sewing

Pens and Needles: Women's Textualities in Early Modern England

jenna — Sat, 18 Dec 2010 00:00:00 +0000

Pens and Needles takes a new approach to the study of how women expressed themselves in Early Modern England (roughly 1500-1700). It has long been assumed that the gender roles we know today have been consistent over time. Pens, writing, communication, are the realm of men; needles, sewing, the home, are the realm of women.

Frye disagrees; she gives extensive examples of women writing in the Early Modern era, from poetry to household accounts. There are examples from old books defining a ‘virtuous wife’ as a woman who is educated enough to run her household well. A good wife is, in fact, “a vigilant businesswoman” who “considreth lande, and bieth it, and wyth the fruite of her handes she planteth a vineyard.” (Frye quoting The Common Book of Prayer and Proverbs)

Women of this era have left behind ample evidence that text—prose, poems, names—were ever a part of their daily lives, particularly their textiles. It is no coincidence, she asserts, that so many samplers, appliqués and tapestries incorporate letters and wording in their designs. Many a pillow case is inscribed with a verse or family motto in Latin.

Further still, Frye insists that these sewn objects were a way for women to communicate. These items were used as decoration within the home, allowing women to define their spaces. In the lower classes, an excellent ‘household store’ of good embroidery, well-made clothes, or decorations added to the family’s wealth and prestige.

In the case of Mary, Queen of Scots, her projects became gifts full of meaning to both allies and enemies. Through specific examples, Frye demonstrates how Mary wove her identity into everything she created, emphasizing her noble heritage and royal aspirations. Symbolism is rife in Mary’s work, especially when creating gifts for Elizabeth I, her cousin and captor. Frye contrasts Mary with Elizabeth, who was prone to more intellectual projects. Elizabeth began easing her way into Henry VIII’s court through books she translated and bound herself. These gifts to her father established a reputation for intelligence as well as skill and taste, paving the way for her ascension.

Even now, we’re too quick to dismiss ‘arts and crafts’ as less notable than writing. Sewing is utilitarian, but it is also artful, and a means of expression. When we scoff at them we are falling in line with the sentiments of men who never fully appreciated the labor and creativity that goes into each item. Contemporary women more prone to letters should listen to Frye’s arguments, and grant more respect to their ‘traditional’ peers.

Pens and Needles is an academic text, and its style is better suited to researchers and college classrooms. The language (such as ‘textuality’, a tricky idea to wrap one’s mind around) is not meant for the casual reader. Frye assumes that her reader is already familiar with the era discussed and her area of study.

That said, the book is a real gift for researchers and academics. Frye is meticulous with her citations, resulting in a hefty appendix made up of Notes, Bibliography, and Acknowledgments. The chapters are few, but each is broken down clearly, helping one identify each smaller section.

I would very much have liked to read nonfiction in a more easily digested style, something that would allow me—someone who is interested but has no formal background in the subject—to orient myself and read for the pleasure of learning something new. Instead, I battled to get through it, as I’m sure many students will as well.

Regardless of readability, Pens and Needles is thorough, detailed and well-researched. For all that Frye has cited all her sources, I have no doubt that she will become a source on many other bibliographies.

Written by: Richenda Gould, December 17th 2010

The Subversive Stitch, Embroidery and the Making of the Feminine

admin — Mon, 02 Aug 2010 20:00:00 +0000

By Rozsika Parker

I.B. Tauris & Co

In the world of contemporary art, using embroidery to express yourself is risky, and while I impart a subtle subversive message in those textile pieces, it is hard to overcome the initial impression that I am doing dainty women's work. In my attempt to understand that prejudice, I picked up the book The Subversive Stitch.

Written by Rozsika Parker who has published widely in both Art History and Psychotherapy, The Subversive Stitch delves into the history of embroidery to explore its associations with femininity. Parker defines femininity as "the behaviour expected and encouraged in women, though obviously related to the biological sex of the individual, is shaped by society." The key argument of this book is that the "changes in ideas about femininity that can be seen reflected in the history of embroidery are striking confirmation that femininity is a social and psychosocial product."

