by John Pomp and a brutalist chair such as Rick Owens’s Double Bubble or Curial. I would commission a massive custom bronze Panthalassa cabinet from Tuell & Reynolds and a Tourbillon coffee table in parchment or shagreen by Alexander Lamont. For the floor, I’d get a huge, plush, made-to-order artist collab rug by Christopher Farr and pair it with Rosemary Hallgarten’s dreamy dip-dyed drapery. For lighting, I like the pale transparent colors of Gabriel Scott’s chandeliers, and I’d add a ceramic-framed mirror by Peter Lane for the wall.

Photo courtesy of Fog & Fury

Colombano lays out green, ecru, and cream fibers for her Marbled Striation felt.

Which craft artists, exhibitions, or projects do you think the world should know about, and why?

I’m currently obsessing over Joyce Lin’s sculptural furniture, particularly her Ghostwood chair and table and Root Chair. I find her work—which explores raw material transformation at the intersections of natural and human-made, authentic and artificial, and illusion and intent—intriguing. She has an exhibition called Hypernatural up right now in New York City at R & Company.  

I am charmed by the embroidery and unusual upholstery work of Casamento; a pair of chairs made of baobab wood and palm pods to honor the Tawana tribe of the Okavango are showstoppers. I covet the natural hues and chunky, nubby-textured, handspun woven works in yarn by Celine Cannon. She balances humble material design with rich tactile details.

I admire the root-based textile tapestries of Diana Scherer. Her work seeks to be a sustainable alternative to traditional fabrics—it sequesters carbon dioxide and grows without electricity or synthetic chemicals. Finally, I find Loumi Le Floc’h’s transparent eggplant-skin tapestries seductive and impressively clever in their use of a discarded recipe ingredient.

What are you working on right now?

I’m currently making commissioned work using my Terrain felt as upholstery for a bench, a custom color-match job of seven pillows in Striation, and a trio of square and round pillows in Color Field. In between custom jobs, I am always innovating new designs. Right now, I’m playing with new directions in color, pattern, and surface. I’m experimenting with hand carding wool hues, adding plant fibers, making my own recipes, and layering to create beautiful felted effects. I’m also working on expanding additional nature-based designs using inclusions to explore new textures and push the power of felt’s material-holding capacity.

Photo courtesy of Fog & Fury

Color Field pillows in three colorways. From left: olive and laburnum, lavender and heather, rust and amber. Each pillow is 22 x 22 inches and made from wool, camel, and silk.

Shivaun Watchorn is associate editor at the American Craft Council.

Check out Fog & Fury online.

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