Weekend Review: The Wild Dyer

The Wild Dyer / Abigail Booth

NY: Princeton Architectural Press, 2019, c2017.

159 p.

After recently reading about indigo farming and then the history of chemical dyes, I turned to this book from my local library to learn a bit about non-toxic plant dyes. 

It's a really good one for beginners; unlike some others I've flipped through in the past, this one is accessible and not at all intimidating. Also, it has gorgeous photographs of plants laid out four to a page with samples of cloth showing the various colours that plant can create, whether on its own or turned a darker brown/grey tone with a mordant (she mentions alum and iron mordants). She does note that some brighter colours can be found in the plant world but that she prefers the more common earthier tones herself. 

Another thing she says is that she likes to work by feel -- there are no precise recipes in the book for specific amounts of this or that, partly due to her process and partly due to the variability of plant matter. Personally I work this way in much of my creative life so this really appealed to me also; it felt like a natural way to approach this and not as terrifying as some more detailed books on the topic! 

The book has good illustrations of supplies and plant matter as well as clear explanations and lists of plants. It's written with an encouraging and low key tone -- the author suggests that an easy route to starting to dye naturally is to use kitchen waste like avocado skins & stones, onion skins or red cabbage. Then if you like it, you can try foraging or growing other plants specifically for dyeing. 

She does suggests working outside when possible, despite the natural sources, to alleviate any fumes (ie: rhubarb leaf gives a nice dye but also gives off toxic fumes -- the leaf is poisonous, so do not ingest) However, the difference between these dye batches and ones made with chemical powders is that these nontoxic dyes can just have their leftovers poured onto the garden when cooled off.

This book also include simple projects that readers can make with all their newly dyed fabrics. They are pretty basic and straightforward projects -- placemats, coasters, bags, apron, pillows -- all simple and using the muted earthy tones she prefers. It's really simple sewing for people who are more into the dyed fabric part than the sewing part. But again, a low threshold for beginners! 

I liked the feel of this book a lot, and it even made me think that dyeing doesn't seem so difficult, that maybe I'll actually try it someday. There is even a bonus recipe at the end for Oak Gall Ink -- made in much the same process as the dye batches in the rest of the book, but with a few additions to create a deep black ink, one that's been used for centuries. A nice addition to the rest of this thoughtful and calming book.  

I haven't really gotten into the dye side of fabric arts but this book might just be the thing that convinces me to give it a go. Really enjoyable and informative read!

This N That Tuesday

I didn't post on my regular days last week -- what with work and the world, I was distracted and busy, and haven't got much sewing or writing done at all! But I'm starting to work on a few things so thought I'd just share a couple of the projects underway in my sewing room currently. 

As I mentioned previously, I've signed up for the Burda Teacher Certification Course this fall, and have been working away at it. I finished my first two projects but then stalled a little on getting going on the third one, a dress -- which is odd since that is my most common type of project!

I'm trying to use stash fabrics for my sewing this fall though, and I wasn't feeling any of it. This weekend I went through some of my stash again, and decided that the retro style of the dress will be perfect for this super bright leopard print sateen, and just like that, I'm feeling like sewing again. 

I also spent some of last week tracing off more Burda patterns from recent magazine issues. I'm hoping to get a few of the cold weather designs made up quickly enough to wear them this year! I have the cover dress from the November issue and a long sleeved pullover dress from the October issue traced and now just have to match up some of my fabric to these styles. 

Plus I've been going through Instagram and other sewing related social media, and have found a huge number of challenges, sewalongs, and contests that are appealing to me...but I have to find time and decide which ones I might actually be able to do. 

First of all, though, I must finish my project for the Literary Sewing Circle. I can't neglect to finish the item for my own sewalong, after all! I have traced off my pattern and am just trying to decide which fabric to use for this dress...more will be revealed soon. I hope that you had a chance to read along with us in this round featuring Louise Erdrich's The Night Watchman, and that you've enjoyed the posts if so; and of course, that you'll make a project too if you can. 

I hope everyone's sewjo survives this week and that we still have the luxury of time and mental space to sew when it's all over.

Weekend Review: Mauve

 

Mauve / Simon Garfield
London: Faber & Faber, c2000.
224 p.