In the revised and updated edition, the book is broken down into eight chapters: The Creation of Femininity' Eternalising the Feminine; Fertility, Chastity and Power; The Domestication of Embroidery; The Inculcation of Femininity; From Milkmaids to Mothers; Femininity as Feeling; and A Naturally Revolutionary Art? This is a scholarly text, densely written with abundant quotations, endnotes, and black and white illustrations. Unfortunately, much of the richness and beauty of the photo illustrations is lost in their small size of presentation in dull gray tones. Nevertheless, the book is a thoughtful and thorough analysis of the history of embroidery and its association with femininity and women's work. Of particular interest to me was the last chapter in which Parker explores the revolutionary aspect of contemporary embroidery by such artists as Louise Bourgeois and Tracy Emin. However, this book is not for a casual reader and is more suited for research in art history, feminist issues, or embroidery.

From my reading of The Subversive Stitch, I came to understand the reasons the disparity in status between embroidery and painting. The division between women's work and men's work seems to be at the core of this deep seeded antipathy towards embroidery. This particular quote from the eighteenth century sums it up: "Sir, she's an Artist with her needle...Could anything be more laughable than a woman claiming artistic status for her sewing?." Luckily, today's definitions of art and femininity are somewhat more fluid, allowing me flexibility to chose the medium best suited for a particular message.

Cross-posted at Fashion is My Muse

Written by: Ingrid Mida, August 2nd 2010

Button It Up: 80 Amazing Vintage Button Projects for Necklaces, Bracelets, Embellishments, Housewares, & More

admin — Thu, 11 Jun 2009 23:21:00 +0000

By Susan Beal

Taunton Press

As a child, I remember marveling at the quart jar full of old buttons at my grandmother’s house; I would pour them out onto the floor and separate out the ones that I thought were the prettiest. Twenty some years later, and I find myself wishing for that quart jar as I read Button It Up: 80 Amazing Vintage Button Projects for Necklaces, Bracelets, Embellishments, Housewares & More by Susan Beal.

The book is divided into sections by project type: two on jewelry (my favorites: the button link necklace and button cuffs), one on housewares (I’m planning on making the dinner party set for a present) and one on accessories, embellishments and gifts (the button stationery is super cute).

Though it isn’t just a how-to book; the first chapter is an interesting one on the history of buttons. Yes, I realize that it may sound unexciting, but I hadn’t before realized how much the style and design of buttons changed with the times: from the black jet beads popularized by Queen Victoria’s mourning dresses to the historical souvenir buttons of World’s Fairs and movies in the middle of the 20th century.

As a teacher of technical writing (not as boring as it sounds), I was impressed by the readability and clarity of the directions on the projects. The steps are written specifically. Unlike some craft books, this one has an image for every project on facing page. There is no searching for what the project should look like.

One downside is that many of the projects displayed have buttons that seem hard to get, so it may not be possible to replicate the design exactly. On second thought, perhaps that’s a good thing. No matter how many people have the book and make the same pattern, you’ll still come out with an original, one of a kind item.

You don’t have to have a stock of buttons or craft materials on hand before you start; there is a clear list of materials needed for each project as well as instructions on techniques at the beginning of the book. A resources section includes information on some of the best places to get buttons. While most of the brick-and-mortar stores are in New York City or California, there are plenty of online options available.

It is a book written for a more “traditional” woman; the assumption is that button necklaces and button embellished bags would be of interest. Some items seem more geared for an older generation (I’m in my twenties), but there really seems to be something for everyone. I especially liked the button toys section; I’ll be making the felted owl with button eyes and toes for my niece.

Written by: Kristin Conard, June 11th 2009

Sew Everything Workshop

admin — Sun, 18 May 2008 18:25:00 +0000

By Diana Rupp

Workman Publishing Company

Handicrafts have made an incredible resurgence in the past few years; everyone I know (and their mama) knits or crochets. There are plenty of hip, modern knitting and crocheting books to go along with the trend, to show people things they actually might want to make. Sewing has come a long way as well, but unlike the other crafts, books for modern young women who want to sew their own clothes are few and far between (not considering books about reconstructing old clothes, of which there are lots of great ones). Thankfully, Diana Rupp, founder of the Make Workshop in Manhattan, has come out with _Sew Everything Work_shop, a one-stop-shop for those beginning sewers who want to learn everything they need to know, as well as more advanced sewers who want project ideas.

The first half of the book is aimed at getting beginners completely comfortable with all the sewing terms and skills needed to make anything. Sections on how to choose (and then get acquainted with) the right sewing machine, basic sewing skills (from threading your machine and stitching your first seam to more advanced skills like inserting a zipper and making buttonholes), to choosing the right fabric for your project are all essential for the beginning sewer, or to give the experienced sewer a refresher course for things you might have forgotten.

