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A Textile Collage | Cooper Hewitt, Smithsonian Design Museum
"Tsugihagi was designed by Reiko Sudo (b. 1953), one of Japan’s most important contemporary textile designers. Educated at Musashino Art University, she is currently managing director of the Japanese company and store NUNO where she has been since 1984. NUNO produces textiles of extraordinary ingenuity and beauty. Sudo and the other designers at NUNO combine tradition and advanced technologies with remarkable creativity, which led them to the forefront of textile design field.

In 1996, NUNO began working with various kinds of embroidery techniques to create new effects. Tsugihagi, designed in 1997, is a delicate combination of embroidery and collage techniques made with remnants of NUNO fabrics that are laid out to cover the surface of a base fabric. The remnants are stitched down by sewing machine, and the base fabric is dissolved away leaving a lacy and net-like patchwork of different fabrics. Each piece is unique and twenty years later they continue to produce these textiles. Tsugihagi can be used as a window covering or for other interior purposes. This type of embroidery technique, in which the ground fabric is destroyed, began in the early 1880s when protein fibers like silk or wool were more than likely used because they could be dissolved by a solution of caustic soda or potash, leaving the embroidery thread of cellulose fibers like cotton or linen intact."
reikosudo  japan  textiles  glvo  cooper-hewitt  matildamcquaid  design  art  fabrics  embroidery  collage  nuno  sewing  remnants  reuse  sustainability 
september 2016 by robertogreco
TurtleStitch
"Turtlestitch

is based on a browser-based educational programming language (Snap!) to generate patterns for embroidery machines. It is easy to use, requiring no prior knowledge in programming, yet powerful in creating nowels patterns for embroidery. It is useful for designers to experiment with generative aesthetics and precision embroidery as well as tool for innovative workshops combining an introduction to programing with haptic output.

Turtlestitch uses Snap!s "pen module" which it interprets as a needle and transforms its output into widely-used embroidery file formats.

About Snap!

Snap! is a visual, drag-and-drop programming language that allows students to create interactive stories, animations, games, and more, while learning about mathematical and computational ideas. Snap! was inspired by Scratch, but also targets both novice and more advanced students by including and expanding Scratch's features.

Snap! is developed by the University of California, Berkeley with the support from the National Science Foundation, MioSoft, and the CommunicationDesign Group at SAP Labs.

The design of Snap! is influenced and inspired by Scratch, from Lifelong Kindergarten group at the MIT Media Lab. For more information see
http://snap.berkeley.edu and http://scratch.mit.edu "
turtlestitch  snap!  embroidery  sewing  scratch 
august 2016 by robertogreco
Inclusive on Vimeo
"Learn how human-led design makes a deep and connecting impact, leading to innovative and inclusive solutions.

Learn more at inclusivethefilm.com

Participants:
Catharine Blaine K-8 School
Susan Goltsman - MIG, Inc
Will Lewis and Ted Hart - Skype Translator
TJ Parker - Pillpack
Graham Pullin - University of Dundee
The High School Affiliated to Renmin University Of China (RDFZ) Beijing
Jutta Treviranus - OCAD University
Mike Vanis - Interaction Designer"
inclusion  inclusivity  microsoft  via:ablerism  2015  design  catharineblaine  susangoltsman  willlewis  tedhart  tjparker  grahampullin  juttatreviranus  mikevanis  video  documentary  audiencesofone  sewing  aging  retirement  work  ambientintimacy  memory  nostalgia  presence  telepresence  inclusivedesign  technology  translation  healthcare  prescriptions  playgrounds  seattle  sanfrancisco  captioning  literacy  communication  hearing  deaf  deafness  skype 
june 2016 by robertogreco
Gamasutra - Alt.Ctrl.GDC Showcase: Threadsteading
"The 2016 Game Developer's Conference will feature an exhibition called alt.ctrl.GDC dedicated to games that use alternative control schemes and interactions. Gamasutra will be talking to the developers of each of the games that have been selected for the showcase. You can find all of the interviews here.

Threadsteading turns sewing into a territory-control board game. In it, players deliver commands to the quilting machine to take control of a hexagonal space, stitching a permanent mark on the fabric. In the end, the players will have created a quilt for themselves - a tangible reminder of the game they played together.

By using a hexagonal grid, keeping an unbroken thread line, and encouraging evenly distributing lines across the game space with little backtracking, developer Gillian Smith, along with team members April Grow, Chenxi Liu, Lea Albaugh, Jen Mankoff, and Jim McCann, have taken the rules of quilting and turned them into a game.

This repurposing of a large, practical machine into something fun that creates a permanent, useful, physical memory of the time spent in play is set to appear at GDC's Alt Ctrl GDC exhibit. Smith answered some questions about the game for Gamasutra."
sewing  sewingmachines  textiles  2016  games  gaming  videogames  gilliansmith  aprilgrow  chenxiliu  leaalbaugh  jenmankoff  jimmccann 
march 2016 by robertogreco
hillary fayle
"I use found botanical material such as leaves, seedpods, and branches to explore human connection to the physical world. By combining these organic objects with the rich traditions of needlecraft, I bind nature and the human touch. Both tender and ruthless, this intricate stitch work communicates the idea that our relationship with the natural world is both tenuously fragile and infinitely complex.

The way I think about and make art mirrors the way I think about my life and how I walk through the world. What I do is about elevating details. It is about noticing cycles and connections. It is about regarding a familiar object in a new way. It’s about seeing things and considering their connection to you, their potential futures and possible pasts. There is a depth and an importance to what is present, and what is absent. Invisible narratives are woven into and around each piece, each interaction. As I gather materials with which to work, I consider what connections might exist between us, or how each object might be related to another. I am a cartographer, drawing and plotting an imaginary map, from one object to the next, intervening with each. These objects naturally fit into categories, which relate to my own experiences, but also to their origins and how they came into my hands. The vertices of experience and the actual life trajectory of an object are what interest me the most; the points at which the object and I intersect.

I grew up in Western NY, and earned a BFA from Buffalo State College, and an MFA from Virginia Commonwealth University."

[See also: http://www.hillarywfayle.com/ ]
embroidery  sewing  leaves  plants  glvo  hillaryfayle  art  trees 
december 2015 by robertogreco
Why Needle And Thread Is Still Some Of The World's Most Incredible Tech
"If you’re compiling a list of the most important technologies of our age, you may start with the personal computer, phones, maybe a nod towards the highway system. But, hey, how about a needle and thread? Should that be in there, too? Yes, it should. Here’s why.

io9’s comment of the day comes from commenter gigglesticks who shared this argument for why sewing technologies are incredibly underrated:
I don’t consider fire a technology so much as a natural resource. Shaping rocks to hit and scrape stuff with is the oldest, but boring, and also how often do humans use rocks as hand tools nowadays? But long before the wheel, came the needle and thread. For tens of thousands of years (possibly up to 60,000), humans have been sewing up people and things, not to mention using them for tattooing and other decoration. Later on, they were used for weaving, knitting and acupuncture. Yesterday, I hand-sewed a bag I’m working on and fixed a hole in my jacket, and the only difference is I’m working with steel and cotton, not bone and deer sinew.

