Is Home Sewing Killing Fashion?

I was idly flipping through some "pieces of flair" on Facebook (embarrassing to admit, but true) and one of the "button" designs was this:  Home Sewing is Killing Fashion - with a drawing of a sewing machine with teeth rather than a presser foot.

Is Home Sewing Killing Fashion?  Hmm.  I guess you'd have to start with the concept of "Fashion".  If "Fashion" is strictly the mass-produced sweatshop made crap that is generally found in stores, then yes I suppose that we, the "home sewing" crowd might be posing a bit of a threat.

In the interest of trying to be fair to different points of view, I can imagine a couple of ways in which I might be sympathetic to the button's designer.

First, that many consider the wave of "hack, slash and stitch" projects that seem to have proliferated over the past few years (1000 to remake a t-shirt/jeans/skirt/quilt/curtain, etc.) have encouraged a lot of very poor quality workmanship in the name of "fashion" that has only a very faint resemblance to the incredible quality of most garments that come from a couture house - even the ones that look deconstructed.  Fair enough.

Perhaps some design students also feel that it is invalid for anyone with a sewing machine making their own clothing and accessories who has not had formal training to call themselves a fashion designer.  Again, it's understandable that they might feel that way.

But I think overall such a statement is terribly shortsighted.  Where did Coco Chanel learn to make hats and clothing?  She was certainly highly skilled but I don't believe she ever studied with another couturier.  There have certainly been Project Runway finalists (Laura...the tall pregnant redhead comes to mind) who had other occupations besides design and would qualify for the term "home sew-er" prior to getting launched by Project Runway.  And many successful designers (too many for me to list here) certainly list learning to sew at home as the beginning of their interest in fashion design. 

I wish I could track down the originator of that design to get their take on the question.  Comments, anyone?

Sharing the (Silk) Love

Spent a great day today teaching "Simply Sewing with Silk" at Quiltworks Northwest in Bellevue.  As always, the attitude, interest and enthusiasm of the class participants was terrific.  It was a mix of mostly sewing enthusiasts I hadn't met yet (I don't often teach on the "East Side" or "North End") and a few familiar friendly faces.  I continue to be so touched at the comraderie that sewing engenders among its enthusiasts.  There is truly something special about textiles that it creates such a warm - no pun intended - welcome.

Now the true prep work for the Sewing and Stitchery Expo next month begins.  I try not to "dwell" on it, as I might start to panic!  I really do want to get at least one new "show" garment done for my seminar on Friday.  I already have a class sample for the hands-on I'm teaching on Sunday, so really I should quit stressing over it. 

Always on the back burner are more project/article ideas.  So many possibilities!  I continue to be inspired by the book "The Art of Manipulating Fabric".  Because it strictly focuses on the actual manipulation techniques - not projects - it's a great "dream inspiration" as my fevered imagination reworks and sews the various examples into all sorts of interesting things.  Where does inspiration come from?  I always think it's kind of odd when people ask that question of artists.  Where doesn't it come from?  Sometimes the amount of potential creative ideas input is just overwhelming.  I received a beautiful leather journal from my guy for Christmas to help me have a nice place to put my idea sketches (wish they were less rudimentary!) and descriptions for future use.  I'm improving on the habit of writing down ideas rather than just thinking (mistakenly) that I will remember them later.  So I'm grateful for the new journal.

Wool Lace

Here is an interesting and very treasured textile that I recently acquired: a beautiful piece of grey wool lace.  Not knitted lace from fine wool yarns - sewn/woven lace constructed onto a net background.

My only previous exposure to wool lace in person was on the dress that Isobel Toledo designed and made for Michelle Obama to wear to the Inauguration.  It was a beautiful and very classy dress and coat ensemble made from lemongrass yellow wool lace lined with silk.  The ensemble was on display this summer at The Museum at FIT's exhibit,  Isobel Toledo: Fashion from the Inside Out. 

I found this particular yardage at a small sewing/knitting shop in Spokane, WA called "Sew E-Z Too".  It and its sister store, "Sew E-Z", in Colville (a small town northwest of Spokane) are must-visit destinations for anyone in E. Washington, by the way.  Don't let the odd name fool you - they are chock full of gorgeous fabrics, beautiful yarns and amazing buttons, trims and other notions.

Upon spotting this piece in the wool section, I immediately stopped dead in my tracks and said (whether out loud or to myself) "Oh my goodness, that's wool lace!"  Of course I also immediately called for my dear friend Pamela to come and help appreciate it, as we were there together while taking a lunch break/playing hooky from the Washington Make It With Wool competition.  She agreed that it was truly something special.  I couldn't quite bring myself to buy it at that time.  But I couldn't stop thinking about it.  Thankfully, Christmas was just around the corner, and my husband who, while no doubt bewildered at the sheer quantity (not to mention variety) of fabrics in my possession, was kind enough to add this gem to the collection.

The construction is very interesting.  Fine and heavy woolen threads/yarns are stitched onto a net backing (see photo directly above).  The actual detail of the lace design is easier to discern from the back due to the contrasting white of the backing.  The photo of the fabric face above appears somewhat fuzzy, but it's not truly due to the quality of the photo.  The fabric itself is made with relatively lightly spun yarns, so it has a very soft, nearly "out of focus" look to the fabric from the face.  The fabric is 38 inches wide, which is a fair width for lace fabric.

