Everyday Wear (Winter, 2003) - Part I
Two decades ago 2003 featured such wonderful films as: 'Finding Nemo', 'Pirates of the Caribbean', and 'Lord Of The Rings: Return Of The King.' Popular TV shows included: 'Everybody Loves Raymond,' and 'The West Wing,' both of which received top honors at the Emmy Awards.
In the Fall of 2003 fashion houses offered us the following collections.
Stella McCartney.
Saint Laurent.
Louis Vuitton.
Alexander McQueen.
Versace.
Burberry.
Dolce & Gabbana.
Gucci.
Prada.
Julien MaDonald.
In the fall of 2003 the fashion house copycats were hard at work trying to recreate these designs for the next season's market. So what were the home crafters shown what to make to excite their neighbours and their community at large? For that we need to turn to Belle Armoire Winter of 2003. For these gifted home dressmakers these were just some of their suggestions where they gave you a full suite of instructions to achieve your goal [1].
(a) Crazy Quilting.
(b) A Victorian Jacket.
(c) Jeannette Guetersloh's Every Day Wear.
Reference:
[1] Belle Armoire. Winter Edition (2003).
Preamble
For your convenience I have listed below other posts in this series:
Diversity of African Textiles
African Textiles: West Africa
Stripweaves (West Africa) - Part I
Stripweaves (West Africa) - Part II
Stripweaves (West Africa) - Part III
Stripweaves (West Africa) - Part IV
Djerma Weaving of Niger and Burkina-Faso
Woolen Stripweaves of the Niger Bend
Nigerian Horizontal - Loom Weaving
Yoruba Lace Weave
Nigerian Women's Vertical Looms
The Supplementary Weft Cloths of Ijebu-Ode and Akwete
African Tie and Dye
Tie and Dye of the Dida, Ivory Coast
African Stitch Resist
Yoruba Stitch Resist
Introduction
Yoruba, one of the three largest ethnic groups of Nigeria, concentrated in the southwestern part of that country. Much smaller, scattered groups live in Benin and northern Togo.
Yoruba.
The Yoruba are religiously diverse as well, with most following either Christianity or Islam, though traditional indigenous religions are observed by many. The city of Ile-Ife remains an important site for Yoruba cosmology, and is believed to be the point of origin for human life.
Ilé-Ifẹ̀ occupies a central place in Yoruba history and identity. It is claimed to be the harbinger of Yoruba civilisation. More than a thousand years old, Ilé-Ifẹ̀ is one of the oldest and longest-occupied cities in Africa. Ilé-Ifẹ̀ literally means “House of Abundance.”
Ilé-Ifẹ̀.
Yoruba Copper mask for King Obalufon, Ife, Nigeria ca. 1300 CE.
Yoruba Stitch Resist [1]
The Yoruba are masters of the indigo-dyeing process. They also have the most varied methods of applying resists to cloth. Etu are cloths with Guinea-fowl pattern, where the tied or stitched resists are unpicked, but the cloth is neither washed or ironed, leaving the hillocks of the resists to give a snake-like appearance. The Yoruba term for stitched resist in idigo is adire alabere.
Detail of a Yoruba adire alabere, stitched-resist, indigo-dyed woman's wrap, south-west Nigeria. The fine resist stitchery is worked so as to show up the pattern against the light.
Detail of a Yoruba, stitched-resist, indigo-dyed, woman's wrap, south-west Nigeria. Decorated with the 'Tribal Marks with Fingers.'
Detail of an adire alabere. The stitched resist was of raphia thread, removed with a razor blade.
In the past, the adire alabere technique was worked on handwoven cloth; nowadays, however, it is almost invariably used on readily available mill-made cotton shirting, usually white, but some times patterned. In the latter case, the ground pattern appears in the resist sewn areas against the indigo-dyed background.
Adire alabere. Stitched resist and dyed in synthetic indigo.
Yoruba woman's wrap. Strips of mill cloth have been resist sewn with raphia thread, dyed blue, then unpicked. The strips have then been sewn together, selvedge to selvedge, to give the impression of prestigious and more expensive strip woven cloth.
Yoruba women fold and pleat cloth in numerous ways before stitching in a resist. An interesting variation, which imitates stripwoven cloth, is to take strips of mill cloth, stitch a resist into them, dye them indigo and then, when they are unpicked, sew them up, selvedge to selvedge. Raphia thread is the most common form of resist. The Yoruba have many different adire alabere designs, which are given such names as 'Plantain,' 'Cocoa,' 'Tribal Marks,' and 'Fingers.'
