Tote bags, grocery bags, beach bags, tablecloths, raincoats......any other other ideas??? While perusing the fabulous True Up Blog, I found some really thorough information about the new laminated cotton Love Collection by Amy Butler. The colors are dynamic and as always, the quality is very good. The article was by Kathy from the Pink Chalk Studio Blog: Laminate Cotton Sewing Tips and she did an incredible job! Her article is packed full of valuable information. The good news is.....it just arrived! Here are some the fabrics in the collection that we have of this 100% laminated 54" wide cotton. Enjoy!
Katherine, thank you for taking your time to do this interview with Contemporary Cloth. I have to start by stating that your publication, Quilting for Peace is exceptional…..from the layout to the contents to the physicality of the book itself. Quilting for Peace belongs in everyone’s personal library and it now has a special place in mine.
For a brief overview: the Quilting for Peace chapters cover the following: community quilting, wartime quilting, quilting for kids and quilting to change the world. As stated on the cover, Quilting for Peace contains more than 25 inspiring essays and 15 charity projects with clear instructions. It is packed full of ideas, life stories, quilt resources in a variety of areas, including quilts for pet shelters (cage comforters), sleeping bags for people who are homeless, quilts for solders, infants and many more people who have needs. Contacts and websites are provided, so that we can all become involved. There is information regarding places where you can donate finished quilts or fabrics. It is all here. Katherine makes it easy for us to follow through.
There are also significant quotes, which I loved, in each chapter. I hesitated to include any of them in this interview because they need to be read as they were meant to be, as part of each chapter. They are so meaningful and an integral part of this book.
I read that you are an online editor in New England (my favorite place), what do you usually write about and what inspired you to write this amazing book – Quilting For Peace?
First, thanks for inviting me to your blog – I’m so happy to hear that you like the book! I’m an editor at Harvard Business Review and HBR.org – it seems like that would be almost the exact opposite of writing about crafts and writing fiction (which is my other true love) but in fact they have quite a bit in common. I spend a lot of time thinking about people’s work lives, why they do what they do, how they stay motivated and motivate others, that sort of thing. I wish quilters were in charge of more organizations, because they tend to be resourceful, realistic, empathetic, and persuasive – all qualities common to great business leaders and entrepreneurs.
How did you gather the resources for your book? Did you find most of them on the web?
I did find most of them on the web. Many quilters were early adopters of the Internet. They’ve been networking online for years, and just about every organization I profiled has its own website. One exception is the Sunshine Circle, a quilting group in rural Iowa that started in 1912. Most of the women in the group now are at least second-generation, and they’re in their seventies and eighties. I lived in Iowa for a couple of years, and while I was there the University of Iowa Press published a book about Iowa quilts by Jacqueline Andre Schmeal. It’s gorgeous, one of my very favorite quilting books. There’s a chapter in it about the Sunshine Circle and I called Jacqueline and asked if she could put me in touch with them.
What particular crafts/sewing adventures do you personally enjoy doing?
Quilting is my favorite. I never finish knitting projects. I just made curtains for my living room, and honestly it was kind of painful. I really want to learn to design and make clothes, but I keep making quilts instead. I also like working with paper – letterpress printing and making handmade books. At some point I want to combine the two and try both printing on fabric and quilting with paper.
You refer to “the rhythm of each project” when you are quilting, what is your favorite segment in the process of quiltmaking?
I love the design stage and the process of piecing. The whole-is-more-than-the-sum-of-its-parts transformation is so satisfying. I get impatient during basting and binding.
It appears that the “tactile” nature of making and quilting is a rewarding process for you and for many of us. In Occupational Therapy (my previous profession), the act of “doing” is the main component of functional performance and self-esteem. You have promoted this philosophy and the resultant product is functionally useful and meaningful to other individuals. How do you feel during and after you’ve created a quilt?