Give it enough time, and any technological advance starts to seem like just the building blocks of other technologies, instead of an advance in and of itself. But, while the technique has remained essentially unchanged through history, new applications — whether for sewing clothes, stitches, book-bindings, and more — just keep coming."
glvo  sewing  history  technology  2015  needles  thread 
june 2015 by robertogreco
The Textile Cuisine
"Living in an old city of textile industry in Poland, I create subtle pieces of art in every form possible. From small ornaments to great wallhangings, everything I create starts from a scrap of textile.

It is a contemporary way to involve art in our everyday life, to let it into our houses, on the tables. My creations are mostly inspired by the charm of small things and are made to give the same feeling of beauty. See my works to see inspiration coming from nature, food, kitchen or... old stories!"
glvo  textiles  sewing  bozenawojtaszek  blogs  quilts  quilting 
june 2015 by robertogreco
The Process: Bloom Blanket » The Kickstarter Blog — Kickstarter
"One thing was clear: my friends at the tiny Barcelona factory would never be able to sew so many blankets so quickly. My intention was to make 40 beautifully handmade blankets but after being backed by 947 people the entire production process had to be revisited."
manufacturing  sewing  process  2015  biancachengcostanzo  production  glvo  quilting  bloomblanket  kickstarter  logistics 
march 2015 by robertogreco
Guide to the Masters: the Science of Art Behind Nancy Graves - YouTube
"In this edition of Guide to the Masters, Christina Hunter, director of the Nancy Graves Foundation, sat with ArtInfo to talk about the illustrious, Massachusetts native her organization is named after."

[via: "natural history as a way of extending how artists see the world
#womeninscience #YesAllWomen
https://www.youtube.com/watch?v=7jcwLSy0QQY "
https://twitter.com/FSologists_AK/status/578402006890467328 ]
art  science  nancygraves  naturalhistory  2015  sewing  taxidermy  arthistory  christinahunter  artscience  space  glvo 
march 2015 by robertogreco
MIYAKE DESIGN STUDIO official site
"“A-POC” is an acronym for “A Piece of Cloth” and refers too, to the idea of “epoch.” It is a manufacturing method that uses computer technology to create clothing from a single piece of thread in a single process. Development began in 1997 as a project led by Issey Miyake and engineering designer Dai Fujiwara. The first results included ‘A-POC King & Queen, A-POC Le Feu’ and were presented in the Spring/Summer 1999 ISSEY MIYAKE Paris Collection. Following that, PLEATS PLEASE ISSEY MIYAKE and other collections began to develop items based upon the A-POC method (called “+A-POC”) starting in 2003. After 2007, the collection introduced design solutions under the subtext of "A-POC INSIDE" and has continued to refine its vision for making clothing."
a-poc  isseymiyake  1997  1999  fashion  fabric  textiles  sewing 
february 2015 by robertogreco
Issey Miyake – A Piece of Cloth | Tokyo Telephone - Your Direct Line to Real Japanese Fashion
"A wee while ago now, my dear friend and I hotfooted it to the Barbican gallery in London to see their exhibition “Future Beauty: 30 Years of Japanese Fashion” – both being huge fans of Japanese fashion, street and couture, we felt the need to check it out! I won’t spoil the exhibition for those planning to see it too, but I will say that we left feeling slightly stuffed full after gorging our eyes and brains on the clothing & video installations; totally worth it. Being the shopper & book fiend that I am, I was very happy to note the excellent selection of Japanese fashion books on offer in the gift shop – quick, update your Christmas wish lists now!

I think I know what I’d like Father Christmas to bring me this year: a piece of cloth. Preferably from Issey Miyake!

[images]

Usually here at Tokyo Telephone we strive to bring you the most up-to-date goings on in the wonderful melting pot of Japanese fashion, but I really felt that Dai Fujiwara’s A-POC (A Piece of Cloth) collection for Issey Miyake at the turn of the millennium was well worth a mention despite being a decade old, ancient history in fashion terms.

Traditionally Japanese fashion , particularly that of the 1980s when the Miyake brand began to take hold, was monochromatic – black being the favoured colour of everyone from sombre suited salary men to the young fashion elite on the Tokyo streets. So when we turned a corner at the Barbican exhibition, it was literally and figuratively: confronted with mannequins locked inside bright red material stretching up to the ceiling and back again. At once elegant and uncomfortable (a combination that Japanese design does best!) it was a visual spectacle at the very least.

The concept is an unusual one, as all the clothes in the A-POC collection are cut from a single long roll of fabric. A video installation of the catwalk premier showed the Issey Miyake team cutting a vast swath of cloth, and as if by the wonder of their magic scissors, all sort of garments appeared: socks, hats, tops, dresses… sort of like paper dolls for post-yuppie generation.

[image]

I did mention that the concept was unusual, maybe not entirely original: of course I have to mention kimono. Made in the age-old way from a single piece of cloth, perhaps beautifully dyed silk, the kimono requires no real tailoring and fits everyone no matter their weight or height. However, despite the inherent similarities to the fundamental construction of kimono, A-POC feels futuristic nonetheless. With bright primary colours and aching minimalism, there’s the sense that this collection could have been dreamed by a sci-fi writer in the 1960s, clothes and humans alike produced on huge rolls; cut to fit your taste.

[image]

The genius of Issey Miyake doesn’t stop at A-POC either: with another nod to Japanese traditions, consider the origami-like intricate folds of the Pleats Please collection. Anyone who can turn the above tightly folded material into the dress below is well deserving of praise! Like all the best magic tricks, my brain hurts just trying to work out how it’s done…

[image]

Issey Miyake: genius, visionary, traditionalist, magician, architect, and more.

