Friday, the 27th, was my birthday. As I was to spend the day alone, and not looking forward to this, I decided to travel to Seattle to see an exhibit that I had read about and knew was ending soon. So I made the drive on the 26th, spent the night and took in the museum the next day. It was absolutely AMAZING!! And I am so happy that I made the effort to go see it. Sometimes in life, it takes extra effort and inconvenience to do something, but if it is rare and special and promises inspiration, I will often go to the trouble to engage myself.

Let me tell you about the artist, Nick Cave who is responsible for these creations and this exhibit of “Soundsuits”. He calls himself “trans-artist working between sculpture, installation, performance, video, designed objects and fashion.” Since 1989 he has taught at the School of the Art Institute of Chicago and is currently Chairman of the Fashion Department. His vision, talent, deep and ever-evolving insight and self-expression is so impressive and for me, very touching and real and absolutely magical.

Nick has performed around the world in his Soundsuits, and in one room of the museum are three screens showing Nick dancing and performing in his creations. I had a hard time sitting still. I wanted to get up and dance around with him in my common and boring street clothes. If only I could have donned one of his Soundsuits and let go of all inhibitions and just been truly my dancing, hidden vibrant self for one moment in time!

We were not allowed to take photographs, so disappointing as the Soundsuits were beyond anything you could ever imagine, spectacular! But as I sat on a bench in this one room, trying to not get up and join the dance on the screens, I took out my cell phone and clicked a few images of that moment in time……that very, very special moment in time.

Here is what Nick Cave says about the Soundsuits: “What is interesting about wearing these pieces is that your identity is erased. The sense of freedom and independence is so extraordinary – and the sense of allowing yourself to be that much more expressive.”

Of course, I have always known what is wrapped up in the clothes we wear, how we present ourselves to the world, what we convey. Are we sheep? Are we original? Are we in touch with exactly who we are? And if we know who we are, do we know from one day to the next how this idea will or can change? If only I owned a variety of Soundsuits!

But for Nick Cave, the embodiment of a Soundsuit is a magnification of so much more than any transitory experience. He says, “I am interested in working with objects that are taken for granted, laughed at or deemed less precious, yet have a certain insignificance in themselves….I was raised with a single mother and seven brothers; we all had hand-me-downs, there was not a lot in terms of surplus or art supplies.” He goes on to say, “I was always working with found materials….somehow you have to create your own identity through dress—-I might cut off the sleeves of a shirt or make a substitute for a pair of pants. You have to find your own voice in an environment that is limited in terms of resources.”

I spent nearly four hours watching, reflecting, going back viewing, and writing in this notebook thoughts I had, things I was reading, and quotes from Nick Cave. To say I was moved and caught up in the whole stage and theater of it is an understatement. It was, for me, an interactive exhibit. I could not tear myself away. When I went to the gift shop to buy the catalog of the exhibit, I was told that it had already sold out. Later, when I tried to order it from Amazon, I was informed that they were having to do another printing. I am not the only one with strong emotions over this art by Nick Cave. I think we all want to dance in the streets in our own unique Soundsuits, although many, maybe the majority, would never want to admit this fantasy. I think we would all be healthier human beings if we could embrace this individual dance of life.

When I was getting my degree in English, I had to take a literary criticism course and was introduced to the writings of Michel Foucault, the French philosopher. In the exhibit was a quote from him that seems to explain why people are so drawn to the fantastic elements and drama of this exhibit. Foucault says, “I dream of a new age of curiosity. We have the technical means for it; the desire is there; the things to be known are infinite; the people who can employ themselves at this task exist. Why do we suffer? From too little – from channels that are too narrow, skimpy, quasi-monopolistic, insufficient. There is no point in adopting a protectionist attitude, to prevent ‘bad’ information from invading and suffocating the ‘good’. Rather we must multiply the paths and the possibility of comings and goings.”