The physicality of quilting is really important to me. I spend a ridiculous amount of time on the computer, working, writing, reading. So it’s extra satisfying to make something tangible. I love washing a brand-new quilt and pulling it out of the dryer all puckery and warm and already worn-in looking. And of course, the best part of all is sending it off to the person I’ve made it for.
Do you usually have a person in mind that you will be gifting when you are making a quilted project?
When you create your quilts, what are your favorite colors or patterns on fabrics?
I’m a little old-fashioned when it comes to fabrics. I like small prints, shirting, and stripes. I love blues and pinks and greys and browns. And yellow and orange; I’ve been especially into orange lately.
While reading through Quilting for Peace, I found the quiltmakers to be such givers and they touch the lives of so many people in a significant, positive way, how has doing this research, meeting these people and writing this book affected you personally? How has this experience changed your life?
I have always spent too much time worrying about what’s going on in the world and not nearly enough time actually doing anything about it. The quilters I talked to don’t waste time thinking about how they won’t be able to make a big enough difference. They just do things that make a small difference and convince others to do the same, and those things add up over time. I’ve definitely learned from their generosity and resolve.
Is there a special story or experience that has affected you the most?
The two stories I found both most heartbreaking and most inspiring were Barbara O’Neill’s and Don Beld’s. Barbara’s son died in combat in Afghanistan when he was only 19 years old. “When there’s a tragedy,” she told me, “you do what you need to do, and then you recruit other people to help you.” Within days of her son’s death, Barbara and her best friend began an effort to make quilts for as many veterans as they could, with the help of quilters all over the world. After his son died of AIDS, Don made a panel in his memory for the AIDS quilt. A few years later, Don began another grassroots quilt memorial — the organization he founded, Home of the Brave, gives quilts to the families of soldiers and marines killed in Afghanistan and Iraq.
Is there a particular place where you have donated your quilts? Do you have a special cause that is important to you?
They’re all important, but the wartime quilts feel most urgent to me right now. We’ve been at war for eight years! I’m very concerned about veterans’ issues — PTSD, homelessness, and so on. I find it absolutely horrifying that one in three homeless men is a veteran.
Katherine, I have to say that I am with you. The lack of care toward our veterans is an atrocity in this country. And further, I will never understand the value of war, we have not learned much since Vietnam. It appears that President Obama is starting to assist the veterans, their needs and their families......long overdue.
The work that Katherine Bell has done is to be commended. This book would be a special gift for anyone. Katherine has opened our eyes and consolidated valuable information and resources in her book, website and blog. Katherine has now made it easy for all of us to do our part in providing hope and comfort to another person. Thank you, Katherine.
****Here is a recent post from Katherine's blog for those of you who are interested in quilts for veterans.
I have owned Amy Butler's "In Stitches" for some time now and thought it would be fun to try a quilted box bag.
I selected the "Patchwork Handbag With Zipper Charm". I thought it would be a good use of scraps and a fun first quilting project. The project requires a number of pieces of main fabric, lining, backing fabric and batting. The main pieces and lining could be cut from 1/2 yard or less of fabric. I had the luxury of selecting color coordinated scraps from the scrap bin here at Contemporary Cloth. But you could use your stash or try your luck with one of our scrap bags.
The pattern is written in a very descriptive style. I stumbled during the quilting section because I did not understand that an entire piece was quilted and then cut in two for the two sides. I had started by cutting out the dimensions listed in the book, things did not add up and I set the bag aside, convinced I would not finish it. I later decided to simply make horizontal strips. It's not as visually interesting, but it was simpler for this first-time quilter. (You'd never know that I completed three years of college-level math, including differential equations!)
The pattern calls for making a cardboard insert for the bottom of the bag. I simply couldn't see how this would make the bag sturdy enough - at least for my taste. So when making the lining, I attached Timtex, a fairly sturdy sew in stabilizer, that is great for bags and totes. This added wonderful shape to the bag - so much so that I did not need to add the cardboard. Even after adding my wallet and several other items the bag held its shape.