[video]

Love this animation showing the attention paid to movement and line – a bit mesmerising."
a-poc  isseymiyake  1999  fashion  fabric  textiles  sewing  2010 
february 2015 by robertogreco
ISSEY MIYAKE - APOC Galaxy on Vimeo
"This project began as a still photograph for an exhibition by Miyake Design Studio at the Museu de Arte Moderna in Sao Paulo, Brazil. Designers Issey Miyake and Dai Fujiwara, asked us to create a photograph that would illustrate their concept of A-POC (A Piece of Cloth) wherein the finished fashion garment is woven into the bolt of cloth. When they saw the photograph they asked us if we could animate it.
isseymiyake.com

Produced by Trillium Studios (trilliumstudios.com)"
a-poc  isseymiyake  1999  fashion  fabric  textiles  sewing  2003  daifujiwara  video 
february 2015 by robertogreco
Wired 12.04: Seamless
"Issey Miyake saw the future of fashion. So he gave up haute couture to become a softwear engineer."
a-poc  isseymiyake  1999  fashion  fabric  textiles  sewing  2003 
february 2015 by robertogreco
ISSEY MIYAKE Official Site
"In 1998, Miyake began to develop A-POC (A Piece Of Cloth) with Dai Fujiwara. A-POC was not only able to create clothing with a high degree of variation, but was also able to control the amount created through the process of casting, where each thread receives computerized instructions. A-POC was revolutionary in that it began with a single thread and resulted in fabric, texture and a fully finished set of clothing in a single process. It led the way, along with the concept of engineering design, to a new methodology of clothing design. The Museum of Modern Art (MoMA) in New York added this project to its permanent collection in 2006. In 1998, soon after Miyake started research on A-POC, he presented the ISSEY MIYAKE MAKING THINGS exhibition in Paris. (This later traveled to both New York and Tokyo.) The exhibition presented his work from Pleats (1988) onward and was widely acclaimed. “His work is grounded in that stretch of history called the present and draws meaning from fashion’s immediate context. ‘Making Things’ presents that context with immense glamour and wit.” (By Herbert Muschamp, December 27, 1998 The New York Times)"

[image]

"From the exhibition ISSEY MIYAKE MAKING THINGS, Museum of contemporary Art Tokyo, 2000.Just Before [black], A-POC King & Queen[red]
Photo : Yasuaki Yoshinaga"

[image]

"NATIONAL GEOGRAPHIC, Jan. 2003
P.72-73 “Weaving the Future” A-POC Quatro Cotton, 2001
Photo : Cary Wolinsky and Barbara Emmel Wolinsky
Shown by Alvin Ailey Dancer Dwana Adiaha Smallwood"

[image]

"The New York Times
Sunday, December 27, 1998"
a-poc  isseymiyake  1999  fashion  fabric  textiles  sewing  1998  2003  2000  2001 
february 2015 by robertogreco
Lurve - Home
"What is A-POC ?
Overlength sweaters, dresses off the roll, A-POCis based upon Miyake’s first design concept, a piece of cloth, is a new and unique suggestion for everyday life, which goes far beyond the boundaries of fashion.
It is made using an industrial knitting or weaving machine programed by a computer.
This process creates continuous tubes of fabric within which lie both shape and pattern. The customer cuts sleeves and skirts exactly to the length he wants. It is an idea that totally overthrows the existing standards for making clothes.
A-POC is made in a sequence in which thread literally goes into a machine and re-emerges as a piece of clothing, an accessory, or even a chair. This interactive new method not only reduces leftover fabric but also permits the wearers to participate in the final step of the design of their clothing: they determine the final shape of the product.
Mass production and custom-made clothing, seemingly opposing ideas, become compatible with each other through the wizardry of technology and the fire of imagination.

Images from A-POC MAKING
ISSEY MIYAKE & DAI FUJIWARA
Vitra Design Museum
1999
Alien
Eskimo
They were among the Issey Miyake Autumn-Winter 1999 Collection held on March 10 at la Grande Halle de la Villette, Salle Charlie Parker, Paris.
” Alien” was made of double layers of airy knitted mesh to add interest and depth.
” Eskimo”, with padded geometric patterns, had three-dimentional interest."
a-poc  isseymiyake  1999  fashion  fabric  textiles  sewing 
february 2015 by robertogreco
Transitory Map .:. Milena Bonilla
"I randomly took several bus rides in Bogotá and sew the torn fabric of some of the buses seats. The size of the holes defined the time invested in repairing them while traveling along the city. After each journey, I highlighted the bus's itinerary by sewing it on a map of the city, using the same thread color as the one used to sew the seat. Twenty-five tours were completed in the project and sixteen are documented."

[via: https://twitter.com/ablerism/status/566767100556247041 ]
milenabonilla  art  bogotá  colombia  repair  sewing  glvo  mending  buses  publictransit  publictransportation  repairing 
february 2015 by robertogreco
Put This On • A Little DIY Wabi Sabi Whereas most of us value...
[via: https://twitter.com/mattthomas/status/552690009028198402 ]

"A Little DIY Wabi Sabi

Whereas most of us value things that are perfect and enduring, wabi sabi is the Japanese worldview that sees beauty in imperfection, impermanence, and incompleteness. Things such as a slightly lopsided vase, a shirt that’s missing a button, or an old, wooden desk that’s a little too dry. It’s believed that by recognizing the beauty in such things, we can better appreciate the natural cycle of life — from growth to decay to eventually death.

Jonathan Lukacek — the very talented blogger behind Bandanna Almanac — is certainly familiar with the concept. He’s an American living in Japan, having stayed there after studying abroad for college. He’s also an inveterate thrifter who likes to collect garments with a lot character (rather than things that happen to be rare or hold value). In other words, “things that tell a story,” as he put it to me.

Seen above are some of the creative ways he’s repaired his vintage finds. There’s a pair of jeans with pocket bags made from cut-up bandannas; a dirty collar of a denim shirt made new again through some more bandanna cloth; an old Five Brothers flannel with a slightly askew internal pocket (made with just the right amount of pattern matching); a denim jacket with blanket lining on the outside of the coat; and finally, some decorative sashiko stitching on the collar of an old chambray shirt.

Everything was done with fabrics that Jonathan has either thrifted or found over the years. Some repairs he did himself; others he did in collaboration with his good friend Narita at Brown Tabby (a vintage repair shop in Japan). All of it is awesome — especially if you’ve ever appreciated anything at a thrift store or flea market, or even the designer lines that are inspired by such things (e.g. Blue Blue Japan, Kapital, and Visvim).

You can see more of Jonathan’s work at his Instagram account. He also occasionally sells things at Etsy and eBay."
fixing  mending  repair  repairing  clothing  denim  jeans  wabi-sabi  sashiko  jonathanlukacek  japan  sewing  clothes 
january 2015 by robertogreco
Repair Your Own Jeans | Submitted For Your Perusal
[via: https://twitter.com/mattthomas/status/552690009028198402 ]

"[video embedded: https://www.youtube.com/watch?v=NXL0X193HDw ]

The white patch thing is one of Vlieseline’s many iron-on interfacings but I’m not sure which one. More information — including a link to order a free repair kit — can be found at the Nudie Jeans website.

Jeans, like leaves in the fall, are at their most beautiful just before they disintegrate. This guy’s got the right idea: [image]"
matthomas  jeans  denim  mending  2012  sewing  beausage  repair  slothes  clothing  fixing  repairing 
january 2015 by robertogreco
Freehouse - Radicalizing the Local
"The Afrikaanderwijk in the south of Rotterdam is currently going through a process of transformation. By focussing on its small scaled multicultural character the neighbourhood could distinct itself from the new to develop suburbs that will surround it. One of the strongest and most recognized points of the area is the Afrikaander market. With over 300 stalls it is one of the biggest markets in the Netherlands. Twice a week it brought for years the most exotic products of the city. But it is also a run down market in need of attention.