Adire alabere, Yoruba, stitched-resist, indigo-dyed, woman's wrap. south-west Nigeria.
A Nigerian chief.
The same basic technique for stitched resist is employed by the Yoruba. However, raphia is preferred for the resist, not only because of its strength, but also because of the ease with which it can be cut out without causing any damage.
Adire alabere, Yoruba, stitched-resist, indigo-dyed, woman's wrap, south-west Nigeria.
An unusually fine stitched-resist adire alabere. The clock motif is a rare innovation in design.
Yoruba adire alabere. The stitch-resist pattern is worked so that it looks like expensive imported damask cloth.
Yoruba etu cloth. The indigo-dyed, stitched-resist patterns are so fine that the cloth is never washed or ironed.
Reference:
[1] J. Gillow, African Textiles, Thames & Hudson Ltd, London (2003).
Preamble
My artwork has appeared in a number of exhibitions which has been featured on this blog spot. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski
Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists
Merge and Flow (SDA Members Exhibition) M-T. Wisniowski
The Journey (Megalo Studio) M-T. Wisniowski
Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski
ArtCloth Swap & Exhibition
My Fifteen Year Contribution to the '9 x 5' Exhibition
When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski
When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski
My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski
The Last Exhibition @ Galerie ’t Haentje the Paart
Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)
Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery
Timelines: An Environmental Journey
My Contribution to Lake Macquarie's Water Exhibition
The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room
ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I
ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II
ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III
Introduction
Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design Association (ATASDA), the exhibition, ‘A Touch of Gold’, explores artist's concepts of the theme. Intriguing use of fibre and mixed media define this contemporary display of expressive textile wall hangings, 3D objects and wearable art which all reveal a physical 'touch of gold'. Working with diverse art practices, techniques and materials, sixty ATASDA members have created a rich tapestry of textile artworks employing fibre, weaving, felting, dyeing, printing, traditional and contemporary embroidery, and stitch techniques. Some historic pieces by renowned Australian textile art practitioners are included in this celebratory exhibition.
My Contribution and Artist Statement for ‘Graffiti Garden’
My ArtCloth, ‘Graffiti Garden’, is a tribute to female graffiti artists - NeSpoon, Lady Pink, Ouizi, Mona Caron, Natalia Rak, and OG Millie - who utilize media such as stencils, spray paints, and wheat paste to create bold and powerful commentary employing flower patterns and lace motifs to symbolize the connection between people and cultures. Flora in gold and copper-gold hues encapsulate the concepts of growth, renewal, fragility and resilience.
Exhibition Dates and Venue
(i) Incinerator Art Space, Willoughby, Sydney, NSW 17th April to 5th May 2024.(ATASDA gratefully acknowledges Willoughby City Council for the provision of Incinerator Art Space); (ii) Whitehorse Artspace Gallery, Box Hill, Victoria 30th November to 21st December 2024.
My Contribution to ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part III
‘Graffiti Garden’
Title: ‘Graffiti Garden’ (Full View).
Materials and Techniques: Silkscreened, stencilled, mono-printed and hand-painted employing glazes, transparent, opaque, and metallic pigments on cotton.
Size: 71 cm high x 35 cm wide.
Year: 2024.
Edition: 1/1.
‘Graffiti Garden’ (Detail View 1).
‘Graffiti Garden’ (Detail View 2).
‘Graffiti Garden’ (Detail View 3).
‘Graffiti Garden’ (Detail View 4).
‘Graffiti Garden’ (Detail View 5).
‘Graffiti Garden’ (Detail View 6).
‘Graffiti Garden’ (Detail View 7).
‘Graffiti Garden’ (Detail View 8).
‘Graffiti Garden’ (Detail View 9).
Introduction
My first interaction with Janet De Boer was in 2001 when I wrote an article featuring my first solo exhibition, ‘CODES – Textile Installation,’ which was published in Volume 20, Issue 4, Number 64, of ‘Textile Fibre Forum’ (TFF) magazine under the fearless editorial guardianship of Janet De Boer. Since that time, numerous exhibition and textile related articles of mine were published in TFF magazine. The first precursor of TFF was published in 1981 and ceased with issue No. 111 in 2013, with Janet being the sole editor - a true pioneer and inspirational force of nature! Janet’s editorial vision changed perceptions of textile and fibre arts by promoting contemporary Australian textiles with artist profiles, exhibitions, textile events and more, and in doing so, exposing Australian practitioners to international and national audiences.