Overall, I'm very pleased with the bag. I learned how to make a box-shaped bag. And next time, I will be a bit more adventurous in my quilting!
I’ve been artistic all my life and started out knitting and sewing then moved into working in paper and then eventually started making jewelry using vintage buttons and beads.
I had never worn hats and bought my first handmade hat at the Ann Arbor art festival in 2004. I wore it all day and had no less than 30 compliments on it. It was so much fun that I felt compelled to do my part to bring hat wearing back into vogue. It’s funny – I went to the Ann Arbor art festival to get inspiration for jewelry making and came away with an entirely new appreciation for hats, which launched a new career path.
Do you have a blog, a website, a storefront?
I have a web site: What A Great Hat! and a working studio where I see customers by appointment. I also participate in the finer art festivals in Northeast Ohio. I left the corporate world in 1999 as the communications manager for a financial services firm; writing and public relations were my specialty. I continue to write on a freelance basis and need the flexibility to go out on assignments, which prohibits me from having a true storefront retail presence. And, truth be told, hats are such a niche that having a retail hat shop in Akron, Ohio probably wouldn’t be the best business decision.
Tell us about your design process?
It usually begins with a great fabric, color of felt or vintage item like a buckle, button, flower or feather. Then I think about what shape would complement my inspiration piece. The design process is rather organic – the hat evolves as I work with pieces in my studio that complement it.
What are your favorite materials to use?
For summer hats, I love to work with cotton – so many amazing patterns and colors to jumpstart the imagination. I also love working with sinamay, a natural straw-like product that is great for swirling and sculpting. For winter, wool or silk fabric, or wool felt are my materials of choice.
How do you determine what the best hat design is for someone?
I can usually look at someone and know the style that will work for them. But it’s best to have them come to my studio and try on hats of various shapes. Once we know the best shape for their face, frame, and lifestyle, we can talk about color, pattern, trimmings and all the details and select a hat that I’ve already made or create a new piece that really works for them.
Do you have any favorite colors or styles/eras?
I love the styles of the ‘20s through the ‘50s. The cloche (which is the French word for bell) is a personal favorite. And I adore fun, flirty cocktail hats. Color-wise, I’ve never met a periwinkle blue that I didn’t love, and deep plum/eggplant is also hard to resist.
Do you only design hats for women?
Yes. I’ve also made some hats for little girls.
Have you made hats for special occasions?
I’ve made many hats for the Kentucky Derby and even made one for a woman who traveled to England for Royal Ascot (the horse event that’s attended by the royal family). I’ve also had a lot of fun making cocktail hats for women going to black tie events.
I’m always inspired by nature. Old movies are another great source. I wake up in the middle of the night sometimes with designs swirling around in my mind.
What do you enjoy the most in your creative process?
Combining colors, textures, shapes and trimmings in creative ways.
How do you feel after you have created one of your wonderful hats?
Creating hats is a real thrill but the best part is finding the right hat for the right person, especially for someone who claims she can’t wear hats. Seeing her face light up when she finds the right hat is the best reward of all.
Is there anything else that you would like to share with us?
I was fortunate to find a millinery instructor – Donald Wasson from Cleveland – who is a true gem. He has inspired legions of students to create hats to augment their careers in fashion as well as helping them make connections for launching a career in millinery. It may be that millinery is a dying art, but every milliner I’ve met is passionate about keeping it alive. I have yet to meet another milliner who isn’t helpful and supportive of fellow hat makers out there trying to make a go of it. If any of your readers are interested in learning how to make hats I’ll be glad to share the resources I know of with them.
Are most of your customers from Northeast Ohio?
Yes; I meet many of them at the shows that I participate in as well as referrals from existing customers. But I have made hats for people across the US.
What are your future plans?
To continue learning and growing as a milliner. And to escalate the enthusiasm for wearing great hats by designing pieces that make people feel and look terrific.