The rest of the book is given over to projects, and Rupp really goes all out with the amount and quality of things you can sew from the book. Four sections - clothing, accessories, home, and gifts - with easily identifiable difficulty levels, from very easy to advanced beginner, include projects like Cuddle-Up Cardigan, Tender is the Nightie, Naughty Secretary Skirt, Tokyo Tie Bag, and Handy No-Frills Apron. Some projects are described in the book, but eight projects come with multi-sized patterns, which Rupp explains how to use. Speaking of sizing, Rupp’s guidelines for S-M-L are fair, and she even tells you how to enlarge or shrink a pattern, if need be. Word to the wise, though, the guidelines for the sizes are true, so don’t be afraid to alter a pattern to your body.

Rupp’s motto is “Make things with love and what you make will be loveable.” After reading Sew Everything Workshop, even someone who is convinced they could never make their own shirt or purse will be sewing with ease and panache. As a sewer with over a year of experience, I found Rupp’s book and project ideas equally useful; I made the Flouncy Tank Top and Tote-ally Awesome bag and love them both. I plan on using the book even more in the future, and I thank Rupp for finally making a sew-it-yourself book for the modern sewer.

Written by: Dana Reinoos, May 18th 2008

La Petite “Scooter Babe” Starter Kit

admin — Fri, 03 Aug 2007 19:44:00 +0000

By Sublime Stitching

If at first glance needlepoint may not seem to be the most feminist of activities, think again. The sewing and decorating of textile goods has long been a task designated to women. While women have won their place in the workforce, female crafts such as embroidery are losing popularity. What better way to keep the art alive than with the funky designs of Sublime Stitching?

The slogan reads, “This ain’t your gramma’s embroidery!” and with all due respect grandma, the La Petite Starter Kit, available for $22.50, is a bit more free form. The kit design entitled “Scooter Babe” provides a selection of trend setting decals—drawings of scooters, gals and scooter gear. The decals are iron-on and can be used up to eight times to create different patterns and combinations. The insert provides easy to read diagrams of different stitches, but it is up to the creator which stitch is used where.

Also included are a 4” embroidery hoop and four colors of embroidery floss. The gold and red "Asian" design envelope that the needle comes in is a nice touch of tender loving care, and the addition of the little embroidery scissors leads one to believe that nothing has been forgotten, but wait… what are we supposed to embroider upon? Sublime Stitching leaves ample room for the imagination. It is easy to find the spare pillow case, tea towel or other material lying around the house to be freshened up with a little design. I chose to stitch a funky t-shirt for a friend’s baby. With Sublime Stitching design kits, the possibilities are unlimited.

Written by: C. Amber Pearce, August 3rd 2007

Croq Zine (Issue #7)

admin — Sat, 28 Apr 2007 02:15:00 +0000

Edited by Heather Mann

Remember reading or making your first zine? It was most likely folded in half, stapled and sold, given or traded to your friends. Staying up all night at your local Kinko’s, you felt inspired and part of a something bigger-something revolutionary. You went to your local bookstore and bought zines made by people you didn’t know personally, but felt connected to in a way that no magazine ever could? Croq is like that.

Edited by Heather Mann of Portland, OR, Croq Zine is focused on crafts and crafting culture. After the reclaiming and subsequent mainstream popularity of “craftiness”, it is refreshing to see something reminiscent of it’s DIY (and I don’t mean the cable channel) roots. It’s a quarter page-sized, paper zine - staples and all. Features include hand-drawn illustrations and some full color photos. A cute button, with the green crocodile logo was pinned on the cover. Croq Zine’s website, www.croqzine.com, says that it “came about due to a mutual frustration in regards to the current craft resurgence”; the political importance of maintaining authenticity in the craft world isn’t lost on these ladies.

Issue #7’s strongest pieces were "How To Make Maternity Jeans" and "How To Make a Little Red Riding Caplet." Both projects were easy-to-follow yet challenging enough for readers who have used a sewing machine in the past decade. Croq is about more than just ideas for crafts, but also about ideas for what to do with the art we create. An interview with Melissa Detloff, who raises money for various animal charities through a craft sales website called “Crafters For Critters”, was particularly inspiring.

Also notable was "How To Write A Press Release." Because many crafters are in the business of promoting their work, information like this can be empowering. However, the example of a press release, which accompanied the piece, contradicted its own rules of keeping it interesting and to-the-point.

