Summer 2011
Once Upon
A Gown The Story of a Vintage Wedding cameos and ruffles how to make your own! classically charmed
beautifully handmade rustic charm bracelets
KAYTEE PAPUSZA her designer collection
Summer 2011
Publlisher and President Kellene Giloff publisher@stampington.com
CON
Editor-In-Chief & Director of Publishing Christen Olivarez directorofpublishing@stampington.com Senior Managing Editor Amanda Crabtree bellearmoire@stampington.com Assistant Senior Managing Editor Jennifer Jackson Associate Editors Jana Holstein, Beth Livesay, Amber Demien, Cynthia Levens Art Management Coordinator Michelle Nolan artmanagement@stampington.com Assistant Art Management Coordinator Christine Stephens Creative Director Raquel Joya Lead Designer Chelsea Edwards Assistant Art Director Mallory Fisher Graphic Designer Joy Hsieh Junior Graphic Designers Mykaela Riehle, Olivia Kanaley Director of Photography Johanna Love Senior Photographer Dianne Sapra Photography Assistant Lauren Eatherly Printing Quad Graphics, Midland, MI 2
Belle Armoire is published by Stampington & Company
Designer Collection:
Kaytee Papusza
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by RicĂŤ Freeman-Zachery
Belle Armoire
NTENTS
Features:
18 Once Upon A Gown by Paula Nelson-Hart
32 Smitten with Ruffles by Gabrielle Knight
28 On The Surface: Playing With Dye by Debbie Bone-Harris
58 Altered Couture by Our Readers Old garments and accessories metamorphize into new creations through the artistic vision of our talented readers.
64 Salon by Our Readers Winning design and style are infused in this gallery of brilliantly artistic garments, stylish accessories, and beautiful jewelry.
70 Tapestry: A Story of Shoes by Deb Saviano
76 Scarlet Meets Cinderella by Mimi Ryan
82 Classically Charmed by Shea Fragoso
87 On The Surface: Playing With Dye by Debbie Bone-Harris
fyi: 2 Letters to the Editor 3 Letters from the Editor 93 Submission Guidelines 95 Upcoming Challenges
Summer 2011
Kaytee Papusza Designer Collection:
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by RicĂŤ Freeman-Zachery
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Summer 2011
Part artwear, part installation, Kaytee Papusza’s fine art couture blends wearable art with theater and performance, creating garments for a world spun of dreams and imagination. Buttons made of birds’ bones pair with
elaborate costumes. Her earliest art-related
vintage lace and recycled fur, taxidermy
memories are about playing dress-up and
specimens and antlers, metamorphosing
designing clothing made from petals for
into stunning one-of-a-kind celebrations of
dolls she created from flower buds.
both the whimsical and the macabre. Some people find some of Kaytee’s peices
as long as I can remember. I have always
unsettling; Tim Gunn of Project Runway
been interested in clothing and why people
once referred to her work as “disturbing,”
wear the things that they do.” The walls of
which is not necessarily a bad thing. She ex-
the house where she grew up were filled
plains that her work is not deliberately dark
with her mother’s collection of antique
but that it grows out of her studies and life
millinery, vintage tooled leather hangbags,
experiences, which, combined, have led her
lacy lingerie, and nightgowns from the late
to an appreciation of the whole wide range
19th century. Her mother was a seamstress
of emotions and ideas.
and taught Kaytee to sew early on. From
“I studied creative writing for a while and then settled into anthropology, which I found to be extremely fascinating,” she explains. “I focused primarily on the Romani, or the gypsy culture. I also grew a fascination with the darker side of life, such as
there, Kaytee began experimenting and by the time she was 11, she was buying vintage pieces and using them to create her own patterns, embellishing the dresses she made with painting and written text. “By the time I was in the seventh grade, I
genocide, warfare, ethnic cleansing—the
was already bleaching my hair and dyeing it
darker side of humanity and where pain
crazy colors, making dresses out of vintage
comes from. I think this, combined with
ties, or wearing colorful old Guinea Sax
other extremely painful experiences in my
[dresses] and combat boots.” She credits
life, brought me to feel that making art was
the grunge rage of the Pacific Northwest
what I needed to do.” She overlaid that
and the ‘90s kinderwhore fad as her earliest
need to address and express the darker side
fashion influences.
of life with a lifelong interest in creating
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“I have always loved beautiful clothing—for
Belle Armoire
“The irony is that they contacted me and asked me to come to a casting...� 7
Summer 2011 Kaytee’s pieces often end up using great textures, such as this layered lace minidress, shown here with an Anthropologie woven belt and rough Vanessa Mooney’s Diamond In The Rough necklace collection.