Thank you, Paula for taking the time to do this interview and share your art with us. You are keeping the art of millinery alive and we are grateful for that. Your work is truly amazing.
When I think of hats, my mother's hats from the 40's and 50's come to mind. I will have to post them on the blog some day. A few years ago, I gave a friend of mine a copy of the book Crowns, which had just been published. Sandra told me about her involvement with church on Sunday and how it was an all day happening, which led our discussion into the hats that many of the women wore. This book is a treasure and if you enjoy hats, you will love Crowns!
The fabric design and quilt are by Ricky Tims. The finished quilt size is 50" x 50". If you decide to order these fabrics, ask us for a pattern or download the pattern from Red Rooster Fabrics. Enjoy the Rhapsodie Coloree ll Collection, the look of hand dyed fabric at a great price!
We are having such a great response to our Givaway/Follower Sign-Up.....THANK YOU!!!!....that we decided to add more surprises for our followers.....stay tuned. Become a follower of Contemporary Cloth (current followers are also eligible) and we will select one winner for every twenty followers. The winner will receive one yard of your choice valued at $10 or less. Check out all the possibilities here. Just be sure to follow this blog and that we have a way to reach you. The contest will close November 1st. Good luck!
We are excited to sponsor a giveaway! Become a follower of Contemporary Cloth (current followers are also eligible) and we will select one winner for every twenty followers. The winner will receive one yard of your choice valued at $10 or less. Check out all the possibilities here. Just be sure to follow this blog and that we have a way to reach you. The contest will close November 1st. Good luck!
Interview with Linda Colsh of Belgium (and the U.S.) I have admired Linda’s art from the first time I saw it several years ago. Go to her website and you will be mesmerized. Some of the adjectives that I would use to describe Linda’s work are: unique, interesting, inviting, calming, mysterious…..and wonderful. I always want to view it again and always see something else in the piece. Her work resonates with me.
Personally, one my most favorite surface design processes is deconstructed screen printing. Linda has two recent articles in Quilting Arts Magazine: Deconstructed Rubbings (Issue 39, June/July) and Deconstructed Engravings (Issue 40, August, September). Linda’s website has a wonderful gallery of her work. Stop by for inspiration and thoughtfulness. Here are some examples of Linda's art work. It was very, very difficult deciding which pieces to use on our blog.......they are all incredible. Please view them all at her gallery.
Here are a few examples of Linda's art work. It was "very" difficult deciding what pieces to added to this interview...I wanted to add all of them!
Northern Renaissance 2005 H27 x W16 inches (68 x 40cm)
Scent Astray 2008 H64 x W76 inches (162 x 191cm)
Brittle Silence 2005 H38 x W33inches (96 x 83cm)
Amazing Grace 2008 H40 x W40 inches (100 x 100cm)
Rage & Outrage 2001 H45 x W48 inches (114 x 122cm)
Where do you find inspiration for your work? Your images are very interesting and intriguing. They draw me into the piece.I find inspiration just about everywhere. Some examples of images I’ve just been working with as I worked six weeks dyeing fabrics for the next year’s artwork: the shards of a broken plate I found in a field; a graceful number 5 from an elegant doorway in The Hague; a tall, distinguished gentleman quietly observing the comings and goings of Aachen’s city flower market; the oculus of an open dome in Split made into a rustic circle in Photoshop; and a flea market postcard written to a British World War I soldier in Belgium.
I am a collector. I fill my notebooks with drawn and written observations on all kinds of subjects, just as I fill folders on my computer with images of various categories of “stuff.” I believe that being lifted out of familiar surroundings and finding myself in one very different place after another has sharpened my powers of observation. I have lived on both coasts of America, Asia and now Europe. I notice people and things that perhaps others don’t see.
I am happy that you say my imagery draws you in my artwork because that drawing in is one of the goals I have for my work: I want viewers to see the story I present, but also to find their own stories and meaning for the characters I present.