In 2011, TFF changed ownership to ArtWear Publications. In 2013 I was invited to take up the position of co-editor of TFF and from September 2013 to June 2015 I had the privilege of working alongside Janet as co-editor of the magazine. Her insights into the creative process and her talent for cultivating some of Australia’s most innovative and exciting artists has shaped the history of textiles in this part of the world.
Janet’s entrepreneurial spirit coalesced into the creation of her famed and funtastic - ‘Fibre Forum’ conferences - which ran for decades. International and nationally renowned artists were invited to tutor exceptional textile, fibre, and/or complementary workshops in their field of specialization. Exhibitions, installations, artist talks, together with a merchant’s/trader's hall, featured heavily during the mostly five day conferences which were held in various parts of Australia.
I was fortunate and honoured to have been invited to tutor at 4 five-day ‘Fibre Forum’ conferences from 2008 to 2010 where I taught my ‘In Pursuit of Complex Cloth: Complex Cloth Intensive’ at such venues as the 2008 Wrapt in Rocky, Biennial CQ Textile Forum Conference, Rockhampton, Queensland, Australia; at the 2009 Orange International Fibre Forum Conference, Orange, NSW, Australia; and at the 2009 Geelong International Fibre Forum 10th Anniversary Conference, Corio, Victoria, Australia, where I was also invited to exhibit as a 'Feature Artist' alongside American tutor and artist Mary Edna Fraser at Geelong Grammar School’s Sinclaire Gallery. In 2010 I tutored my ‘In Pursuit of Complex Cloth: Disperse Dye and Transfer Printing,’ at Wrapt in Rocky, Biennial CQ Textile Forum Conference, Rockhampton, Queensland, Australia.
Glam, glitz, and dressing-up were encouraged by Janet and her team. Like a mischievous ringmaster, she introduced exciting new ideas, formats, people and events to an audience who carried these ‘Fibre Forum’ memories and experiences with them for the rest of their lives.
A role model who set the highest of standards, Janet’s many other talents and achievements include working as a weaver, an occupational therapist, being CEO of The Australian Forum for Textile Arts Ltd (TAFTA) as well as founder, owner and manager of Gallery 159 in Brisbane. In retirement, Janet publishes a free E-bulletin titled -‘Fibre Forum’ - and writes for various national and international textile magazines.
Janet’s contribution to the field of textile/fibre arts cannot be underestimated. In 2004 she was awarded the prestigious ‘Order of Australia Medal’ (OAM) for ‘service to the development and promotion of textile arts, particularly as Executive Director of The Australian Forum for Textile Arts Ltd.’
A generous and adventurous spirit, Janet is a connector, a mentor, a motivator, an inspiration, and a most loyal and hard-working individual. Through her world view she has given contemporary textile arts, makers, and educators a greater visibility and acceptance with her in-depth stories, cutting edge imagery, and creative flair reaching millions of people via her numerous platforms.
Morevoer, Janet loves her husband and her extended family. I know you will enjoy Janet’s journey as much as I have.
Janet De Boer: A Unique Multi-Dimensional Personality
I was born on a chicken farm in Newberg Oregon in 1946, and lived in the USA until 1975 when I went on a working holiday to Australia as an Occupational Therapist, and ended up staying. I became an Australian citizen in 1995 - a dual citizen in fact. In 2004 I was awarded an OAM (Order of Australia Medal) for 'Service to the development and promotion of textile arts, particularly as Executive Director of The Australian Forum for Textile Arts Ltd.'