“I did not shy away from taking risks,” she says in something of an understatement. It’s not any wonder, then, that, unlike designers of commercial artwear who might be crushed at being dissed by Tim Gunn, Kaytee was completely unfazed. “The irony is that they contacted me and asked me to come to a casting,” she says of the show. “I had never even considered seeking it out as a viable avenue for my work prior to that.” Sure enough, Gunn’s objection seemed to be that Kaytee’s work was “not commercial,” something that might be an insult to some designers but that was quite the compliment to Kaytee, whose goal has never been widespread commercial appeal. While she does create ready-to-wear pieces using vintage lingerie that she dyes and hand paints, and while she designs Papusza Limbs, her line of hand-dyed tights and dyed vintage gloves, the pieces at the heart of her work are always one-of-a-kind works of art. These over-the-top art couture creations are commissioned and created for a specific client and were never meant to appeal to a commercial audience. “I do not design clothes for shrinking violets or wall flowers,” she explains. “People wear my pieces to make a statement and get noticed. I design clothes for the bold, those who like to think outside of the box and are not
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afraid to be noticed—the rebel, the
“Last fall I was reaching the pi.vnnacle
concept is deeply rooted in current
art girl, the unconventional woman,
of frustration with working other jobs.
social issues—Katie Burley is working
unconventional brides, singers and
I had a wonderful client, who is an ad-
on couture Burkas—and allows the teo
musicians, circus performers, avantgarde performance artists, art history professors, acrobats, writers and curators.” She goes on to explain that individual responses to her work vary widely. “People have mixed reactions to the macabre stuff. Some love and others hate. People who are into it love the details made from unconventional materials—taxidermy, for example. The bloody swan—long white lace dress
designers to explore shared beliefs.
“I do not design clothes for shrinking violets or wall flowers. People wear my pieces to make a statement and get noticed.”
with red spattered on it—has actually gotten me some of my best commissions,” Kaytee says. “I spent nearly 100 hours making that dress.” Originally from Oregon, Kaytee moved to Manhattan in her twenties and took on various jobs to make ends meet in order to launch Papusza Couture in 2005. “I have worked at a diner in Union Square in Manhattan, which brings with it all sort of crazy. I have been a cigarette girl at a speakeasy in Brooklyn. I have worked in the library reading books to children. My jobs haven’t always been pleasant, but they have always been interesting. I worked really, really hard and made a lot of sacrifices,” she admits. “I guess
vocate for the arts, give me what I can only refer to as a magical commission. It paid pretty well so I was able to quit my job.” That was right before Halloween, always a time of multiple commissions for one-of-a-kind couture costumes, and together they helped propel Kaytee into freelancing. “I am seeing every day that it is a learning experience, but i try to stay optimistic and keep moving forward. A lot of opportunities have come to me as a result of taking the leap of faith into freelancing—I think a huge part of that has panned out because I keep a positive attitude.” Kaytee is currently working on a new
for twenty-somethings in New York.”
collection, Paramicha, collaborating
There were the inevitable ups and
with couture milliner Katie Burley and
downs along the way, from the disap-
photographer Elizabeth Raab.
“Iceland Fashion Week” turned out to be a less-than-promised experience of ineptitude, to a dream-come-true couture installation of 2010.
portance of using cycles in our art to process darkness and tell stories. This is another way in which I feel that my art is expressing the pain I feel about these specific social issues.” When she was in college, Kaytee became obsessed with genocide to the point of depression. At the time, she was too busy with school and work to make things, and it wasn’t until she once again had time to work with her
it’s not such an uncommon story
pointing 2009 trip to Iceland, where
“Katie and I both understand the im-
“It is a series of garments made out of tarot cards, fair trade fabrics and charms, and symbolic emblems from other cultures.” She explains that the
hands that she was able to process the thoughts that had been plaguing her dreams. “I think going into this depression is what triggered me to start making clothes again. Through this use of creating things with my hands I have found a voice for all the painful things I have experienced, and this allows me to fully embrace happiness in all the other aspects of my life. In a way I guess you could say my art saved me from myself.” Kaytee works out of her home studio— currently in New York, but soon to be relocated to Los Angeles. “My studio is always in my home. I like the place where I dream to be close to the place I create.” The new studio will be part of her loft near Venice Beach, with high ceilings and skylights. She’s looking forward to having a little yard, something she missed while living in New York.
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Summer 2011
Kaytee’s soft sundress paired with a denim jacket would be great for casual fall outings.
