// weaving a hat at home with locally "harvested" Boston palm leaf
// like many ancient cultures, having the knowledge in your hands to create an every day object from immediately available material, instead of relying on a heavy outsourced manufacturing & exchange system
// palm leaf made of recycled brown packaging paper from home, taped with paper tape. 100% compostable.
// learning ancestral Pacific Islander techniques through online videos
How to Make a Palm Hat - PART 1
How to Make a Palm Hat - PART 2
// this project is inspired by seeing a cowboy palm leaf hat in Louisiana's Bayou region in 2007, which after investigation in 2015, turned out to have been made by Hawaiian hat weaver Kekoa Kaapu, most likely with palm leaves harvested in Florida.
// a collaboration with local natural dyer Amy Lou Stein
// dying an existing pair of stays with true indigo [Indigofera Tinctoria]
// this finely powdered indigo is very pure & potent, yielding a rich and dark blue. Global Organic Textile Standard (GOTS) certified, grown & harvested by small producers. Each purchase of this dye helps support small scale agriculture and women’s groups.
// stays made of recycled costume scraps (blend of linen + unknown natural fibers) and Ikea seat covers (100% cotton)
// attempt at making a synthetics-free crinoline
// going back to the origins of the name 'crinoline' [from the French 'crin', meaning 'horsehair']
// instead of relying on the nylon braid which is nowadays called 'horsehair'
// using the structural properties of real horsehair fabric blends to create volume, without the help of hoops
// shown here is the maximum length we were able to reach while having acceptable volume; adding a bottom row was too much weight for the material & dragged the skirt down
// jewelry made of non-GMO, heirloom corn seeds [Zea Mays - Indian, Blue Hopi and Bloody Butcher varieties]
// if you wanted to wear the most precious thing on earth, you would wear native seeds
// traditional gemstones are mined, non-renewable, and valued according to rarity, aesthetic & physical properties
// heirloom seeds are grown & renewable
// they are endangered, i.e. defined by rarity, come in all sizes / colors / patterns, and have the physical properties of being adapted to local climate conditions, while containing an infinity of future plants to feed humanity
// the indecent luxury of wearing, as decoration, vectors of genetic diversity which could have generated exponential fields of food
// seed from Heirloom Seeds
// model Tati Sumak
// a low-tech non-fiction project
// tackling some of the world's most popular and mass-produced clothing items, and making them IR4 compliant
// re-imagining the Converse Chuck Taylor as metal-free, fossil-free, chemical dye-free, locally-made & possibly 100% compostable
// experiment in making metal-free, gemstone-free & plastic-free jewelry
// clear glass seed beads, heavy-duty cotton thread & organic cotton thread
// made on a cardboard loom
// oversize T made of 5 used t-shirts
// aimed a keeping textiles out of landfills & in our own backyards
// re-empowering people through the making of their own clothes, from their own materials
// the uniform I want to wear everyday - one piece, easy, comfortable, design statement, pockets, bikable
// pattern downloadable from our store
// professional ballet tutu aggregating studio remnants of nylon and polyester (tulle + thread)
// these "mainstream" materials are widely used in apparel, bridal and stage designs for their ethereal beauty and affordable price.
// nylon and polyester are synthetic fibers made from crude oil, a.k.a. petroleum; they are polluting and non-compostable.
// like a lot of stage costumes, this tutu will always be spot cleaned with an alcohol solution (vodka / water), to prevent what happens with any regular laundry: nylon and polyester microfibers escaping into the water stream, polluting ecosystems & drinking supplies.
// photographing the polluting packaging of organic and "natural" foods, as well as of daily objects "who mean well"
// researching and listing the materials involved, and the time they would take to biodegrade, if ever
// full series
// instagram gallery
// hand-made pair of slippers with material available in studio
// sole made of eco-felt (100% virgin wool, undyed, fiber from China, needle-punched in the USA)
// vamp made of pressed wool felt (majority wool + some synthetic fiber, wool from New Zealand, Australia or South America, felt manufactured in the USA)
// stitched with undyed organic linen yarn (grown in Belgium, spun in Italy)
// anti-slip made of clear liquid latex (100% natural rubber + water, ammonia-free, harvested in Malaysia)
// creating a collection of spring-summer wear, using cotton canvas woven today at the Boott Mill Museum in Lowell, MA
// respecting the integrity of the weave and optimizing small widths by exploring rectangular patterns
// illustrating the possibility of garments Made in America, Made in Massachusetts, Made 30 minutes from your home, with a knowledge of their origin from fiber to labor
// inspiring people to make their own clothes again, through the use of simple cuts and easy diagrams
// paying tribute to the working women of Lowell, past and present
// attesting to the difficulty of doing truly sustainable home renovation while following current design trends
// handmade 100% hemp canvas window & shower curtains, recycled denim insulation, zero-VOC paint, reclaimed hooks, clean-up & re-use of historic wooden window
// trying to source items as locally as possible resulted in a sourcing map concentrated within a 6 hour flight zone, but extending to China nonetheless
// re-opening of a formerly walled window allows for natural ventilation, natural light, and a solar heat gain between 7-10 degrees Fahrenheit (3.8 – 5.5 degrees Celsius) in the coldest months of the year (crucial in the New England climate)
// honorable mention at the Duravit Designer Dream Bath competition
// making 18th century stays (corps baleiné, i.e. "whaleboned body") following a French tailoring treaty written in 1769
// making our hands do the same gestures as their hands 250 years before us
// understanding ancient relationships to ancient materials in order to foresee a simpler and healthier future
// putting ourselves in one of the structures that carried women before us, understanding them better through the sharing of a body