The first 30 years in the USA included learning to weave on a whim (and a loom) in New York City (NYC), circa 1970. I had been Temping in various media agencies, having received a degree in Mass Communications by then. My weaving tutor was Paula Adler who had studied with Jack Lenor Larsen. Weaving had not become such an active pursuit at that time, as was the case over the next ten years or so, with more suppliers setting up, opportunities to learn and the publishing (or republishing) of many books. For me the lessons with Paula and access to looms, yarns and ideas constituted a total 'AHA' moment, and as NYC itself was not working out, I returned to my by-then hometown of Loveland, Colorado (USA) and started giving weaving lessons in a small recycled horse barn (having built my own teaching looms which were nothing to write home about). There was one episode in between. Paula had recommended me to a firm in NYC that wove fabric samples for the power loom industry and tried to get orders for mass fabric production for weaving factories in the southern USA (all gone by now of course). I was hired and became essentially a technical weaver, full-time, for my final year in NYC, working out of the 34th floor of a skyscraper in Times Square. I loved weaving so much that I bought a small second-hand Leclerc loom, moved it into a three-bedroom flat I shared with four other people (to be able to pay the rent) and wove every night after dinner, freelance – again, fabric samples to specification. Moving forward – I became an Occupational Therapist in 1973.
In 2010 I am shown on a visit to Loveland, home of Interweave Press, at Linda Ligon’s office. By this time Linda had mostly retired from Interweave Press (doing videos only). She eventually started Thrums so she is still publishing quality material. Linda was always kind enough to say I had taught her to weave in the first part of the 1970s, which coincides with the time Linda was thinking of leaving teaching and taking up publishing - and playing with the idea of ‘Interweave.’ Interweave Press came about close to the time that I left for an Australian ‘visit’ in 1975.
So this picture with Linda was taken 35 years later when I was 64 years old.
By 1978 I was teaching Occupational Therapy at the University of Queensland and getting to know the art/craft scene in Australia. A small group called AFTA (Australian Forum for Textile Arts) had formed in 1974 at a meeting held at Sturt workshops, Mittagong, NSW. Their hope was to improve teaching skills (for weaving in particular) and design awareness. About 25 people attended and they agreed to hold biennial gatherings.
Part of the renowned Sturt Gallery and Studios (Mittagong, NSW, Australia).
A number of things resulted from this conference, including the decision to go ahead with a magazine, ‘Fibre Forum,’ subsequently titled 'Textile Fibre Forum.' To this end, $1,500 had been raised, but nothing more came of it. Until Brisbane hosted one of the ‘AFTA’ biennial gatherings calling it, "FORUM ’80," and concentrating on workshops and communication among a wide variety of textile crafts people. Betty and Tony Franks and I were the organizing committee and we were provided with $50 seeding money. Since all three of us worked at the University of Queensland, that was where "FORUM ’80" was held with 10 workshops running over a week.
In 1981, along with Jan Scudamore. I produced the first issue of what became Textile Fibre Forum (TFF) which originally came out twice a year (black and white only). Then as sole editor, I took the magazine to three issues per year (usually 60 pages with around 10 in colour); then it went to half the pages in colour (1987) and then TFF became quarterly in 2000, ending up being full colour. With issue #103, Textile Fibre Forum ceased to be the property of TAFTA (The Australian Forum for Textile Arts Ltd.) and moved to its current owner, ArtWear Publications. I was sole editor up to and including issue #111 and joint editor for 8 more copies, when I retired.
Artwork for TTF Issue #103 by Cathy Moon.
Artwork for TTF issue #111 (above).
Note: A detail of a banner by Susan Holmes.
Backing up: 1987 not only saw TFF including much more colour but the magazine was also widely sold in newsagents. And this was the year when it became possible to form a national not-for-profit arts company 'limited by guarantee' (The Australian Forum for Textiles Arts Ltd.) with a Board of Directors and an employee – Janet De Boer, CEO – who kept that position until the company dissolved in 2016, having served its purpose in creating viable models for publishing and conferences that were subsequently adopted by others.
Svea Bjornson with Janet getting ready to play Dorothy in the Wizard of Oz at a FORUM party.
The FORUM conferences continued to evolve, moving from State to State until Sturt Craft Centre at Frensham School, Mittagong (NSW, Australia) became a permanent ‘home’ for a week each April for 14 years until 2004. (So ‘AFTA’ came home...) During this time The ‘Geelong FORUM’ was also created for a week starting late September and and has lasted well over two decades, now under new leadership. Quite a few ‘Regional FORUMs’ also came about, which TAFTA auspiced in various Australian States. For example, Fibres West is one of the great survivors in Western Australia. I also organized three ‘Briz-Vegas’ FORUMs for my hometown of Brisbane, Queensland (Australia).
The typical format of a FORUM was created as a mutual effort over time and while each was definitely workshop based, they included lots besides and were highly celebratory. Young people were strongly encouraged to attend a FORUM – initially there were workshops for those aged between 13-20 years old, but it was discovered that they could easily fit in with the main demographic – women over 50 with disposable incomes.