How has living in Belgium influenced your designs and work? The first time I was asked about Belgium’s influence on my work I answered without hesitation that “Belgium is a very gray place.” It seemed such an obvious reply and I didn’t elaborate at the time, but I have since thought back on my answer often. I realize that it is more than just an influence on the colors (or minimal colors) I use in my work. I find a softness in the slanting, silvery northern light here that is a look I consciously work to achieve in my art. That same light, while it strips away color, creates a starkness created by deep shadows and dramatic highlights. I reflect that in my work by using (and reveling in) the full range of value from black to white. The gray is also a mood—an enveloping coolness like fog, the weather that I find at the same time comforting and mysterious.
How do you begin creating a piece? I take lots of photos. I write and draw in my notebooks and think during my “away from work” times, developing stories and characters. Then, when themes or stories begin to take form, I start sifting images on the computer and working with them in Photoshop to create the images from which I make screens, transfer or print directly on fabric. As a personality takes shape and a story forms around that character, I add images that connect to and further the narrative.
What are your work processes with your fabric? I begin with plain white or black fabric. I create fabrics with dye, printing, painting or discharge. Because of Belgium’s short summers, I do all the dyework for a year in a few weeks when weather is warm. The rest of the year, I work with acrylic paints on cloth, do the computer work, including direct printing of some images on fabric; and design and stitch the artworks.
What part of the process do you enjoy the most? Do you have any favorite techniques? I’d have to say that two parts of the process are most enjoyable: the computer design work and surface design. I often spend hours and hours working with a single image on the computer. The surface design work with dyes, paints and discharge agents is extremely satisfying. After abandoning screen printing in college because, at the time, the chemicals used were kind of nasty and the process fiddly—I preferred freer techniques, like painting. But with acrylics came simplicity, and screen printing could be more improvisational. I can make very detailed, unique screens with my thermal imager.
I have arrived at a place where my combination of a few surface design processes and my computer work enable my work to exhibit that quality of “my voice.” What viewers might not realize is the tenacity and pursuit of a few selected techniques with a kind of creative tunnel vision that it has taken to achieve the unique look of my artwork. I’ve chosen to focus on print processes like screen printing and monotype that don’t use a press, direct computer printing, and low water immersion dyeing, with an eye toward exploring color separation at the point where dye wicks into bare cloth.
Do you do a lot of planning for your projects? Yes, I am thinking almost all the time about the various active themes I am working with. From the time I shoot a photo or draw an image, or print a batch of fabrics, to having a finished artwork is often months or even years. Because I use so many images in a single piece and work each image digitally and then with surface design, by the time I actually print the image on cloth, decide where it will go in a composition and actually sew the piece, I have become very familiar with my imagery! I keep my notebooks and laptop close, so that those elusive, random thoughts that just might be worth something can be noted—well, at least the odds of being able to remember and record them are higher if the tools are at hand . Frequently, I use images iconicly, transcending their literal meaning. I tell the story of not having chairs when we lived in Korea and how the absence of an object gets one thinking a lot about the object. The object’s meaning becomes complex and the object takes on a significance beyond simple “take for granted” function. If not necessarily planning for a specific project, the time to think an image through all the permutations to raise it from image to icon is a deep exploration that I find an important part of my process.
How do you feel when you are creating? What does your art mean to you? In one sense, I am creating all the time. I often sit reading the newspaper, book or magazine and a word or picture will trigger a thought that sends me to my notebooks to jot down the idea or train of thought. But in the sense of physically working on the computer or with fabric or stitch, I need big chunks of time because I zone in and become intensely focused. I easily lose all track of time. I love the work and I find that making art, while a solitary endeavor, is deeply satisfying and expressive. Do you have creative blocks, if so, how do you overcome them? I am rarely blocked. It’s more common for me to have too many ideas and need focus. I think because the parts of my process are so varied in how much head work and hand work are involved, when I feel stymied, such as those days when every touch of the brush or squeegee seems wrong, I can turn to a more cerebral process like writing or drawing in my notebooks or the Photoshop work. When the idea work on the computer and in notebooks is coming hard, I can go to the studio and work with the more physical processes of surface design or stitch.