Visual artist Jeanne van Heeswijk and architect Dennis Kaspori developed, with Freehouse a project that is based on cultural production as means for economical growth, a plan for an innovative programmatic design of the market. Together with market salesmen, local entrepreneurs, people form the neighbourhood, designers and artists they developed new products and services. This in order for the market to become again a site of cultural production and a meeting place for the neighbourhood. Tomorrows Market is a sparkling urban market with new products from the neighbourhood, new services, fashion shows, performances, special mobile vending carts, unique market stalls and much more.

http://www.freehouse.nl "

[See also: https://vimeo.com/32154833 ]
lcproject  openstudioproject  art  jeannevanheeswijk  community  design  sewing  glvo  rotterdam  netherlands  production  food  clothing  vending 
october 2014 by robertogreco
Alexandra Lange on 3D printers versus the sewing machine
"In March, Slate Magazine's Seth Stevenson provided a public service when he borrowed a Solidoodle 4, pitched as the "accessible", "affordable" 3D printer, and attempted to print a bottle opener from Thingiverse. [http://www.slate.com/articles/technology/technology/2014/03/solidoodle_4_testing_the_home_3_d_printer.html ] Results, as they say, vary, but he ended up, after a series of phone calls and false starts, with "a functionless, semi-decorative piece of plastic."

The bumbling encounter with technology is a popular stratagem for Slate, but here it pointed directly to the reason we're not seeing a 3D printer in every den. I've seen those rhino heads, those dinosaur skulls. They do not fill me with delight, but remind me instead of the cheap toys my kids bring home from birthday parties and I throw away in the night. Why bother? How is printing your Triceratops at home more creative, more making, than buying one from a store? In either case, step one is scrolling through pages of online options, pointing and clicking in 2D.

Stevenson concluded that 3D printing was no place for amateurs, but for tinkerers. Those able to work under the hood of the printer: to understand the terms in the manual, to customise or create their own products for Thingiverse. For such tinkerers, neighbourhood printing hubs like Techshop, where subscribers can go to use physical or digital tools, make more sense. Designers taking advantage of 3D printers' capabilities for rapid prototyping and small-batch production have already started farming out the actual printing to places like Shapeways. When we stopped having to fax even weekly, we all got rid of those machines.

But then Stevenson took a turn toward the larger question of craft. He wrote, "Once upon a time, people purchased sewing patterns (like a program from Thingiverse) and yards of fabric (like filament) and they made their own clothes. I wasn't alive back then, but I'm pretty sure the process sucked."

I must be older than Stevenson, because my mother and grandmother sewed clothes for me. My mother, aunt and I have all sewed clothes and quilts for my children. They are not amateurishly constructed. We managed to make them while also holding down full time jobs. And judging from the extremely active online sewing community, the active trade in old machines and patterns on Ebay, and the ease with which one can locate a scan of a thirty-year-old sewing machine manual, the digital age has not turned sewing into a novelty, but spawned a revival of interest. In fact, if 3D printers are truly going to become a consumer good, they have a lot to learn from the sewing machine.

Because Stevenson snidely generalised from his own limited experience, he missed the instructive dialogue between craft and the machine age. Post-industrial sewing is not a freak but a respite. In Evgeny Morozov's recent New Yorker essay on the new makers, he quotes historian Jackson Lears' critique of the Arts & Crafts movement as "a revivifying hobby for the affluent." I'd say middle-class: (mostly) women who aren't seeing what they want, at a price they can afford, in the marketplace.

There’s an appetite for the "refashion," recycling an old dress or an adult T-shirt, and turning it into something new. Once upon a time, the use of flour sacks as fabric prompted grain-sellers to start offering their wares in flowered cotton bags. If some boutique grain company began doing that again, there would be a run on their product. Under the technology radar, there's a community of people sharing free patterns, knowledge and results, without the interpolation of brands, constantly obsolescent machinery, or the self-serving and myth-making rhetoric Morozov finds in Chris Anderson's Makers. There are the answers to the questions "Why bother?" and "How creative?" Rather than sewing being a cautionary tale, 3D printing can't become a consumer good until it learns a few lessons from why we sew now.

Number one: what's not available on the market. If you have a girl child in America, it is often difficult to find reasonably-priced, 100 per cent cotton clothing for her without ruffles, pink or purple, butterflies and hearts. If you go to the boy section, you run into an equally limiting set of colors, navy and army green, and an abundance of sports insignia. A full-skirted dress, a petite skirt, prints for the plus-sized – there are plenty of styles that are not novelties but, when not in fashion, disappear from stores. Online you can find patterns to make any of the above for less than $10, and fabric at the same price per yard. Online you can find step-by-step explanations, with photos, of how to make that pattern. That world of patterns is vast, constantly updated, and historically rich. Yes, sewing your own garment will take some time, but then you will have exactly what you want. That's why women bother.



Second lesson: recycling. Say my mother did actually sew something amateurishly. That's not the end of the story. A mis-printed jet-pack bunny is so much trash (unless I buy a second machine like a Filabot to remelt my filament). A mis-sewn seam can be ripped out and redone. An old dress can be refashioned into a new one. A favorite vintage piece can be copied. Sewing does not create more waste but, potentially, less, and the process of sewing is filled with opportunities for increasing one's skills and doing it over as well as doing it yourself. What are quilts, after all, but a clever way to use every last scrap of precious fabric?

So far, 3D printing's DIY aspects seem more akin to the "magic" of an ant farm, watching growth behind glass. Sewing lets the maker find their own materials, and get involved with every aspect of the process. 3D printing could do this, and there are classes, but even at the Makerbot showroom the primary interaction seemed to be ordering from Thingiverse. My local sewing shop has to teach more women to sew to survive; I don't see the printer makers coming to the same conclusion.

In addition, the machines themselves are constantly becoming junk. It's not unusual for new technology to change quickly. That's the fourth Solidoodle since 2011. Makerbot is on its fifth generation. It is early days for 3D printing, and the machines may eventually stabilise. But the rapid obsolescence suggests a lifecycle closer to that of a mobile phone than of a washing machine, which might also turn consumers off. The sewing machine was considered a lifetime purchase.

Last but not least, sharing. This is the one consumer area where 3D printing approaches sewing's success. From the Free Universal Construction Kit to full-body scans, the idea of open-source, free, and social-media enabled printing has been built-in to the 3D process. Showing off what you made is better when you created it, rather than printed it out. On the sewing blogs, the process pictures are half the fun, and most of the interest. What does it really teach your children when you can get doll house furniture on demand, except a desire for ever-more-instant gratification? For me to believe in 3D printers as a home machine, I'd have to see the digital file equivalent of women in their off-hours, making up patterns as they go along, sharing mistakes, dreaming better dreams. 3D printing feels bottled up, professionalised, too expensive for the experimentation of cut and sew and rip and sew again.