I first read this book a decade ago, but while reading Fibershed recently, I starting thinking about dyes and natural vs aniline options, local vs. corporate and so on. And that reminded me of this fascinating book all about the origins of aniline dyes, so I picked it up and skimmed through it again. Enjoyable once more! 

It tells the story of William Perkin and his discovery in 1856 of the first successful aniline dye (made from coal tar derivatives) -- the colour 'mauve'. He made this discovery accidentally; what he was really trying to do was to create a synthetic form of quinine to treat the malaria that was still rampant across the British Empire. His willingness to experiment with the actual results lead to mauve.

I always enjoy science history, and this was a good example of a popular science read. But additionally, a large part of Perkin's success was due to the fashion world taking up this colour, leading to competition from French textile makers and fashion designers. I thought that this was an entertaining and thorough book, both times! It focuses on William Perkin, but goes beyond simply his life, his discoveries and his business to show how the new colours (and the new industry) shaped fashion, economies, and even wartime innovations, including explosives.

The writing is clear and relatable, making the life of this young chemist fascinating and the world of academic vs. commercial chemistry actually quite intriguing. Garfield covers the specific science of the dyes, but also the relevance to society as a whole, in so many areas. He also shows how it was both Perkin's actual discovery and his willingness to risk a scientific career on making a commercial success of his colour that changed the way chemistry was perceived, making it a more obvious choice for students who wanted to make money at their work. (Perkin was 18 when he discovered mauve, and his father staked everything to create a factory in which William, his brother Thomas and their father all worked -- and they made a LOT of money.)

Garfield even talks about the environmental effects of this surge in dye-making. He records that the stream outside Perkin's factory would change colour every week, and that a factory in France was convicted of poisoning villagers downstream with arsenic. He follows the industry from the moment that mauve became a fashionable mania (shortly followed by another chemical dye from France called magenta) to our present day experience of taking multiple colours for granted. Influences such as war (the desire to dye uniforms surprised me), or fashion, or hard chemistry all have a place in this story, and keep it from being too narrow or dull.

I really enjoyed this book, and would recommend it to anyone curious about how such aniline dyes came about, or how our need to colour our world in a multitude of hues has shaped so many areas of our societies. There is one section, in which Garfield is sharing a list of registered colours via the National Bureau of Standards, Washington DC, that sounds like poetry. A gorgeous and evocative list of names and sources of colour!

Well-written, not complicating the story with overly scientific explanations and yet not minimizing the importance of the science, this is a great general read. Lots of great "dinner party tidbits" in this one -- I always love a science book that makes you sound smart in general conversation ;) I know that I am looking at all the colours in my environment a little differently now.

(parts of this review come from my thoughts over at The Indextrious Reader the first time I read this book)

Weekend Review: A Guide to Elegance

 

A Guide to Elegance / Genevieve Antoine Dariaux
London: HarperCollins, 2003, c1964.
224 p.

I picked up this little book for $2 at Goodwill, thinking it would be an entertaining read. It was -- although there is quite a mixed reception for it over at Goodreads with some readers loving it and some hating it, and quite a few, like myself, appreciating the historical context but not taking it for a useful modern document. 

It is exactly what it says, a guide to style and elegance, from the perspective of a French stylist from the 60s. So you can probably imagine what a lot of it covers -- from the correct day suit to the style of glove to wear for varied occasions, to how to pack effectively for a transatlantic sea voyage. So, a heck of a lot that isn't relevant for today, but is interesting for a look at the complex social norms of a fashionable society that was MUCH more restricted and bound by widely accepted expectations than ours. It's tiring just reading it! 

It's organized alphabetically by topic, from Accessories on down to Zippers and Zoology. It's not only fashion that is discussed, but also grooming, behaviours, event protocols, and more, although it does cover mostly wardrobe and what is and is not chic and elegant. There are lists of the small wardrobe needed by the elegant woman, and this is what I found very intriguing -- there aren't many clothes there at all. A day suit, one pair of trousers, a plain skirt, a few blouses and a sweater, should do you for most things. Plus one white day dress, one black dress a little more formal than the first, and one evening gown. You're set! Don't forget the colourful winter coat (never black) and some expensive accessories, though. 