“I’m also excited for the beautiful sun-
oftentimes leads to an imaginary
reason, and I can’t imagine doing any-
light that will fill the space during the
world, one which is somewhat surreal
thing other than making things with
day and the quiet at night, which has
or dreamlike.” Some of her favorite
my hands—the things that make me
also been a luxury I have missed while
collections, such as one inspired by
feel alive. I am lucky because people
being in New York.” In those quiet
the idea of having birds living in the
seem to really like it, and I work well
morning hours, she will begin with
bottom of the ocean, have come from
with others, which has brought me
coffee and computer work, taking
her own dreams, which is one of the
incredible opportunity.”
care of email, Facebook, and her blog.
reasons she wants to work near where
She likes to move to the actual studio
she sleeps, minimizing the time be-
work while the light is good, starting
tween living the dream and capturing
each piece with sketches from her
the dream. Although it’s taken a lot of
notebook. She doesn’t rely on pre-
work—many 80-hour weeks when she
liminary muslins but moves directly
was working the day job and creat-
from sketches to the fabric, draping or
ing artwear in the wee hours—Kaytee
pinning hand-dyed yardage to get the
wouldn’t change any of it, not even
effects she sees in her mind.
the darker bits.
“I am inspired by concepts, stories, culture, mythology and history—which
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“Everything that has happened in my life seems like it has happened for a
To see more of Kaytee’s work, visit her website at papuszacouture.co and her blog at papuszainbirdland.blogspot.com. Rice Freeman Zachary is the suthor of three creativity titles published by North Lights Books, including the best-seller, Living the Creative Life: Ideas and Inspiration from Working Artists. She lives in Midland, Texas. You can reach Rice Freeman Zachary through her journal at voodoonotes.blogspot.com.
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Summer 2011
classically charmed by Shea Jeanne Rae
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As artists and designers, we are always looking for inspiration for the next creation. For this collection, I was lucky enough to have inspiration strike twice: once in the choice of materials, and again by an introduction to a wonderful technique!
The Perfect Project I have the distinct luxury of having my mother as my partner. It’s both a nurturing and educational partnership. Her desire for knowledge about our industry has been a blessing for me on my creative journey. She always has the scoop on cutting-edge tools of the trade. It was no coincidence when she steered me to the Ice Resin booth at CHA. When I ran my hand over the cool, smooth domes of resin set into beautiful bezels, I was instantly smitten. After a long chat with the owners at the booth, I was n my way with a complete kit. I couldn’t get back to my studio fast enough to start to play! Armed with the resin and my other favorite new skill of torching metal bezels, I proke out my printer’s trays and went to work. For as long as I can remember, I have had a love affair with all things European. I have collected charms and trinkets from my travels and saved them for the “perfect project”…
Less is not More; It’s Less For the bracelet, my first step was cutting 3/8-inch-round copper plumbing pipe into 1/4-inch-tall peices. I then cut 1/2-inch circles out of brass sheet metal to cap the bottom of the copper pieces, leaving a lip around the edge. Using lead-free solder, flux, and a hand torch, i fused the two pieces together. In the center of each bezel, I placed a vintage rhinestone button. Mixing the resin together, I let it sit for five minutes before I did the pour to complete the bezels. I set those aside and let dry for 24 hours. The second step was to embellish and resin the hanging bezels. First, I used various decorative papers from one of my favorite manufacturers, graphic 45. I cut the paper to fit the 25mm antique brass bezels and used a cat eye to distress. From there, I chose some of my favorite charms that I had gotten on a trip to Paris. Again, using the same resin from the torched bezels, I poured these to complete. They were also set aside to dry. The next morning, I got to really play! I began by soldering jump rings and adding patina to the torched bezels to give a more “antique” finish. Next, and because my philosophy in life is “Less is not more, it’s less,” I added tiny crystal chain to the outer lip. I then found one of my favorite chains and divided it up into sections, allowing the bezels to join the chain back together. From there, I began adding charms and estate jewelry and pearls and Swarovski crystals to the chain to complete my vintage treasure bracelet. To learn more about Shea, visit agildedlife.com. 13
Summer 2011
Smitten With Ruffles by Gabrielle Knight
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Sheer Luxury Ruffle Top When I think of what women’s clothing should be, I think about ruffles, soft draping fabric, and a shape that accentuates the beauty of the woman wearing it. I just happened to find a way to merge all those things into one top, the sheer ruffle luxury top. My inspiration was mainly the fabric this time—I saw it in the fabric store, then touched it and then wanted the whole bolt! It’s soft, light, and has a beautiful sheen to it. You can pair it with a dainty rhinestone bolt or a white skinny belt and a pair of jeans and ballet flats for a comfortable casual look. For your own ruffly shirt, make a pattern for the top to fit you or the person who will be wearing the top. Place pattern on fabric and cut it out. Sew it up. For the ruffles. do a baste stitch on a 3” x 80” piece of fabric (can be longer or shorter depending on how long you want your ruffles). Hold both threads on one end and one thread on the other and pull that one thread until you get the ruffles you desire. On a serger it is much easier: just adjust the tension settings according to what your instruction manual tells you in order to achieve the desired ruffle effect. 15
Summer 2011
Gunmetal Gray & Pink Petals Dress It was the middle of winter, and it had been a cold one so far. I was sitting around one Saturday morning, which is usually my sewing day, thinking that I wished it were spring already! New England winters can really drag on. I took out the fabric I was going to work with that day, with spring in my mind, and the thought of petals popped into my head. So, I started researching how to make fabric petals and found some really great tutorials. I watched them and then tried the techniques out myself, and the Gunmtal Gray and Pink Petal Dress is the result! Make a pattern to fit yourself or whoever will be wearing the dress. Cut it out. Sew it up. Make the petals somewhere in between and glue (with fabric glue) or sew them on. For the petals, sear the edges: let the fabric just lightly touch the flame while quickly turning the fabric.