Scholarships were offered to aid those whose incomes were far from disposable. In addition to more expected ‘textile’ subjects, workshop themes stretched to, for example, jewellery, millinery, shoemaking, bellydancing (including costume making) and even wig making.
Nikita Vanderbyl, a scholarship student, appears in her yellow wig, with Janet in part of her belly dancing costume.
Every FORUM had at least one major party with lots of dress-ups and a live band (even an Elvis Impersonator on one memorable occasion!)
Janet appears at the Bellagio in Las Vegas in 2015 with her 'Kissing Elvis' handbag direct from Graceland, evidence of an on-going fascination with the Elvis phenomenon.
With assistance from the Australian Department of Foreign Affairs (DFAT), TAFTA was able to bring artisans to Australia from the UK, India, Japan, Korea and Indonesia. Otherwise funding was very minimal and TAFTA positioned itself to be self supporting from the very beginning.
I appear above in 2008 with Lachhuben, a Rabari embroiderer from Kutch.
Installations have always been encouraged at the FORUM. In 2012, Evelyn Roth, well known for her huge inflatables, provided a two-story high chicken for the grounds of Geelong Grammar School, (Corio, Victoria, Australia) home of the ‘Geelong FORUM.’ A tribute to my chicken farm origins?
Evelyn Roth's two-story high chicken.
Jellyfish in the trees by Aly de Groot who makes them from fishing line and creates masses of them to remind people of a marker of climate change, the proliferation of jellyfish.
Also on the grounds of Geeong Grammar School were the following.
The Yurt, created through the efforts of Martien van Zuilen, who brought many felters together from around Australia to effect its creation at a Mittagong FORUM workshop.
Banners created and hung by Susan Holmes at Springwood High School in the Blue Mountains of NSW where a style of ‘FORUM’ called ‘ContextArt’ came about in 2012.
Every FORUM featured a 'Merchants Hall' and a selling day for participants and tutors. It was often possible to hold major exhibitions on the venue’s premises and in other cases, local galleries became involved. Even the Bar staff got to dress up!
I'm dressed by Evelyn Roth, just for fun – and for a Geelong FORUM party night.
The Bar staff far left: My step- daughter Lisa Wojciechowski; at back Martien van Zuilen; at right, Carolyn Love and in front, Fiona Gavino. AKA The Fridas of the Geelong FORUM.
Note: An added bonus: massage therapy and reflexology could be booked at each FORUM.
The ‘FORUM’ varied from having 10-25 workshops depending on the ambitions of each, and most were residential, but the format did vary as living in suits most but not everyone. A lot of hard work was involved for many people. A mobility scooter really helped with classroom deliveries, luggage assistance, rehydration and keeping the mood positive even when body joints begin to ache.
The scooter and me!
False eyelashes are vital, and easy to make out of recycled feather boas. When people start to tell you that you look tired, just slip into a pair of these and suddenly they stop... False eyelashes also make great prizes, especially for visiting tutors who have been known to remark that they had never before experienced anything like a FORUM. The bottom line: if you get people tired but happy, their creativity tends to be unleashed – and then you throw into the mix 'Some Silly.' A great formula for artistic pursuits.
Eyelashes and me!
Close attention was always paid to the finances of TAFTA Ltd., and of course an annual audit was legally required. Sometimes it felt like a painful struggle but then, many artists have this ongoing issue, not just arts administrators. (I often considered myself the lucky one, compared to what I have seen visual artists had to endure).
The decision was made in 2000 to make TFF a quarterly magazine and to run 3-4 FORUM events a year through TAFTA, most notably the large Geelong FORUM – more work, a lot more, but a financial corner was turned. And by 2003 enough money had accumulated so that the TAFTA Board of Directors felt they could provide the CEO with a substantial lump sum to top up her superannuation. But what I really wanted was an office! And secretly my husband and I also wanted a gallery. So plans were drawn up for what became a two-story extension of our home, with covered walkway and so we created Gallery 159, since we lived at No. 159 in the Brisbane suburb named, 'The Gap.'
From a phone box to an upstairs office in a gallery building!
Okay the phone box is a bit of an exaggeration, but when I travelled, for example to Grampians Texture in Halls Gap (and when WiFi could be very uncertain, which it no longer is, I hasten to add) it was important to ring my answering machine at the home office in Brisbane.