It's also very amusing, sometimes unintentionally, but sometimes due to the author's arch tone. There were some bits that made me laugh out loud. Beach wear for example: the author notes that no matter how much like a goddess you may appear in a swimsuit, the only appropriate place to wear it nevertheless is the beach. I'd have to agree with that one. She recommends only plain red nail polish for the feet in summer, but most importantly, "Your legs should be perfectly smooth. Nothing can destroy the charm of a woman in a bathing suit more completely than careless leg grooming." I'm not sure why, but this was one of the most memorable lines of the book for me. I laughed a lot and laugh again whenever I recall it. 

It gives a sense of a world of the past where rules and judgements were strict and easier for people to use to draw lines between classes. I can see the danger of people finding this appealing and wishing for a lost world where how to be one of the "in" crowd was both clearer and a much more limited option. The appeal of a restricted cool circle, which one of course is a part of, will always be there for some people. 

I enjoyed reading this for the whiff of the past and the bits of humour. However, I reject the kind of wealth based, classist interpretation of Elegance portrayed here, in which women and men exist in very particular roles, and racial, political, and gender equality are so very far from consciousness. So while this is still worth reading and has some interesting fashion tips and historical context to learn from, I am not a reader who could say that it is currently relevant. I'm afraid that to be Elegant in the ways shown in this book would also kind of by definition have to include other elements of the social conditions it was written in and for, and I certainly don't want to go back there. 

Take it with a grain of sartorial salt, and a view to history, and you'll likely enjoy the read. Just promise me you won't start judging someone for their careless leg grooming after you're done!

Literary Sewing Circle: Finale & Project Link Up

Today is already our final day of the Literary Sewing Circle focusing on Louise Erdrich's The Night Watchman! 

I hope you've had the chance to read the book, and both the first and second inspiration posts, and are getting lots of ideas for a project of your own.

The project linkup will be added to the bottom of this post: as soon as you are done your project, just pop a link to your post into the linkup and we will all be able to visit your blog/instagram etc. and explore your creation -- remember, it can be sewn, or knitted, crocheted, embroidered... any textile art that you practice.

Here are my thoughts on this book. 

I enjoy Erdrich's style; it's a calm, measured narrative voice but with little flashes of quiet humour as well. I appreciate that technique. Also, the care she takes in her descriptive writing really enlivens and illuminates the story and the setting. The small details bring the reservation to life in all its physicality -- the land, the trees, lake, animals, sky -- everything is so lovingly evoked, but not in a sentimental way. I think that sometimes that can be a hard balancing act but she seems to do it effortlessly. These kind of descriptive details also evoke the characters effectively; you can almost see each of them with their distinctive traits. 

And the characters are so wonderful! There are so many of them but they are all people. You can feel the life going on behind them, the parts she doesn't talk about. The "leads" are Thomas and Patrice, but the connections between them and all the others on the reservation, and at the factory or in town, are vital as well. Each of the small side characters have a role and a purpose, and even though at times some of the brief appearances might seem unimportant, the book wouldn't be so complete without all of the paths crossing, and the existence of each character in the narrative.

The book was inspired by Erdrich's own grandfather's work in defending the Turtle Mountain Chippewa against termination in the 1950s, but there is no sense that this novel is only dry biography or reportage. She takes this important topic and weaves it into a story of people and life that manages to highlight and illuminate the real costs of political wrangles and racist intent. I found that getting to know the individuals in this story, their concerns, their daily experience, their ambitions and relationships and longings, makes the rest of the story stronger and more compelling to the reader. 

I also liked how the story kind of wanders along in short chapters, moving between characters and seemingly small moments or experiences, with small flashes of each life. The oddity of Patrice's trip to the city to look for Vera fits in with this somehow, as does Millie's life at university and her sudden involvement with her father's family on the reservation. I found this an almost hypnotic read that carried me along until it was suddenly done -- maybe it was the mood I was in when I began it, but I found it just about perfect. I loved it a lot, and I hope you all did too. 

Please share your thoughts on the book, its themes, characters, or anything you noted about it -- either in the comments here or on our first Book Talk post, or on your own blog with a link to your longer thoughts in the comments so we can find it. I love to talk about the experience of reading so feel free to comment no matter when you're reading this post; if you've read this I'd love to hear your thoughts.

