Project Highlight | Walking Libraries (2016-2019)

Project Highlight | Walking Libraries

The Material Realm for Spring | Summer 2015

Posted on: Monday, October 20, 2014

Detail of Titania Inglis ceramic petal collaboration with Studio Joo
All handmade elements made in Brooklyn. Photo by Elaine Tian of Studio Joo.

Even though I adopted a 'slow approach' to fashion week events this past September, I was definitely enthusiastically taking note of textile innovation as well as design collaborations that honored handwork, material resourcefulness, and even historic crafting techniques.

My recent article for HAND/EYE Magazine explores just a few of these ideas in the article, The Material Realm for Spring | Summer 2015. Many of my favorite artists, designers, and studio innovators have come together for these featured designs.


Shibori-died jacket as a collaboration between designer Alice Waese 
and in-house dyer and creative assistant, Cara Marie Piazza

Signature handwork – particularly the strategic partnering of visionary artists and designers was, for me, one of the most striking indicators that contemporary fashion can continue inspire us to journey deeper and farther afield when new ideas are reinforced by the experience of artisan hands and traditions that demonstrate the value of staying the course, both aesthetically and technically. The intrigue of handmade solutions and interwoven expressions continues to redefine the possibilities for ‘luxurious’ offerings that also ground us.

You can enjoy the entire article here. Images courtesy of the designers.

Lost in Fiber | Interview | Slow Creations

Posted on: Wednesday, October 08, 2014

Lost in Fiber work table with a 'slow creations print', dried vegetation from Bulgaria,
knotted wool from my own stash, and detail of a macramé net bag
from Ranran design in Spain | photo by Abigail Doan


This is the first of several autumn installments in an ongoing series of interviews with Lost in Fiber materials contributors. I am so excited to share the work of Petra of slow creations in Sweden, who I first met during a Stockholm meet up in June of 2013. We had been virtual friends for some time, but it was tremendously valuable to finally connect in person to share ideas about the nature of textiles, slow fashion methodology, and the curation of objects and personal artifacts. 

Here is my early October interview with Petra, whose exquisite images explore the blurred intersections of textured palettes, memories of place, the organic realm, and what might creatively sustain us.

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?

SCFor the moment I do not have a separate studio per se, but I do have an overloaded table in my apartment kitchen with my textile stuff like my sewing machine and materials for natural dyeing. Because I tend to squeeze in creative work every now and then, it is easiest not to have to go away to a studio. I like the idea of trying to find something new in everyday life or things that are not considered to be especially beautiful (like electric cabinets with graffiti). So this (inspiration) might not be typical artifacts, but more like phenomena.



I observe my son´s creative process on a daily basis as he draws constantly. This personal act is as important as eating is for him (or more so, as he told me yesterday). I recognize in myself that inner urge.


I am also a stone collector, and although I seldom actually look at them, the very act of collecting them and having them is pure bliss for me. It makes me feel very connected to my roots, too, as most of them were found at the island of Gotland in the Baltic Sea, where my mother was born. I also think rather much about time and vanity. The fossilized stones are a perfect symbol of that.


I also love books ... especially those about textiles, fashion, and art ... the presence of books makes me feel quite comfortable. If I had to choose one, I would say Taschen's monumental volume about the collections of the Kyoto Costume Institute (a gift from Petra's husband, pictured above).

My tools are, of course, important too, i.e. the glass containers that I use for solar dyeing and the rusty objects (tin cans, nails, etc.) that always add ‘nerve’ to the natural dyeing.

This is very ephemeral, but I love to see the light and shadows playing at home and the wonderful view from the apartment (to the street and to the church outside, with big trees growing and changing in the seasons).

Lost in Fiber | Interview | Cara Marie Piazza

Posted on: Thursday, July 10, 2014

Cara Marie Piazza natural dye collaboration with Loup Charmant

This is the second installment in an ongoing series of interviews with Lost in Fiber materials contributors. In the case of Brooklyn-based natural dyer and textile designer, Cara Marie Piazza, I was curious to learn more about the range of objects that Cara artfully surrounds herself with, her innovative methods of foraging and exploring color, and the creative ways that she resourcefully navigates her world.

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?



CM: Dried flowers and seed pods; the book Converging Lines: Eva Hesse and Sol Lewitt; a Pyrite rock formation; wood blocks; and a Tuareg medallion from a recent trip to Marrakech.