Note: Also shown above, one part of a vast office space I was eventually able to set up in Gallery 159 in Brisbane. Bliss. Oh yes - I also sold quality textile books on behalf of TAFTA.
One view of the outside of Gallery 159.
Note: Much of the upstairs was for offices and storage but a long wall was included for hanging work. Downstairs there were major exhibiting areas and a kitchen, with bathroom and storeroom as well.
Intending exhibitors could apply to the TAFTA board and if their proposal was accepted then dates were set for a 2-3 week showing and the exhibition was guaranteed coverage in Textile Fibre Forum magazine. It was agreed that TAFTA would operate the gallery in the best sense of a not-for-profit; hire fees were low and only 25% was taken on sales. There were 100 exhibitions over 13 years.
Our house would be to the right in the shot above and a long covered walkway made the gallery effectively an extension of the house. I agreed to manage the gallery for TAFTA until I reached 70 years of age in 2016. Peter and I were allowed to sometimes stray from the textiles area in curating shows, although this was very much the exception. Workshops were also held in the gallery space from time to time including Master Classes (e.g., Ruth Hadlow from Tasmania.)
Peter Wojciechowski.
The man who was brave enough to marry me, and help me run a gallery (including many hours doing the lighting for each exhibition, and running the bar during openings.)
It was agreed that upon my retirement the gallery building would officially be owned by Peter and me. So instead of an increase in superannuation, I was to receive the benefit of this extra building. And that is what came to pass. A good offer was made on the block of land and buildings, and was accepted, so we moved on and Gallery 159 is no more. But having a gallery in one’s backyard can be highly recommended!
This hints at the way that Gallery 159 presented, although it’s only a small part of Gallery 159.
Note: This was a group show staged by hand weavers.
A lot was achieved over all those years. It still takes me by complete surprise that my life headed in this direction and I was able to sustain my enthusiasm right to the end. I was helped by some excellent people who sat on my Board for terms of 2-4 years (and would then sometimes agree to again be available at a future date).
Actually when I do start to remember all the fabulous people, the list becomes unmanageable. Tribute must be paid, however, to Jude Skeers, a master knitter, primary school teacher and effectively my 2IC – when it came to devising and running the FORUM conferences in particular.
Jude and I in 2012 at the Carrington in the Blue Mountains during a party we staged in conjunction with the first ‘ContextArt’, very much a FORUM although non-residential.
Our last gasp, after working together on these events for more than 30 years, was to create an event that had a weekend workshop component (which we hoped would encourage people to give it a go who could not commit to a full week and the cost of living in) – you could attend for the opening weekend which was followed by a 3-day workshop segment – so many were able to work with two tutors if they could commit full time. It was a great success.
Jude has always loved hats and our dear friend and expert milliner, Jean Carroll, would make a new one for him, for him to wear at our inevitable fancy dress parties.
Jean Carroll appears above with Jude, having just presented him with a new hat.
This kind of spontaneous act represents another wonderful aspect of all I was able to be part of – the enthusiasm and generosity of so many people we seemed to inspire. A lot to celebrate!
Retirement commenced at age 65, and was completed by age 70.
How do I spend my retirement without an audience? I do write some articles about Australian textile artists; I publish a free E-bulletin that people tell me is both entertaining and informative. I have just started a Pest Gazette for the local community garden, and I enjoy myself. For example, I open events when asked. This gives me a chance to wear items from my rather eccentric wardrobe. Most days, I just wear scruffy things from the Op Shop, or my Tai Chi T-shirt along with the elastic waisted pants that characterize my time in life.
Event opening.
I travel to interesting places.
Guess where?
I run workshops on what the well dressed conference manager should be wearing – just kidding! Nevertheless, this is a good way to get people's attention when you are running conferences.
Felted hat by Liz Evans and glam earrings by Cheryl Bridgart.
Note the specs!
I accessorize my false eyelashes.
Oh yes - and I kayak.
Note: Dismounting is not what it used to be and you should see me getting in it!
I trap redclaw at times, and turn them into delicious things to eat. I also cook. And sometimes I even make it back to the USA to visit my beloved family there.
Textiles have given me the world!
Stella McCartney.
Saint Laurent.
Louis Vuitton.
Alexander McQueen.
Versace.
Burberry.
Dolce & Gabbana.
Gucci.
Prada.
Julien MaDonald.