The Ruffled-Up Jacket It all started with a trip to my favorite off-the-radar fabric store. As I browsed through the rows of bolts and hanging fabric, my eye caught a bright pumpkin orange fabric. I went over to see what it was made of and turns out it was a soft and gorgeous wool, perfect for the fall season that was quickly approaching. So, I picked it up and brought it home. I looked at it for a while, as I normally do, thinking “What is this fabric supposed to be?” Sometimes I feel like Michelangelo trying to find the sculpture inside the square block of marble. It doesn’t always happen with ease; sometimes it takes months for me to figure it out. Though, with the pumpkin wool fabric, it came quite easily—a short jacket with a mediumsized wooden button popped into my head. The ruffle on the side was something I played with after I had sewed most of the jacket together. I love ruffles and I try to incorporate them wherever it is possible. They’re just so feminine and beautiful. So there you have the birth of the pumpkin wool ruffled-up jacket. Make a pattern to fit yourself or whomever the jacket will be for. Cut out the pattern. Sew it up. Embellish it however you see fit (ruffles, rhinestones, flowers, petals, etc.).
Gabrielle Knight is a self-taught seamstress whose inspiration and talent are all credited to God. She lives in Rhode Island with her husband, Dillon, who is a cabinet/furniture maker. Gabrielle has a couple of stores online: ikvothamashiach70.etsy.com, which is a high fashion couture style women’s clothing store; reconsumed. etsy.com, which is an all-fleece women’s clothing/accesories store; and zareya.etsy.com, which is her casual everyday women’s 16
clothing store.
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Summer 2011
upcoming challenges Art to Wear For Valentine’s Day
Perfectly Pinned
In this issue, Shea Fragoso shared a coat she wore for
Becky Sander’s cute Heart Pins sure made a
her wedding day—deep red and romantic, we’re sure this
statement in this issue. A pin seems like the perfect
coat took her new husband’s breath away! In preparation
canvas if you’re looking for a fun project—after
for Valentine’s Day, we’d like a piece of wearable art
all, a pin has to be small, so it can’t take too long
that speaks to the romantic in you. Will you wear a soft-
even if you do use complicated techniques. Pins
as-can-be sweater for the chilly holiday? A fancy dress
are also a great starting project if you want to try
to go out on the town in? A fancy new romantic scarf?
out a technique but aren’t ready to make an entire
Whatever your choice, we want to see your wearable art
garment. We challenge you to try your hand at
for Valentine’s Day!
creating a pin. Use whatever techniques you’d like!
DEADLINE: August 15, 2011
DEADLINE: August 15, 2011
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AUG
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Fabulously Felted
On The Surface
So inspired were we by Kate Ramsey’s felted scarves
You can’t go wrong with playing with surface
this issue that we decided to create a challenge for
treatments on a piece of fabric or your favorite
you to see what you can so with felting. Whether
garment. From dyeing to painting to burning and so
you’ve never felted before or are a felting expert, this
much more, surface treatments are an easy way to
is your chance to show off your skills! Do you want
personalize an artistic garment. Whether you’re a pro
to felt an old sweater, then turn it into a purse? Do
at surface treatment, or have never tried before, we’d
you want to create felted works of art like Kate did?
like to see what you can do on the surface. Play with
Whether you create a small accessory or an entire
one treatment or several, show it off with a jacket,
garment, it doesn’t matter. We just want to invite you
dress, or scarf—whatever you decide to do, we can’t
to try your hand at this ever-popular technique.
wait to see what you can do with surface treatments!
DEADLINE: August 15, 2011
DEADLINE: August 15, 2011
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