Who do you feel has influenced your work? Who are your favorite designers, artists, etc? Rather than “who” it is more “where” that was a big influence on my work: moving to California in the mid-80s was the real catalyst that sparked my turning to fiberart and especially to surface design. At the same time I began to experiment with discharge, dyeing and painting on fabrics, I was exposed to the work of many of the most influential quilt artists of the time through my local Monterey guild. Later on, a huge turning point in my work was when, thanks to Wendy Huhn, I discovered the thermal imager—more than almost anything other than perhaps the digital camera and the computer, that tool opened tremendous possibilities for me.
I probably shouldn’t try to list favorites because as soon as I send off my answers, I’ll think of many more. My favorite artists would include Rauschenberg, Jasper Johns, Louise Bourgeois, Anselm Kiefer, Gerhard Richter, Lenore Tawney…the list goes on and on. Fiber artists list would be a long one too, starting with those California artists in whose classes and lectures I was so fortunate to participate all those years ago, right up to artists of today whose work I own or admire.
Do you teach and if so where? I teach several times a year here in Europe. I enjoy sharing my techniques with students and, above all, hope to inspire them to find their own voices. Sounds wonderful, I wish I could attend....we will have to get you to the U.S. sometime.......
What are your plans for the future? I have just begun a second term on the Board of the Studio Art Quilt Associates, which is work I very much enjoy. Professionally, I will continue making and exhibiting my artwork and working in several currently active series. My characters series seems to be subdividing as I have begun to work with a new group of work focusing on markets; and I’ve begun a group of works that traces how values--what we seek--change as we grow older and presumably wiser. Additionally, I am working with ways to imply the passage of time (the fourth dimension) in some of my new large works.
Is there anything else you would like to share with us? Thank you, Sondra. I have followed your business from nearly the beginning and I know that you are a true appreciator of fabric and surface design, so it is a pleasure for me to be interviewed by a true and knowledgeable connoisseur of the cloth.
Thank you, Linda for taking the time to share a part of yourself with us. I have learned a great deal from you.....again. You, your process and your work is very inspiring.
NEW ARRIVALS: :::Mistyfuse - NEW!!! 12" and 35" widths in white, and 20" ultraviolet. :::Pacific Rim - Jinny Beyer - textures, paisleys..... :::Full Bloom - abstract florals, birds and teapots. :::Aurora - interesting florals. :::Rhumba - bright and mod. :::Calista - soft florals. :::Piccadilly collection. :::Organic Fabrics from Mod Green Pod and Cloud 9. :::Natura - birds and florals. :::Selections from the collections of: Paisley Party, Jezebel, Rhythm & Blues. :::Quilter's Kitchen collection - fruits and vegetables. :::Ricky Tims marbleized tonals. :::Rich, bright geometrics from the Great Foundations Collection. :::Colorful butterflies and florals. :::Modern metro bold designs. :::Pinatas - bright colors on black or white backgrounds. :::Modern geometrics from Jay McCarroll, unique designs. :::New florals - Kaffe Fassett, Brandon Mably, Valori Wells.
Here are some selections of Pacific Rim by Jinny Beyer.......
CLEARANCE CATEGORY: 20-70% off. Jessica Jones Home Dec - 25% off. More fabrics added, lots of great bargains....as low as $3.75./yard. Home Decorator fabric closeout continues until sold out. NOW $5.99/yard, originally $15.50 yard. Your favorite designers: Amy Butler, Joel Dewberry, Denyse Schmidt, Valori Wells.
Kim, I learned about your True Up Blog through a customer, it is a great resource for fabric lovers, crafters, retailers and fabric shoppers…...to name a few. I think of it as a clearinghouse for new and vintage fabric information, fabric education, ideas for creating with fabrics and much more. (Photo of Kim below.)