Lost in Fiber | Interview | Brece Honeycutt

Posted on: Monday, June 23, 2014

Brece Honeycutt has the midas touch with colonial living, drawing, eco-prints,
natural fibers, slow handwork, and organic studio methods
(studio photographs by Abigail Doan | September 2013)

As Lost in Fiber transitions to the artifact stage (in terms of documenting and synthesizing materials gathered from various contributors' studios), I was curious to understand more about the inspirational objects that various makers surround themselves with and the creative ways they populate and become immersed in their unique studio environments.


Brece Honeycutt's rural studio offers a new twist on modern 'domesticity' and 'farming'

My visit with artist friend Brece Honeycutt last autumn left me wanting to know more about her day-to-day musings as well as her process-centric relationship with materials and tools be they ancient, historic, or contemporary. I follow Brece's impeccably researched and thoughtfully written blog, On A Colonial Farm, but I wanted to also learn more about how she melds the past with the present in a way that reflects the spirit of a modern gathering.


A slow moment of light on fiber, tools, and webs in Brece's studio

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?


BH: My great-grandmother's peddle sewing machine; old woven wire mesh fish traps; a complete box set of Laura Ingalls Wilder's Little House Books; a mended piece of rusted metal fencing (darned with wire); and a bowl of handwrought nails saved for me by my husband when he re-clad our house.

Ancient Futures | Skopje | Macedonia

Posted on: Monday, May 12, 2014

Interior arch at the National Gallery of Macedonia | photo by Abigail Doan

Interior vault of the National Gallery of Macedonia | photo by Abigail Doan

Textures at the National Gallery of Macedonia | photo by Abigail Doan


Ceiling viewNational Gallery of Macedonia | photo by Abigail Doan

Traditional Macedonian costume detail | photo by Abigail Doan

Stone bridge with fallen botanicals | photo by Abigail Doan

Skopje architecture with vegetation | photo by Abigail Doan

A selection of images from my recent excursion to Skopje, Macedonia, from Sofia, Bulgaria. Not a holiday per se, as we were there as a family to take care of outstanding visa issues, but the dialogue between old and new surfaces and architectural details definitely caught my eye – however brief the stay. As always, travel in the Balkans is hugely inspiring for me.

(Slow) Fashion Revolution | Bulgaria and Beyond

Posted on: Tuesday, April 22, 2014

Milena Silvano hand-dyed shawl with local graffiti and vines in Sofia

Sassa Björg linen patch 'tile' skirt with Ceca Georgieva acorn necklace

Study NY dip-dyed organic cotton tank with botanicals from Mount Vitosha

YOD 'slow/wear' studio with botanical dye research books

Detail of Balmaseda 'tafoni jacket' with Ceca Georgieva cord necklace

A quiet moment during our slow fashion spring photo shoot

Titania Inglis designs on Mount Vitosha with Ceca Georgieva accessories

Loup Charmant at the base of Mount Vitosha

Happy Earth Day 2014. I am celebrating the goodness of exquisite handmade wearables as well as slow textiles with this Fashion Revolution Day Bulgaria feature. Please enjoy tmy recent article, 'Ancient Futures: Slow Textiles in Bulgaria' for Hand/Eye Magazine as well.

A special thanks to the above featured designers for creating such thoughtful pieces and timeless fashion statements.

If you are not already following the journey, please join Fashion Revolution Day here.

Recent Interview | She's Something

Posted on: Tuesday, April 15, 2014

My favorite scissors | photo by Meredith Eves Flynn for We Are The Somethings

It is not every day that one gets to do an interview with a group of women whose aesthetic sensibility really keeps you on your toes. I adore the talented (global) team behind We Are The Somethings, so when they asked me to do an interview for their She's Something column, I was a bit floored.

It was a a great opportunity for me to better examine how I balance and interweave my family and studio life between NYC and Bulgaria. Please enjoy the feature whenever you have the time. It's a nice slow read with beautiful photos by Meredith in NYC and Nadya in Sofia. Together we are all quite something, and for this I am so grateful.


Lost in Fiber worktable in NYC | photo by Meredith Eves Flynn

Interior hues and views in Sofia | photo by Nadya Kaneva

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