Stevenson wrote, "most people would much rather just get their clothes from a store — already assembled by people employing industrial-level efficiency and a wide variety of materials," and that's true. What Solidoodle and Makerbot and the rest should be looking at is the people who have seen everything in the store and found it wanting."
alexandralange  2014  sewing  3dprinting  makerbots  making  makers  repair  reuse  glvo  sharing  obsolescence  process  howwework  cv  waste  utility  technology  fabrication  alteration  thingiverse  purpose  usefulness  solidoodle  makerbot  recycling  agency  need  necessity  patterns  clothing  wearables  techshop  shapeways  sethstevenson  craft  lcproject  openstudioproject  homeec  repairing 
may 2014 by robertogreco
eliza bennett embroiders a self-inflicted sculpture into her flesh
"using her own skin as a canvas, british artist eliza bennett has realized a self-inflicted sculpture, woven into the palm of her hand. considering the flesh as a base material, bennett carefully stitches patterns and lines into the epidermis of her body using colored thread; ‘a woman’s work is never done’ results as an incredibly worn-looking hand, overworked and fatigued. by using intricate embroidery techniques — traditionally used to symbolize femininity — and applying it to a context of its opposite, bennett challenges the pre-conceived notion that ‘women’s work’ is light and easy. ‘through a personally charged perception, I explore a range of issues relating to the formlessness of both individual and social reality’, the artist says of her ephemeral sculpture’s significance. the administered piece on the surface of her skin aims to chronicle the effects of labor intensive work, while drawing attention to low paid jobs such as cleaning, caring, and catering, all of which are traditionally considered to be gender specific towards women."
elizabennett  2013  embroidery  body  bodies  art  skin  sculpture  flesh  glvo  sewing 
december 2013 by robertogreco
Why is it so difficult and expensive to make your own clothes (or have them made)? | Chez Skud
"I’ve gone on for a long time already, but you can see that modern home-made clothing has most of the disadvantages of industrial clothing (poor durability, fiddly to make, externalities) and few of its benefits (capital-intensive economies of scale).

Home-made clothing may never be able to compete with industrial clothing based on cost alone, however if you aren’t able to wear industrial clothing, perhaps because you don’t fit their mass-produced sizes, or you want to opt out of the industrial clothing system for whatever reason, there are ways to make your own clothing (or have it made) that are more cost effective than the modern, quasi-industrial methods that are promoted through mainstream craft publications and retailers (Australia: Spotlight and Lincraft; USA: JoAnn’s and similar). Best of all, these are a mix-and-match set of skills, materials, and practices that you can do at whatever scale or level of investment works for you. You don’t actually have to dress like an 18th century peasant to take advantage of them. (Of course, if you want to, I fully support your life choices.)

This is quite enough rambling for one post, though, so I’ll put them in a followup. Stay tuned."
clothes  sewing  fabrics  glvo  2013  via:debcha  materials  cotton  capitalism  cost  economics  environment  industry  industrialization  polyester  slavery  viscose  clothing 
november 2013 by robertogreco
Floor Nijdeken / Crossover Collective
"Floor finished his bachelor of build environment in 2005 and worked as a spatial planner at one of Hollands ten biggest architecture agencies. In 2009 he started his second bachelor degree: Product Design at ArtEZ institute of Arts, Arnhem. From July to December 2012, he was an intern at the Bas Kosters Studio in Amsterdam.

'My design projects intend to redress social relationships. My main focus lies in activating and mobilising people. I design the conditions in which social structures can grow and bloom, and the initiative of users is stimulated. People working and living together can develop undesirable habits and routines resulting in indifference, anger, resentment and aversion. With myself as an intermediary and my projects as a medium, I let participants find out that working together can stimulate or create mutual trust, understanding and positive energy, things that are vital to the wellbeing of families, organisations and businesses.'"
art  collective  sewing  textiles  social  glvo  trust  understanding  relationships  via:lizettegreco 
november 2013 by robertogreco
Constellation Quilt by Emily Fischer — Kickstarter
"Touch the stars and celebrate your place in the universe with a handmade quilt of the constellations by Haptic Lab."

[See also: http://www.hapticlab.com/ ]
quilts  quilting  space  astronomy  sewing  kickstarter  2013  hapticlab  emilyfischer 
may 2013 by robertogreco
Take a Look // Logo Removal Service :: Never Any Repeats / Transform + Renew
"Logo Removal Service offers customized Removals, Replacements and Transformations.

Please get in touch and let me know how we can help.

One day, we may get some kind of fancy form (see below) to assist with this process. For now, we ask that you to communicate with usin a somewhat old fashioned way.

What you can get:

Logos on any garment, of any material, removed and replaced. L.R.S. can happen for many items—your leftover shirts from this year’s conference—or single ones. Every item, however, will be a little or a lot different than the others. L.R.S. can also happen on other things, such as umbrellas, automobiles, strollers, and more. I’ll work with you to find a solution."

[via: https://twitter.com/feKaylius/status/329368805581127680 ]
nologo  sewing  consumerism  branding  antibranding  glvo 
april 2013 by robertogreco
MAKE | In the MAKESHOP – Informal Learning and Making at the Children’s Museum of Pittsburgh
"MAKE sat down for an interview with Lisa Brahms (Director of Learning and Research) and Adam Nye (MAKESHOP Manager) from the Children’s Museum of Pittsburgh. The Q&A mostly swirled around the museum’s MAKESHOP, both a program and a space inside the museum where kids and adults alike make things and learn about real stuff, from electricity and electronics to woodworking and sewing."

[Makeshop website: http://makeshoppgh.com/ ]

[See also: http://www.hfrp.org/publications-resources/browse-our-publications/makeshop-family-engagement-in-exploration-creativity-and-innovation
http://makered.org/2012/09/makeshop-at-the-childrens-museum-of-pittsburgh/
https://pittsburghkids.org/exhibits/makeshop ]
openstudioproject  makerspaces  pittsburg  lcproject  2012  makeshop  children'smuseumofpittsburgh  museums  learning  electronics  sewing  glvo  lisabrahms  adamnye  children'smuseums  pittsburgh 
april 2013 by robertogreco
Jimmy McBride's Interstellar Quilts | American Craft Council
"Jimmy McBride's art quilts are really out of this world. Made from salvaged textiles (collected while working for a salt and vinegar shipping company called Intergalactic Transport), the quilts are hand-stitched and hand-quilted. As McBride puts it: "There's no log cabins or poinsettias around, so I just stare out the window until something catches my eye."

Back on Earth, McBride is based in Brooklyn, and also recently launched a line of Roycroft Quilts. If you'd like to see him talk more about his intergalactic travels, make sure to check out this video."