What project have you made, inspired by your reading of The Night Watchman? Share a link to your project on this post as soon as you're done! I've extended the linkup an extra week since some readers were having delays getting their hands on a copy, so the linkup will be live until Nov 20 --  you have another month of sewing time to finish and share.

Burda 02-2017-111: a Sweatshirt style top, take two

 

Over the last week I've been working on some projects for the Burda Teaching Certification class that I signed up for this year, after thinking about it for a few years now! I've been enjoying this online course; watching the technique videos, choosing fabrics from my stash for my projects, tracing out patterns -- I've been finding it all really satisfying. 

The second 'assignment' is the sweatshirt style top #111 from the February 2017 issue.  Luckily for me, I've made this top before. My first attempt at this pattern was also my first project from a Burda magazine. I have to say that this version is much better sewn ;)

I'm trying to use as much stash as I can this year, and my class projects are no different. I looked through what I had, and found some lightweight knits that would be perfect for this pattern. The main body is made from a light poly knit remnant that I included as part of my #20in20 plans, but I only had a metre of it (actually less; when I laid it out, one end was cut on a steep angle that took about 6" away from usable yardage). But the print! Fortunately, there was enough for the colour-blocked version of this top. 

And what to match with it? I found a chunk of leftover fabric from a dress version of my favourite KwikSew 3559, and the textured knit was nearly the same weight as the main fabric, and also the texture matched the print really well. It was meant to be.

I reduced the sizing somewhat from my last attempt; this is more like a 42, with a 1/2" wedge taken out of centre front (a common adjustment for me). I left the length the same. I attempted to shorten the neckband appropriately but I didn't get it 100% right -- it still stands up a bit at the shoulders. Looking into possible reasons for this, I realized that it's both slightly too long and was evenly stretched around the neckline. According to some tips I read, stretching it more over the steeper shoulder curves and less over the gentler centre front/back curves will help it to lie flatter. I will definitely try that next time. Neckbands are my bête noire! But I used my twin needle to finish hem and neckline this time, which I really like the look of.

Otherwise, this is a pretty easy sew, except for the pocket insertion (yes, this has a hidden pocket in the angled front seams). But the Burda class helped with that, and having done it once before also helped. This is a fun pattern that I love in this stash scrap version! Finally got to use this lovely dark floral, and in a top that I know I'll wear often. 

Weekend Review: The Party Dress

The Party Dress / Simon Henry
Lewes, East Sussex: Guild of Master Craftsmen, c2009.
175 p.

 This is an odd little book. It's full of bright, colourful, fancy dresses, and written by a tailor, maker of event gowns and teacher in the UK. And yet in the introductory pages it says that this book is accessible to beginners -- he says "This book is intended for those with little to no sewing experience..." Yikes! If I didn't already know how to sew this book would completely intimidate me. 

The first 30 or so pages are an introduction to sewing -- the equipment you'll need (which includes the basics but also things like rouleau hooks, all sorts of drafting rulers, and other specialized items). I can't imagine someone who wasn't already sewing having these things on hand. Also, while he says that only a sewing machine is needed, an overlocker and a dress form are 'nice to have'! 

The chapter also goes over some basic sewing techniques, and hems, and boned seams. Then comes Chapter Two. Ah, Chapter Two. Twenty pages of instruction on how to make your own body blocks -- full body and boned bodice blocks. That is what you will use to then draft all your own patterns for the dresses found in the rest of the book. 

Chapter Three has twenty pages of images and sewing instructions for all the dresses, plus a short bit on choosing fabrics and embellishments. The dresses are ball gowns, with boning and satins and beading and... well, I just can't see a beginner tackling any of these and ending up with a wearable result, unless it is for a Halloween costume. But maybe there are beginners who are braver and more experimental than I am (or was) and don't know that they should be scared of this process! If you know a beginner like that, by all means let them take a look at this book. Otherwise, I don't recommend this for beginners at all. 

If you're someone with some experience and you're itching to draft your own party dress, even if we aren't really wearing them much this year, take a look and maybe you'll find some inspiration. The book is photo heavy, with sewing steps and examples clearly illustrated, so it might work for you. Even if only for a chance to look at these dresses, which are quite lovely, if for a young crowd. But like I said, the approach here was a bit of a confusing combination for me, and ultimately not a book I'll use myself.