These Soundsuits are described as “full-body masks that release the wearer (actual or illusory) from his day-to-day reality, allowing him [or her sic] to inhabit another, very different one.”

Essentially Nick Cave “invites us to dance, play, and to dream with the empowerment of expressive transformation.”

Almost two weeks ago, my husband and I left on a flight to Alexandria, Virginia. We were finally meeting a new grandson and welcoming back a son and his family from Germany. We had such a memorable and wonderful time seeing our two grandchildren and catching up with news and life. One of the days I had some free time, so I took the metro over to The Textile Museum in Washington DC. I had been there previously about six years ago and found it to be worthy of time well-spent. It is also housed in the most beautiful building in a picturesque part of the city.

When you walk in the front door, this is the garden that you see directly in the back. This could be England or France. Impeccably maintained, it is a museum not to be missed.

Even the bathroom is stenciled with textile terms. Everything in this building is a textile lover’s paradise.

I keep up with their ongoing special exhibits, and I was not going to miss the opportunity of seeing this one, “Colors of the Oasis: Central Asian Ikats”. The dates of this exhibit are October 16,2010 through March 13, 2011. If you are anywhere near the area, it is well worth the effort to see this amazing, colorful exhibit. It features a collection given to The Textile Museum by collector Murad Megalli that includes nineteenth-century Central Asian ikat “robes for men and women and women’s dresses and pants, as well as cradle covers, hanging and fragments.” I have to say that it was absolutely breathtaking to walk into the rooms and see these pieces displayed against midnight blue walls. The designs and colors of these pieces just popped. I wanted to take photos, but of course it was prohibited.

As a note to this exhibit, I read that Murad Megalli was killed in a plane crash on February 4, 2011 just as this exhibit was nearing its ends. What a legacy he left behind and how generous was his gift to The Textile Museum.

I purchased the book because this is subject matter I find so fascinating to study, the history of the area, its people, the textiles, and the beauty and dedication of this magical craft of ikat dyeing and weaving. And the colors are so rich and captivating. The exhibit also coincided with another post I did on Russian textiles, as many of the linings of these robes come from Russia. This is the book that describes these textiles that were used, and they displayed a copy of this book by Susan Meller along side the featured exhibit book.

The second exhibit is one that is near and dear to many of us who write blogs about using and reusing clothing and textiles, “Second Lives: the Age-Old Art of Recycling Textiles”. When I entered this room, I just wanted to spend luxurious time here taking in all the beauty of the stitching and the old and loved and well-worn recycled pieces. However, the museum was about to close and so my fifteen minutes here were rather hurried. The flyer says the exhibit will last through January of 2012, but the newsletter says this exhibit ends July 10, 2011. Either way, there is plenty of time to see this if you are anywhere near the area in the next four months.

The hanging panel that is featured on the cover of the brochure is truly such an amazing piece. It is from Central Asia, Uzbekistan, 1850-1900 and features the most incredible collection of remnants, silk ikats and printed cottons from Russia. There are 35 squares separated by borders of repeated black and brown triangles. At first I thought this was a quilt but there is no evidence of quilting, and they name it a “panel”. But it is based on the nine patch with borders and then separated by these wonderful pieced triangle strips.

This is one of those pieces that I could stand in front of indefinitely in order to absorb all the prints and weavings of the various and most beautiful pieced textiles.

Back on the street, I had to ask myself, “Did I just die and go to heaven?” Boarding the metro and being in the crunch of the rush hour commuters brought me quickly back to reality. And isn’t this why we visit museums of art we love? It gives a chance to remove ourselves from the routine of everyday living and for a brief moment in time visit another world of beauty and culture.

For more information on this exhibit as well as others, you can visit their website here. Another exhibit I would love to see that starts April 16 and runs through September 11, 2011 is “Green: the Color and the Cause”. It “will explore the techniques people have devised to create green textiles, the meanings this color has held in cultures across time and place, and the ways that contemporary textile artists and designers are responding to concerns about the environment. Textiles from the museum’s permanent collection will be complemented by the work of a selection of contemporary international artists and designers.”

