"The" Coat

"THE" Coat ~

April of 2013 was my first trip to Alabama. For Christmas, my sweet husband had surprised me with my dream gift, an Alabama Chanin weekend workshop. And because I was going through the time and expense of flying from Oregon to Alabama, he decided to throw in the Private Studio Day to boot. I was so surprised and overwhelmed that tears began streaming down my face. My kids were concerned, "What's wrong with mom?" I could hardly speak. The only words I could choke out in a crackling, halted voice were, "I'm going to Alabama!" Their look was priceless. It was the "Mom's up and done it; she's gone bananas; and we're going to have to cart her off to the funny farm" look.

That trip fueled the flames and started me on my path to prolifically sewing my Alabama Chanin collection, becoming an Alabama Chanin certified sewing instructor, and teaching classes to other hand stitching enthusiasts. What a wonderful and thrilling adventure it has all been! But I digress....

During that first trip to the Factory, I chose nine projects, ranging in difficulty from a simple hat to the Grand Poo-bah, piece de la resistance, a 3/4 length, fully couched, dolmain coat, lovingly referred to as "THE" coat. I knew I wouldn't begin this project until after all the others were finished. I knew I may have chosen a, shall we say, ambitious project for a relative newbie. I knew it would take me quite awhile before I would actually wear "THE" coat. Little did I know then just how lengthy that while would be. When I finally did get my first panel out for "THE" coat, never having couched a single item in my life, I was naively surprised at just how incredibly time intensive the process of couching was.

The Alabama Studio Sewing & Design book provides full, detailed directions for this beautiful technique. Basically, it's using some type of thread or cording (I used strips of jersey stretched into "pulls") and stitching it down to create a design. I found that once I got the hang of it, it took more  patience and tenacity than skill.

It was almost two years ago when I first began stitching the coat, and about two and a half years since the coat was cut. Over the years I would complete a panel here, then set the project aside for a few months, and sew another panel there.

This summer I was able to finish up the final panel, and last week, I dug out my moleskin journal with chicken scratch, hastily scrawled notes that I took from Diane, and with some diligent deciphering along the way, finally constructed this beloved garment. Diane was a wonderful tutor, as the coat went together seamlessly (pun intended) in one short week.

The final flourish was the crocheted snaps.

I mistakenly used the button craft thread to crochet a set of snaps once. Don't do it! That thread is too thick to get a firm connected snap. The suggested two strands of floss works perfectly.You can find complete directions here in an entry in the Alabama Chanin Journal. 

There was the tiny drum roll of my heart as I put it on for the first time. Would it fit? Had I stitched for near two years to end up with something I couldn't wear? I have to say I was greatly relieved and happily surprised with just how well "THE" coat fit. Again, Alabama Chanin pulled through with another beautifully designed garment. I wouldn't change a single detail.

I had initially intended to couch and reverse applique all the elements of the coat. That would mean cutting off the top layer of paint to reveal the black layer of fabric beneath. After completing my first piece, I felt there was enough going on with the pattern already, and that the added color variations would become too busy. Although snipping the pieces for the reverse applique is one of my favorite processes, I decided to forgo it in lieu of a more subtle look.

Here's a detailed shot. Do you see the beetle bug? That's one of my favorite parts of this stencil, Job's Flowers.

Here's the reverse side of the sleeve.

I'm very glad I stuck with this project. Though time consuming, the results of the couching method are stunning and timeless. "THE" coat is complete and ready to wear, just in time for Autumn~ Perfect!

Fall Make'rs Retreat

Fall Maker's Retreat ~

My mind is still spinning from my time at The Ranch in bucolic Snohomish, Washington. Randi Harper, instructor and facilitator extraordinaire put together five creativity stocked, fun-filled days and four nights (working into the wee hours) of full-on art, making, collaborating, learning, mind-opening, presentations, camaraderie, experimenting, sharing, giggling, happy-dancing moments a plenty! We explored a plethora of mediums, including but not limited to PMC, paper clay, faux bone, new concrete, encaustic wax, assorted metals, and pipe cleaners (haha).

I wish I had photos, but I was so captivated and engaged that I just couldn't stop to pick up my iphone and snap them. Links are provided, so please follow them to explore all of these remarkable artists and their works.

Patrik Kusek led us in making his PMC "poison" ring. He is a fabulous teacher, well organized, calm, very attentive. I'm always a little anxious when working with PMC (it's so expensive!), so I appreciated his approach. Patrik is one of nine senior instructors for Rio Grande, and his mastery of PMC really shows. He's a super nice guy to boot!

Robert Dancik is also an incredible teacher, but his style of teaching is exactly the opposite of Patrik's. This man is high energy, with ideas just bounding out of his head and fingertips! Metals, Faux bone, new concrete, patina, form folding, riveting, sawing, inking, burnishing, setting stones, annealing, coloring, distressing, encasing, building, just the tip of the iceberg. He does it all, and with expertise and panache.

Randi Harper introduced us to paper clay. She happily led us through a multitude of techniques. It was mind boggling to me just how many options are available for working with paper clay. I can't wait to get my finished pieces to see how I might incorporate them into some encaustic wax creations. Which leads me to the very talented presenters.

Larry Calkins presented his stunning encaustic wax paintings. He also brought supplies so we could all give it a go. For me, this was one of the main reasons I signed up, and I was not disappointed. He opened up a whole new world.

Andy Cooperman shared slides, ideas, musings, and samples of his jewelry. The precision, beauty and uniqueness of his pieces are inspiring.

Cynthia Toops and Dan Adams were also there to share their extraordinary talents, fimo clay and glass beads. They brought outstanding pieces of their work for us to closely inspect while Cynthia demoed different techniques associated with each of these pieces. Simply amazing!

We were lucky to get to know Alison Bailey, as she participated in the retreat. She presented her lovely pierced spoons and shared her metals schooling adventures with us all.

Each of the attendees brought something to the table ~ new techniques, art, experiences, attitudes, laughter. I wish we all lived in the same town so we could get together again and again.

If you have a chance to take a class with any of these instructors or attend an event founded by Randi, I would highly recommend it.

It seems this is the month for art classes, as last Sunday I was fortunate enough to take a class with Lisa Marie Sipe at The Workhouse in Bend. Lisa led us through the beginnings of encaustic wax painting and collage. She guided us we played and experimented with the wax. It was a marvelous day of exploring encaustic in the upbeat vibe at The Workhouse.

In the months to come I will be finishing up projects I began at the retreat, and embarking on new creations with the ideas ignited at The Ranch and The Workhouse. I'll keep you posted on the results.

Happy making to you all!