[See also: http://jimmymcbride.com/home.html
http://intergalactictransport.blogspot.co.nz/search/label/quilt
http://www.etsy.com/blog/en/2011/handmade-portraits-stellarquilts/
https://vimeo.com/18669372 ]

[Related: "1876 Ellen Harding Baker's "Solar System" Quilt" http://americanhistory.si.edu/collections/search/object/nmah_556183 ]
via:annegalloway  2013  quilts  quilting  sewing  glvo  astronomy  space  art  textiles  brooklyn  sciencefiction  video 
april 2013 by robertogreco
Storefront workshop pushes DIY craft-making for the holidays | 89.3 KPCC
"The brainchild of artists Kyle Hollingsworth and Renee Ridgeley, Hand on 3rd is a workshop and creative space where people could come together and create. The shop offers hands-on training for crafts and arts of all sorts -- from sewing to mosaics -- and a place for like-minded aspiring craftspeople can meet and hash out new projects."

[Video also here: https://vimeo.com/17460475 ]
2010  diy  making  reneeridgeley  kylehollingsworth  workshops  losangeles  sewing  crafts  handson  glvo 
february 2012 by robertogreco
URBAN CARPET
"Series of 8 maps embroidered on canvas with the same technique of the propaganda slogans realized on large fabric and used by the communist party during the seventies, which have been lately filled with white thread wool insertions. The 8 maps depict different Hutong areas in downtown Beijing, with a size of approximately one square kilometre each and a population of 30000; these areas have been isolated as autonomous towns within the big city. Since 2009 the carpets have been shown to the Hutong dwellers trough street public temporary events, hanging them up on ropes, wires and threads commonly used by local Beijing residents for their clothes to dry. "
2009  carpets  sewing  textiles  urbanism  urban  art  glvo  beijing  china  mapping  maps 
january 2012 by robertogreco
Musicians and cooks talk shop on "Treme" - Treme - Salon.com
"David Simon's New Orleans drama "Treme" is very good at many different things, but it has a special knack for showing how artists make art, and what it actually means to make a living from creative work. It's not easy; in fact it's often infuriating, because society at large tends to see creative work as somehow "easier" than other kinds, and because artists themselves tend to be somewhat more eccentric or even volatile than other kinds of people, and more likely to be disconnected from mundane reality.

To say that "Treme" gets all this would be an understatement. In fact, the creative process is often the glue holding the show's other disparate elements together."
treme  creativity  thecreativeprocess  howwework  howwecreate  davidsimon  2011  jazz  music  craft  food  cooking  sewing  glvo  artists  art 
july 2011 by robertogreco
Hallowgreen | Art21 Blog
"While we often think of contemporary art and how our older students might respond to it, we are always pleased that our very youngest students are so enthusiastic about it, too. Nick Cave is one reason why.

Cave, chair of the Department of Fashion Design at the School of the Art Institute of Chicago, brings together his interests in fashion, performance and sculpture while making reference to African ceremonial costumes. Watch a video of Nick Cave, produced by United States Artists:"
nickcave  performance  performanceart  sewing  costumes  classideas  tcsnmy  art  fashion  interdisciplinary  multidisciplinary  design  glvo  wearable  textiles  sound  dance  sculpture  soundsuits  fabric  crossdisciplinary  wearables 
may 2011 by robertogreco
Nick Cave Lecture at Fowler Museum, Jan. 9, 2010 on Vimeo
"A lecture presentation by Nick Cave about his signature Soundsuits is followed by a conversation between Nick Cave and the Fowler Museum's director Marla C. Berns about the global resonances in the artist's work.

This event was organized in conjunction with the exhibition "Nick Cave: Meet Me At The Center Of The Earth" which is on view at the Fowler Museum at UCLA January 10 - May 30, 2010."
costumes  music  masks  nickcave  art  performance  fowlermuseum  ucla  lectures  conversations  2010  textiles  wearable  performanceart  sewing  sound  soundsuits  glvo  classideas  tcsnmy  artists  expression  design  dance  sculpture  fabric  interdisciplinary  multidisciplinary  crossdisciplinary  wearables 
may 2011 by robertogreco
The School of the Art Institute of Chicago: Profiles: Nick Cave
"My work, clothing & fiber-based sculptures, collages, installations, & performances, explore use of textiles & clothing as conceptual modes of expression & pose fundamental questions about human condition in social & political realm…

I believe that what happens in my studio & living life as an artist are the single most important things I bring to the classroom. Artists must design their own pathways, work through plateaus in their work & understand that they will find themselves humbled by the very process of art-making.

I encourage my students to build their work w/ conviction, come face-to-face w/ truth of what they are attempting to create, & be open to experimentation.

I have been lucky to have been mentored by talented artists who taught me to challenge myself & build level of confidence & trust in my creative judgment…I hope to provide my students w/ knowledge that their art making holds the possibility for acting as a vehicle for change on a larger, global scale."
nickcave  art  performance  textiles  classideas  performanceart  design  collage  assemblage  life  living  teaching  education  learning  artists  glvo  cv  sound  interactive  sculpture  installation  expression  humancondition  society  politics  sensemaking  experimentation  doing  making  understanding  self  confidence  trust  wearable  fabric  sewing  change  costumes  dance  soundsuits  tcsnmy  interdisciplinary  multidisciplinary  crossdisciplinary  pedagogy  howwework  wearables 
may 2011 by robertogreco
Art - Nick Cave, Dreaming the Clothing Electric, at the Yerba Buena Center - NYTimes.com
"Over the last decade Mr. Cave has become known for making colorful, extravagant sculptures with this kind of double life: they can stand alone in galleries as visually compelling art objects, or they can be worn by dancers as vehicles for sound and movement. He calls them Soundsuits.

Some Soundsuits, like a bouquet of metal toys and tops perched on top of a bodysuit made of crocheted hot pads, make a clanking commotion. Others, like the Soundsuits made of human hair (bought already dyed from a wholesaler in New York), tend to fall in the quiet, whispery range. All come to life in performance.