This morning, as an experiment, I decided to select some of my most prized colorful silks and velvets and throw them in the waste basket just to see how it felt to be nonchalant and indifferent. What prompted this exercise was an article I read yesterday afternoon in a publication that is delivered to my husband each month. I seldom look at the magazine, but for some reason decided to flip through it. I discovered an article on a designer and perused it. What I came across was quite disconcerting.

I will not disclose the name of the designer, but in so many words she decided she was not happy with her spring 2010 line. She felt that all the bright colors were not working, so she threw out a quarter million dollars worth of fabric and started over. She said that once she got rid of the color that everything started to work. Not only do I find this appalling, I find it to be a silly, self-absorbed solution. Maybe designers have always been so wasteful. Then I suggest they no longer market any efforts to be sustainable.

I am almost finished with my wool wrap skirt and will post it soon. My next project will be more spring-minded. I want to work with some linen and antique laces on perhaps a vest collaged with large and small pieces of lace. I look forward to this because primarily it will mostly be sewn by hand.

I have been inspired lately to look at paintings for clothing ideas by this. What a wonderful idea to be inspired in this way. There is so much that can be gleaned from such a beautiful vision. This painting above has so much to stir one’s spirit. I love the lace insertion on her dress sleeves and the way the fabric drapes, suggesting it might me a beautiful cotton voile, the older ones being the most exquisite to feel and see. She is draped in the most beautiful textile. Is is getting wet?

I just love the simplicity of this dress. It is so classic it could be easily worn today, and the purple sash tied at the hips is pure magic. The way the sleeves gather and fold, could there be anything more elegant and romantic? The leftovers were surely put into a quilt of some merit, I would like to imagine. No waste.

I will often save photos from magazines before I discard them. I have had this for some time now. I could step right inside this world and be perfectly content with the clothing, scenery, and ambiance.

Now I must go retrieve my textiles from the wastebasket and put them back on the shelf for a future project.

Please excuse me, but this is the most uninspiring photo that I have posted in some time. It is akin to watching the grass grow. I wanted to show you the layout of this skirt, how it is cut crosswise. It seemed the perfect pattern to accentuate the throw and its jacquard pattern. Actually, it fit the vintage textile in such a way that it seemed as if the throw and the pattern were meant for each. It is cut as one piece.

This is what I have left. It does seem a little poignant when I look at this, as if I have ruined an artifact, but I would like to think that I honored it by giving it new life. At least I felt a little justified when I began the first excruciating cut.

My only female cat often appears out of nowhere when she knows I am cutting a garment in the dining room….”Oh! She is there! I must attend to the cutting. I love to lay on the tissue and crumple it up”, or so I imagine she is saying as she leaps into place on the table.

Lauren, as she was called when I rescued her from the animal shelter, days from her demise, is quite remarkable. I can usually convince her of the importance of staying off the fabric until I finish cutting. Since she is a woman, I am sure this is why she is so sensitive to my efforts.

This is the skirt pattern. Nothing ever goes to waste when it comes to my collection of patterns. Many are older or vintage, and I use them as they are or alter them to suit my vision.

This is the skirt, all in one piece.

These are the pieces used, only #10 and #10A. The lining is cut identically as the skirt so there are no facings. I looked through a lot of patterns, and this one seemed the perfect one to use to accentuate the vintage textile and preserve its integrity. So the next step is the sewing, and that is my favorite part of the process. The cutting is always a challenge because of the cats, and I refuse to sequester them in another room. Cats and sewing simply fit like needle and thread or bread and butter. Besides, they are the best company one could hope to have, and invariably they will bless you with their purring, a sound that is so peaceful and comforting.

