I converted my weaving studio into a photo studio for the afternoon yesterday. That means I have to move all the looms into the spare room/hallway, except the big one, which won’t really fit through the door. That one gets pushed as far away as possible. The background paper goes up against the wall, hanging with skirt clips from a shelf above (how convenient is that, not really, I planned it that way!)
I set up my umbrellas, the strobe lights, and covered my dressform with a matte jersey fabric, that is a pretty neutral gray. And then the fun began….
First I shot an older piece, from around 2002, that had originally been shot in slide form, and I was never happy with the results. This piece is called Evolution. It is an 8 shaft shadow weave, with bands woven separately on an inkle loom. The vest is a variation on the jacket pattern I use for my classes. I like the square armhole, it is easy to alter.
Then I photographed the Arctic Sky Jacket. This is a twill weave structure, on eight shafts, in wool, cotton, synthetic, just about anything I had on the shelf that would work for the color palette I was trying to create. The bright lime green piping, in case you weren’t following my blog a couple of months ago, is the natural felt edge cut of off a nuno felted belt I made with Loretta Phipps while we connected for the Design Challenge for Convergence 2008. The pattern for the jacket is from Burda Magazine. The bound buttonholes and pocket welts are Ultrasuede, and the top stitching is actually couching with a lime green embroidery floss. I backed the entire jacket with a fusible weft interfacing.
This dress, a modified Vogue pattern, was made from the two remaining hunks of fabric from the Designers’ Challenge for Convergence 2008 in Tampa Bay. I blogged about this project considerably, so if you want to see the original garments from this handwoven collaboration between me and Loretta Dian Phipps of Texas, click here. This was another combination twill weave, 8 shafts, in silk, cotton, rayon, and some knitting novelty, all of which were given to us by the HGA. The challenge was to come up with a runway ensemble. I love the simplicity of this dress with the wonderful splash of summer colors.
This is yet another combination twill weave structure on 8 shafts, I dyed the warps to coordinate with a palette I did called Sandstone Layers when I was writing the color forecast column for Handwoven Magazine. The pattern is from Burda Magazine, and the topstitching is couched with a rayon novelty weaving yarn. The buttonholes are handworked from a 6-ply rayon weaving yarn, and the jacket is unlined. The seams are all finished with a hong kong seam finish. The belt and skirt are purchased. (The belt was a gift from my dearest friend in the whole world, you know who you are, and I have cherished it and worn it to death for many years. It remains timeless and coordinates with just about everything in my wardrobe. The signature on the back of the belt is fading, so I can’t read the artist’s name.)
So, now I have to put together a gallery talk for Wednesday and pray my plane via Houston to Des Moines isn’t delayed. That would be really unfortunate.