How did you develop the concept of True Up? And please share with us what your unique title means!
It was really one of those light-bulb moments. I used to post about fabric a lot on my personal/crafting blog Dioramarama, and I just realized one day that there should be a blog devoted to fabric and nothing but fabric. I knew I had a lot to learn about different fabrics and this would force me to do my research. I learned about the technique of "trueing up" through my sewing teacher in Austin, Leslie Bonnell. I liked how it sounded sort of newsy, and sort of hip-hop.
What do you provide for fabric lovers on your blog? Any contests, I know that you do informative interviews with sponsors.
We (my new writer Mary Beth Eastman and I) post designer interviews, new fabric collection previews, indie designer spotlights, fabric education (What is a twill, anyway? How is silk made?), and tons of links to inspiring fabrics and textiles. I also post a "daily swatch" -- a piece of vintage fabric based on a weekly theme, and sale alerts for the U.S. and the world every Sunday.
We have giveaways pretty often. I've never done any kind of design contest, but I've thought about it!
What do you enjoy most about doing your blog? And what are the challenges? I can only imagine the time that the blog involves since you are always on target with the latest information.
I'm kind of a fabric designer wannabe so I love learning about repeats, color, and the more technical aspects of fabric. And I love talking with other fabric lovers and professionals in the business.
The biggest challenge for me is keeping up with email! Also, sometimes I have weeks where I can't come up with anything I'm excited to write about. But history has told me that feeling will pass in no time and the next week I'll have more topics than I have time.
Here is "a tiny bit" of Kim's personal stash!
You provide such a wide range of information on domestic and international textiles and designers, do you have people that source the information for you or do you find it all?
Mostly it's just a matter of keeping up with my favorite fabric shop, craft, fashion, and design blogs through the miracle of Google Reader. I also get a few tips through readers and industry people. As I mentioned earlier, I brought in an additional writer to help me out, and hopefully I'll be able to expand to include more voices and perspectives in the near future.
I know that you have a family (son and husband), and work part time as a Speech Therapist, how do balance everything?
You've caught me, Sondra -- I don't balance everything! Have you ever heard the expression "a working mother is always disappointing someone?" :) Well, we are fortunate to be able to keep our son at home during the day -- I work on True Up when he sleeps, and my awesome mom takes care of him on the days when I work outside the house. The therapy clinic at which I work is open on Saturday mornings, so I work then too and my husband takes care of the kiddo.
We share a love of vintage fabrics, what are your fabric styles and designs? What is your favorite era?
I love the quirky novelty prints and geometrics of the 40s-60s. I've been into Pennsylvania Dutch motifs lately, and bold/graphic juvenile and floral European prints from the 60s-70s (Jane Foster has a lot of great ones - ). Oh, and I can't resist a good painterly floral. I've also started collecting vintage handkerchiefs by Tammis Keefe and her contemporaries. And like you, I love Lucienne Day, but I've never actually seen any of her fabric in person!
What do you enjoy making/creating the most and what are your favorite materials to use?
I think of myself as a quilter, though it's been slow going since I had my son two years ago! I have been making more garments lately, and stuffed toys. I'm all about the cotton (and wool felt for the toys) -- I haven't ventured much into silk or rayon or anything else, though that's on my wish list.
We have the entire 16 piece Piccadilly Collection designed by Pamela Mostek for Clothworks. Here is a free pattern download using this collection. We also have some copies of this pattern for those who are interested. We can ship it with your fabric order. Here are some samples of this fabric collection......
Welcome! We are an online fabric store, which opened in 2001. We sell contemporary, modern, retro reproduction, vintage fabrics, patterns, stencils, books, Japanese papers, mixed media papers.
We also have fiber art by: Jane Dunnewold, Els van Baarle, Sonja Tugend, Sondra Borrie and Janet Lasher.