This book is a history book, a biography of cotton, and could possibly be read as an epic novel. I discovered it through an online quilt history list. Members of the list were praising the book for many reasons, one for the wealth of information, another for its fascinating read. I decided to purchase it for my textile history collection. As I opened the book and started reading, I found it difficult to put aside. I was underlining and writing notes in the narrow margins. How could one single crop have such an impact on so many civilizations and continue its influence in the future? These are questions this book addresses as well as many others.

Cotton seems almost whimsical in its shape, size, and fanciful puff, but aside from this allure, it is one of the most pesticide-laden crops ever grown. I was not aware of this until I started reading many of the blogs that I keep up with, and this fact encouraged me to not only read the book, but to become a better consumer of textile goods.

The reason for the use of these insecticides began with the boll weevil, imported by Columbus. The author Stephen Yafa describes this beetle: “A single female beetle could give rise to six generations all within one year. If only 10 percent of those generations survived, the sixth generation would produce 729 million weevils”. It was clear that this was an enemy of the crop that had to be controlled in order for cotton to survive.

“But what of the chemical weapons we used against it? They at first represented the contribution of our best and brightest. Yet as time wore on and we learned more details about the unintended effects of these toxins on the health of humans, wildlife, and vegetation, a more subtle and elusive adversary began to emerge: our own methods of destruction.” [I am reminded here of Rachel Carson's illuminating and profound book, Silent Spring]. “Like Agent Orange in Vietnam, the arsenal itself became a self-inflicted wound. By the time we acknowledged that we were killing scores of birds and fish, contaminating our air and groundwater, and spreading cancer across the Cotton Belt, we’d developed three generations of potent pesticides that we had been applying to cotton and numerous other crops in torrential quantities for close to fifty years.”

As I became more informed, I could not go into clothing stores and see the racks and racks of cotton clothing without a certain amount of disgust and anger. Then I realized, with even more impact on personal habits, that new fabric purchases implied the same alarm. What right did I or we have as a country to be so mindless and greedy in our unconscious spending habits?

The Industrial Revolution played a vast role, if not a primary one in the proportions that we seem to be accepting as practical and necessary. If one is not influenced by the poison of cotton, then its history and the labor abuse might convince one that its beginnings were not so innocent.

Many years ago, I had a chance to go through the textile mill in Lowell, Massachusetts that has been a museum for some time now. It was a real eye-opener for me. When you enter the room where all the power looms were working at once, the noise was so deafening, that you had to cover both your ears to even tolerate the experience for a few minutes. Many young girls had permanent hearing loss from the racket and noise of being in this room for many hours.

The hours were long, 12 hours a day in conditions where the air was stifling and unhealthy. When the mills first opened “Children as young as eight years old worked from six in the morning until seven at night with a half hour off for breakfast and forty minutes for dinner,” writes Yafa on his account of the mills in England. The horrible conditions were pervasive wherever mills were built and children were employed. And so these were some of the beginnings of one of our favorite and most popular fibers.

And so in thinking about all of this, I was looking around for better ways of existing in my own community. How were we trying to improve and begin a new paradigm, a better way of existing in our city, our county , and our world? Every few mornings, I would walk by this house that was being built in one of our neighborhoods. What initially informed my thinking was how this new construction did not really fit into the neighborhood with the rest of the older homes, and why would someone construct a home that was so out of character with the surrounding early 20th century homes. Then last week, I noticed a wooden sign on the house and went over to read about it. I was very impressed and suddenly my reasoning for its being there completely changed to one of support and affirmation. This is the new paradigm that is being created. It must happen or we are going to self-destruct as we move forward.

What also needs to change is our thinking about our wardrobes and what we wear and what we purchase to put in our homes. We have too much stuff and we have too much that we purchase that exacerbates the conditions that create pollution and unhealthy conditions in our environments.

“The human race is challenged more than ever before to demonstrate our mastery – not over nature but of ourselves.”

Rachel Carson