Articles that were less about crafts and more about the writers’ personal experiences, childhoods, etc. were at worst- out of place and mediocre, and at best-mildly entertaining in a “reading someone’s live-journal” sort of way. Next time I find myself tempted by the glossy pages of Martha Stewart or zoned out watching Trading Spaces on TV, I’ll try to pick up Croq Zine and a sewing machine instead.

Written by: Amy Miller, April 27th 2007

Sew Subversive: Down and Dirty DIY for the Fabulous Fashionista

admin — Mon, 12 Feb 2007 12:48:00 +0000

By Melissa Rannels, Melissa Alvarado, Hope Meng

Taunton Press

The subversive notion of sewing (no pun intended) in this book initially caught my eye; I was drawn into the concept sewing is no longer considered to be something only our grannies do, but something that would enable anyone to shout out, “We’re are creative minds!” Sew Subversive is about sewing outside the box, tossing those patterns to the winds and creating your own statement. I shared this book with women both young and not so young; each one was energized by the book layout, ideas and the “coolness” of the ideas. There are reality checks from the authors reminding the reader that learning takes time and practice, that everyone messes up, and mistakes “are not a waste if you learn something from them.”

Written by three women from the San Francisco area, who are owners of a business called Stitch Lounge, the book reflects the more modern perspective of how a sewing circle can provide the tools for creative expression. Stitch Lounge is a studio which offers time, machines, materials, fabrics, notions, and classes to those individuals looking for creative expression through sewing. Sometimes sewing is not even needed; the book offers three projects where thread is not a required material.

Sew Subversive opens with a solid introduction for beginners on sewing basics – such as how to pick fabric, material, and thread and basic hand stitching – then moves into sewing machine basics. The remainder of the text is dedicated to 22 projects. Each project comes with the material list, step-by-step instructions, and the time it should take to complete the project.

I took on one of the projects, transforming two old t-shirts to a tote bag. The step-by-step instructions were accurate and well organized. The authors’ comic relief made the project fun rather than instructional. I finished the project within the estimated period and came out of the process with a bag that is not only very useful; it has proven to be a terrific conversation starter.

Written by: Mary O'Hara, February 12th 2007

Scrappy: A Crafty Zine for Scrappy People, #1: Stitches

admin — Sun, 21 Jan 2007 16:18:00 +0000

By Niku of The Ephemeral Mailbox Museum

A couple of years ago, my grandmother gave me her sewing machine (circa 1940). Have I used it? Hardly. To hem a pair of pants a year or so ago. So I was thrilled when I was chosen to review Scrappy: A Craft Zine for Scrappy People, #1 Stitches. Perhaps it would be just the push I needed to unveil Grandma Betty’s machine and get to creating fabulous, designed-by-moi outfits!

Scrappy is an adorable handmade zine that is perfect for the beginner seamstress (or the hibernating one) looking for a little inspirational shove. Niku, the author, started sewing because she was unable to find a pirate skirt that “would fit a more voluptuous figure.” Scrappy was born out of her love for crafts, and Niku decided to dedicate the first issue to sewing since it’s one of her “favorite crafty activities.”

She explains the basic stitches – the blanket stitch, the whipstitch, the running stitch – and the basic tools – an iron, scissors, pins – necessary to begin. From there, the rest of the zine is dedicated to a number of simple and sassy projects: a reconstructed cardigan, all sorts of cozies (toilet paper, zine, tampon, and vibrator), curtains, and the de rigueur headband.

Visually, the zine is a joy. Xeroxed onto lavender paper and tied together with a fuzzy black string, it’s both typewritten and handwritten with old photos and vintage clip-art interspersed throughout, so even if you don’t want to sew, it’s still fun to look at.

Some of the illustrations are a little confusing (Niku admits she’s not an artist), but with a little experimentation, I think most folks could figure it out (She also includes her email address, so you can always drop her a line to ask for an explanation). There were a couple of pages that were out of order, and that was mildly annoying, but it’s a zine. That’s all part of the charm.

Scrappy is no hardcore instruction manual (a la Martha), thank God. It seems that the point is to explain the basics and then serve as inspiration. Niku admits that she rarely uses patterns, and instead “mostly goes by feel and makes it up as she goes.” So if you’re looking to get into improvisational sewing, then Scrappy is the zine for you.

Now, if I could just figure out how to turn the damn machine on.

Written by: Margaux Laskey, January 21st 2007