Yerba Buena’s director, Kenneth Foster, who described his institution as “deeply multidisciplinary,” called Mr. Cave a natural choice for the center for that reason. “So many visual artists cross over in a way that the performance world would be aghast at,” he said. “Nick is one of the rare artists as strong in his secondary field as he is in his home art form.”"
nickcave  design  performanceart  performance  dance  art  glvo  classideas  tcsnmy  costumes  sound  soundsuits  2009  interdisciplinary  multidisciplinary  crossdisciplinary  fabric  sewing  textiles  wearable  sculpture  wearables 
may 2011 by robertogreco
The Soundsuits of Nick Cave: Contemporary Art or Material Culture? : Bad at Sports
"My own lack of familiarity  with Cave’s work makes me wonder, though: Why is Cave’s show traveling to the Fowler Museum, which is a museum of cultural history, and not an art museum that has an equally strong ability to support and exhibit interdisciplinary art of this nature, like, say, the Los Angeles County Museum of Art (LACMA) or even UCLA’s “other” arts institution, the white-hot Hammer Museum*?"
art  fashion  costumes  design  sound  nickcave  fowlermuseum  ucla  2009  classification  interdisciplinary  multidisciplinary  crossdisciplinary  glvo  classideas  tcsnmy  wearable  performanceart  performance  sewing  soundsuits  dance  sculpture  fabric  wearables 
may 2011 by robertogreco
Victoria and Albert Museum - Patchwork: Pattern Maker
"Welcome to the Victoria and Albert Museum Patchwork Pattern Maker. Using these pages, you will be able to upload any image and convert it instantly into your own, personalised quilt pattern. Let creativity be your guide."
sewing  quilting  design  crafts  patterns  quiltmaking  glvo  projectideas  software  patternmaking  images 
april 2011 by robertogreco
Maria Fischer · Portfolio · Traumgedanken [Related: http://jeweledplatypus.org/pixels/hypertextbook/]
"“Traumgedanken" contains a collection of literary, philosophical, psychological & scientifical texts which provide an insight into different dream theories.<br />
To ease the access to the elusive topic, the book is designed as a model of a dream about dreaming. Analogue to a dream, where pieces of reality are assembled to build a story, it brings different text excerpts together. They are connected by threads which tie in with certain key words. The threads visualise the confusion & fragileness of dreams.<br />
On 5 pages there are illustrations made out of thread. Their shape & color relies on the key words on the opposite page. This way an abstract image of the dream about dreaming is generated.<br />
In addition there are 5 pages where a significant excerpt from a text of the opposite page is stitched into the paper. It is not legible because the type’s actual surface is inside the folded page. This expresses the mysteriousness of dreams & the aspect of dream interpretation."
design  books  art  glvo  sewing  thread  mariafischer  via:britta 
february 2011 by robertogreco
Haberdasher - Wikipedia [New word… to me. Probably because I have little interest in clothes shopping (American variation). But I do like the first meaning]
"A haberdasher is a person who sells small articles for sewing, such as buttons, ribbons, zippers, and other notions. In American English, haberdasher is another term for a men's outfitter. A haberdasher's shop or the items sold therein are called haberdashery."
words  english  vocabulary  sewing  glvo  ribbons  zippers  buttons 
november 2010 by robertogreco
Blankets : Haptic Lab
"Soft-Maps (c) are quilted maps of neighborhoods and parks that represent someone's unique place in the city. Each map is meant to be used: wrap your children in them, have a picnic, pull them close during the next Nor'easter. Not only beautiful, these blankets can be used as a mnemonic tool. As your child grows up with a Soft Map, they learn to read their neighborhood and its landmarks in a tactile, easily remembered way."

[via: http://www.purselipsquarejaw.org/2009/10/soft-maps-lived-spaces.php ]
design  art  maps  mapping  diy  glvo  quilts  quilting  sewing 
october 2009 by robertogreco
File:Lockstitch.gif - Wikipedia, the free encyclopedia
How a sewing machine lockstitch works - ""most common mechanical stitch" on home machines; factory machines produce overlock stitch"
via:britta  sewing  sewingmachines  textiles  mechanics  kinetic  machines  movement  animation  glvo  srg  edg  tcsnmy  filetype:gif  media:image 
october 2009 by robertogreco
Sewing Patterns, Tutorials, Skills, Projects – For People Who Sew | BurdaStyle.com
"destination for do-it-yourself style...a virtual sewing circle, an open-source hub of ideas, expertise, and amazing patterns you can download & sew at home. We want you to learn something new every time you visit BurdaStyle. We want this website to inspire you...we want you to get involved: We're offering our ideas, expertise and downloadable patterns to the BurdaStyle community, and we hope that you'll contribute, too. There are many ways to be a part of BurdaStyle. Discuss sewing tricks and fixes with members of the BurdaStyle community. Add your sewing term definitions to the ones in our Sewpedia, or check out tips in our user-generated photo and video How Tos. Explore other users' creations in the Gallery, and upload photos of your own. You can even barter or sell what you make through BurdaStyle: Burda is the first established pattern publisher to release its designs without copyrights, allowing members of the public to market their BurdaStyle creations in limited editions."
burda  burdastyle  sewing  glvo  sharing  opensource  clothing  fashion  diy  howto  tutorials  patterns  craft  creativity  community  social  design  handmade  fabric  crafts 
june 2009 by robertogreco
Mathematical Recreations - The Topological Dressmaker by Ian Stewart
"Had she made some parts the wrong shape? No, that wasn't likely. If you couldn't turn a slightly distorted dress inside out, then you couldn't turn a perfectly made one inside out either. Whether or not you could turn something inside out was a topological question-the answer didn't change if the object was continuously deformed. That meant two things. First, there was something wrong with the instructions in the pattern book-because whatever mistakes she'd made, they had to be very small ones. Second, there had to be a topological reason why the instructions were wrong."
sewing  math  glvo  topology 
june 2009 by robertogreco
Products We Like: The Pocket
"Pockets are a great piece of “technology,” if I can use that term loosely. Pockets not only serve as impromptu gloves, they also allow us to carry many more things than we otherwise could, and safely. Early “pockets” were just bags that hung around the waist, tied to a belt. But those were too precarious and easily stolen, so a slit in clothing was made, and the bag was placed inside the clothing, next to the skin. Eventually, around the late 1700s, pockets began being sewn right into the clothes themselves, so that remembering and wearing the bag weren’t an issue.

The “technology” and subsequent (centuries of) innovations that led us to the pocket have long since faded into a distant memory. The pocket became transparent, expected. Which is what the best technologies do. Although the pocket (like most technologies) affected other technologies. It reverberates. Once pockets became a standard, men mostly stopped wearing tights and switched to trousers. We still design objects to “fit in a pocket.”

So the next time you put your pocket PC or mobile device into your pocket, remember too that the pocket itself was once an innovative product."
via:blackbeltjones  clothing  fashion  sewing  technology  history  interaction  design  culture  innovation  pockets 
april 2009 by robertogreco
Stitching Travel Itineraries on Postcards - information aesthetics
"The stitching postcard [uncommongoods.com] is an alternative and tangible way to keep track and share worldwide travel itineraries.
maps  mapping  sewing  glvo  srg 
january 2009 by robertogreco
Buttons for Mouse: Mandelbrot the Fractal Bear
"Continuing my mutant teddy bear theme, a gift for my brother: the fractal bear.