So of course now the question is: what shall I do with it?  I have several ideas.  Of course it would make a gorgeous overlay on an evening dress.  I don't think I would cover the entire dress.  More likely just the bodice.  Of course it would make a gorgeous jacket as well.  Because of the net backing, you would want to use a lining with it, as Isobel Toledo did.  A lighter or darker shade of grey would be my logical choice.  Just different enough to provide some additional visual interest and dimension.  Meanwhile, I think I will just hold it in my hands and dream!

The Chicken and the Egg

I recently purchased the Kyoto Costume Institute collecton's book "Fashion - A History from the 18th to the 20th Century" published by Taschen.

As always when poring over the works presented by the masters of the craft I am humbled by the incredible and intricate workmanship and attention to detail that went into the creation of each of the exquisite pieces shown.  Their impact goes beyond simple admiration.  Rather they inspire a deep craving to create beauty, to bring other textile creations into being that might inspire similar feelings in those who behold them.  I am certain that this is not an uncommon reaction among makers.

While I'm examining the photos, I am also struck by another curious sensation - a recognition or creative deja vu.  It's not because I recognize the individual pieces of clothing or the styles of the particular era they represent.  Of course I have a reasonably strong background in costume history and continue to study it, so the silhouettes and the details of the various periods are familiar.  It's that the details themselves are often very similar to ones I've envisioned for inclusion into designs.  Often design details that I may have flattered myself to be quite "original".  And yet here they are - well before my time, displayed in all their glory.

It always causes for me that perplexing "chicken and the egg" conundrum.  Do we envision these details for possible inclusion into a design because we may have seen them somewhere else even though we don't remember doing so?  Or is it just part of the "collective consciousness" theory - that all of us are being influenced all the time by various sources that can culminate in the spontaneous and simultaneous creation of similar designs? 

Of course I am inspired by historic haute couture.  Most makers have artistic predecessors whose work they admire.  And many, if not most of us have learned and continue to learn from others so it seems reasonable that we may consciously or unconsciously be incorporating their inspiration into our own work. 

So the question remains: is there anything truly original, especially in apparel design? 

Fiber Friday - Handspinning

On this particularly frosty Fiber Friday I'm truly thinking about fiber.  Fiber in its simplest form.  Without it, where would we be?  Covered with hides, for one thing.  Leather and fur are very versatile but I simply cannot imagine a world without our wonderful natural fibers.  The luster of silk, the warmth of wool, the softness of cotton and the smooth coolness of linen.

Ever since I was a young girl I've been fascinated by spinning wheels.  Not just because of what happened to poor Sleeping Beauty (hasn't everyone looked at a wheel and wondered, "Where's the spindle?").  The simple act of twisting fibers together to form a yarn has always been magical to me.  The fact that the act of creating a knitted, crocheted or woven cloth all begins with this basic step never ceases to fascinate and beguile me.

As an adult, I first learned how to spin using a drop spindle. I still think this is a good place to start.  It may not give fast results but it gives your hands the chance to learn how to draft and manage fiber and control twist without the distraction of pedaling a wheel.  There is an excellent tutorial (with videos!) on learning to use a drop spindle available online at The Joy of Handspinning: http://www.joyofhandspinning.com/HowToDropspin.shtml

A few years ago I was asked to purchase a wheel from the mother of a friend.  My friend had recently passed away and her Mom wanted to sell the wheel to someone who would appreciate it and especially someone who was close to her daughter.  I don't know why it had never occurred to me to buy a wheel - being already so fiber obsessed - but it hadn't, and so shortly thereafter I found myself in possession of my first spinning wheel.  A beautiful 1970's Clemes and Clemes "traditional" castle wheel, just like this one (photo courtesy of Clemes and Clemes).   

The biggest challenge for many beginning spinners is learning to treadle the wheel.  For this reason, if you are learning to spin, consider practicing first without fiber (or even a bobbin or flyer on the machine), just treadling until you get the hang of it.  When you've become skilled with the wheel's treadle, you should be able to start and stop the wheel without touching it with your hands.  The Clemes and Clemes traditional wheel has quite a bit of weight to the wheel, so once it gets rolling it keeps on going!  The treadle is made so that you can push with your toe or your heel on the pedal, which assists not only with starting and stopping the wheel, but I believe it promotes better muscle use.  Most find it easier to treadle a wheel with double treadles.  It's really all a matter of personal preference.  (For lots of information on how to spin using a wheel, check out The Joy of Handspinning website, http://www.joyofhandspinning.com/ )  When treadling your wheel becomes a natural rhythm, it's time to put a bobbin in the flyer and get spinning!

Once you've mastered the basics of wheel use, the world of fiber opens up to you.  What will you spin?  It depends on how you intend to use your yarn.  Knitters and weavers may have different needs for yarn diameter, strength, etc.  We all have personal preferences for what we like to make - in my case, I like to knit primarily DK weight yarn or heavier so I don't spin fine yarns unless I plan to do a lot of plying. I do take the time to measure the diameter my yarn as I go if I have a specific project in mind, but generally I spin within a fairly consistent range where I know I have a lot of project choices and I worry more about producing a consistent yarn than achieving a particular diameter.  As a beginning spinner, I still have much to learn but am looking forward to every moment of the journey.

If you love textiles, I would strongly encourage you to learn to spin.  If the feel of a beautiful cloth thrills your fingertips, think how much they would rejoice in the soft whisper of the fibers as they slip through your hands into the drafting zone and are guided into a perfectly twisted strand.  The sound of the wheel going through its rotations, the rise and fall of the treadle and the motions of the fiber flowing through your hands provides a uniquely calming effect that is the perfect counterbalance for our stressful, fast-paced world.