His name is Mandelbrot."
plush  math  fractals  softies  glvo  mandelbrot  geek  toys  sewing 
january 2009 by robertogreco
map quilts by leah evans
"leah evans is a textile artist based in madison, wisconsin. she makes quilts that are far from traditional. each piece features a map which is hand-sewn in fine detail forming an almost abstract pattern. evans uses appliqué, reverse appliqué, piecing, natural and synthetic dyeing, needle-felting, hand printing and a variety of embroidery to make each piece. she takes the imagery from maps, aerial photography and satellite images. however she doesn’t simply translate maps onto here quilts, instead she creates imaginary lands uses elements from different maps."
leahevans  maps  quilts  sewing  glvo  geography  design  mapping  embroidery  appliqué  fabric  cartography 
december 2008 by robertogreco
Nick Cave’s Soundsuits : Bad at Sports
"Nick Cave’s Soundsuits are fabulous creations made of thrift store finds, twigs, plastic bags, discarded thcotchkes, and just about anything else that strikes his fancy. Children loved seeing his work and guessing the materials they were made from, and seeing a video presentation of people inhabiting them. They enjoyed learning about his process, too. Often, Cave’s Soundsuits are assembled by a multigenerational, multicultural group of volunteers in his Chicago neighborhood.”

[see also: http://blog.art21.org/2008/10/29/hallowgreen/ ]
nickcave  children  art  glvo  wearable  via:regine  sound  dance  performance  recycling  costumes  design  sculpture  soundsuits  sewing  classideas  tcsnmy  fabric  interdisciplinary  multidisciplinary  crossdisciplinary  performanceart  wearables 
december 2008 by robertogreco
OLPC News: Open Source XO Bag for Open Source XO Laptop
"Over on the OLPC News Forum there is a whole conversation around custom XO laptop bags. In one group, you have people like Mike Lee who searches for colorful bags that that fit the XO perfectly. In the other group, you have people like eclaire99 who made her own bag. Still, my favorite XO laptop bag is the Open Source Hansel & Gretel XO bag from OLPC Austria. Just check out ChristophD's H&G XO bag demonstration at OLPC-LCDC back in December 2007:"
olpc  sewing  make  diy  bags  glvo  laptops  edg  srg 
october 2008 by robertogreco
3D body scans used to create 2D sewing patterns - Core77
"The T-shirt Issue is an experimental project by Berlin designer's Mashallah Design and Linda Kostowski who converted the 3D files of 3 digitally scanned bodies into simple polygon forms that were used to generate unique 2D patterns for the garments."
glvo  clothing  wearable  sewing  fashion  wearables 
september 2008 by robertogreco
Twisted yarns | By genre | guardian.co.uk Books
"Sleeping Beauty pricks her finger on a spindle, the Lady of Shalott is entwined in thread, Silas Marner is enclosed in his loom - why have spinning and sewing so often been associated with danger and isolation? AS Byatt follows the tangled threads betwee
glvo  sewing  textiles  knitting  literature  storytelling  history 
june 2008 by robertogreco
Michael Chabon on why real-life superhero costumes don't work. This... (kottke.org)
"A constructed superhero costume is a replica with no original, a model built on a scale of x:1. However accurate and detailed, such a work has the tidy airlessness of a model-train layout but none of the gravitas that such little railyards and townscapes
superheroes  glvo  costumes  michaelchabon  comics  illustration  sewing  fabric  fashion 
march 2008 by robertogreco
Make Your Own XO Laptop Bag - Instructables - DIY, How To, craft, tech
"The finished product is a custom laptop bag for an OLPC XO laptop computer, but these instructions could probably be modified for many portable electronic devices. The bag core is made of high density foam, reinforced with paperboard. The bag is trimmed
sewing  olpc  make  howto  diy 
january 2008 by robertogreco
Plush toys design for dummies
Plushie...allows nonprofessionals (even those who are not able to draw "appropriately" a 2D pattern) to design their own original plush toys...constructs 2D patterns and applies simple physical simulation to it on the fly during 3D modeling."
sewing  plush  fabrication  3D  glvo  art  toys 
december 2007 by robertogreco
belOga: Not Your Grandmother's Sewing Machine
"Apart from its less than ordinary shape, the belOga makes sewing more fun. By laying in a spool of thread the machine automatically conducts the thread through the machine - all you have to do is put the thread through the needle to get started."
design  sewing  sewingmachines  machines  glvo 
november 2007 by robertogreco
A Ervilha Cor de Rosa: quilted planet
"Quilted Planet: A Sourcebook of Quilts from Around the World...é uma espécie de história mundial dos quilts, aliás colchas, organizada por regiões e profusamente ilustrada. Não sendo uma obra científica, inclui uma boa bibliografia e apresenta bas
books  sewing  glvo  quilting  design  art 
november 2007 by robertogreco
GAS PROJECT BLOG | 山縣良和 インタビュー / Yoshikazu Yamagata INTERVIEW
"the everyone's new clothes of The naked king"..The reason of "clothing" to be "stuffed costume (all in one)" is to perform the collection as if everything jumped out from the book I created.
japan  tokyo  yoshikazuyamagata  fashion  design  sewing  art  culture  society  glvo  education  environment  sustainability  communication  clothing  stories  storytelling  children 
october 2007 by robertogreco
writtenafterwards
"new relationship between human and fashion...emotional, sustainable work...do not regard fashion design as design of clothes, but "human aspect or design of mode"...suggesting fashion as the communication tool which has point of views of education, socie
fashion  design  japan  tokyo  yoshikazuyamagata  sewing  art  culture  society  glvo  education  environment  sustainability  communication  clothing  stories  storytelling  children 
october 2007 by robertogreco
Aliza Lelah :: Painter
"I present my family history with collected fabric remnants and worn clothing. As I sew pieces of fabric together to form their faces and bodies, each portrait is tangible on my lap. A bit of cloth from my dad’s dress shirt, a swath from my mother’s s
artists  fabric  collage  sewing  potraits 
july 2007 by robertogreco
MAKE: Blog: Make a Messenger Bag out of Trash Bags - Make: Video Podcast
"Learn how to fuse plastic together and then upcycle a bag out of it! All you need is an iron, plastic bags, a sewing machine, and some straps and buckles and a few hours of your time and you're on your way to having a cool durable bag!"
bags  design  diy  howto  make  sewing  recycle  bikes  tutorials 
june 2007 by robertogreco
steak zombies - fashion research - rare and well done!----welcome!
"Steak Zombies' field of work embraces formats such as graphic characters, plush-dolls and accessories, stage-outfits and theatre costumes as well as character- based real-life-costumes. In a series of Live-Sewing and Clothes Customizing Performances in c
berlin  characters  performance  toys  plush  sewing  glvo  design  fashion  typography 
may 2007 by robertogreco
Fecal Face - Megan Whitmarsh Interview
"You may know her for her comic books, her handmade wallets, her paintings or all of the above. With misfits, embroidery, yetis, tiny industries, enjoy and explore the world made by Megan Whitmarsh."
illustration  artists  interviews  sewing  megwhitmarsh  embroidery  yeti  bigfoot  art 
may 2007 by robertogreco
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