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{Craft - Textiles - Fashion}
In This Issue// Shingo Sato// Anna Devine//DIY Projects // Eagle and the Worm// Etsy Feature Artist Lynda Slade
No.1 // February 2013
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CONTENTS Contributors 5 Minutes with Lynda Slade DIY Project #1{Postage Stamp Heels} Swatch Sample-Vintage Pattern Playtime Books we are Coveting { Music we are Digging {Eagle and the Worm} History Lesson-The Story of the Humble Strip Artist Profile-Shingo Sato Artist Profile-Anna Devine Product Feature-Fall In Yarn DIY Project #+2 {Lace Doily Pendant} Events to look out for Subscribe to us
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SARAH BYRNE HOLLY ELLIOT Holly has a deep belief in the value and impact of design and craft. With a passion for learning and ‘fine’ craft, she is always building on her knowledge and skill base in design, felting, sewing, and jewellery making, and pretty much any other craft she can get her hands on. Holly is Gather Magazine’s resident ‘ideas’ girl, and craft philosopher. Her style is earthy and feminine, with a definite dreamy nod to bygone eras, and the occasional splash of the whimsical or dark and curious. She likes nothing more than watching an idea emerge and realise, as material is transformed with human hands. Also: books, trees and mountains, and the smell of a warm, sleepy cat.
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Sarah has a background in Communication Design and Jewellery/3D Design. She possesses a conceptual creative approach to art and design with a strong technical edge. Sarah is at the beginnings of a colourful jewellery business but is equally passionate and knowledgeable about collecting vintage home-wares and accessories in particular. Sarah is Gather Magazine’s resident graphic designer, technology expert and bringer of laughs. Her style is eclectic curiosity cabinet with a dash of 1970’s craftbooks and a sprinkling of op-shop glory. She likes nothing more than fuelling her border-hoarder habit along side of daydreaming about her next collaborative jewellery project.
CONTRIBUTORS
GATHER MAGAZINE ISSUE 1-THE BIRTH Gather Magazine was birthed from the brain power of four Melbourne ladies who, with their passion for all things craft, textiles and fashion, decided to put their own stamp in the world and create a magazine to channel their collective musings for all to share!
MEET THE TEAM ANNASTASIA RYAN-WOODS Annastasia is obsessed with using her hands to create, explore and test the limits of different mediums in order to fabricate unique designs. She has qualifications in Fundamental Design, Clothing Production & Business with particular expertise in pattern making, sewing garments, and fashion and textile design concepts and development. She is Gather Magazines expert on patterns and construction, and can turn anything into something glamorous. Her style is a modern manic mashup with a rock edge vibe. She likes nothing more than filling her world with old, weird and random treasures, letting her imagination run wild and hanging out with her gorgeous grandma.
ANNA DEVINE Anna has a background in International and Community Development. It was through her work that she first came across African textiles, in particular wax-resist and batik fabrics. This sparked her interest and textiles and textile design have become a consuming passion. Anna has completed studies in textile design and is in the process of making a ‘career seachange; building her skills in this area and launching her own business. Anna is Gather Magazine’s history nut, and organizer and team feeder. Her style is colourful and globally focused. She likes nothing more than seeing an idea worked through all the phases of the design processes to a completed product. Oh, and also taking her dog Tilly to the beach.
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anna devine -melbourne-
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Page ARTIST Header ETSY FEATURE
FIVE MINUTES WITH LYNDA SLADE What is your inspiration? My inspiration comes from many sources. Mostly, I'm inspired by "old" things. The more I see, the more I'm inspired. I was lucky enough to spend a month in Europe last year, alone. Looking at the paintings in Paris, the centuries-old architecture in Prague, the graffiti on the remains of the Berlin wall...so much of it was inspiring. I came home wanting to paint! What is your favourite song to create to? My favourite song to create to? I have several, anything from Pearl Jam! Actually, "Rise" by Eddie Vedder is particularly uplifting. What three words describe you best? Hippie, solitary, a collector. What did you want to be when you were a kid? I always wanted to be a vet, until I did some work experience, and realised the truth about euthanasia and unwanted animals.
What five things are on your work bench now? My "new" Singer 328 Sewing machine (circa 1960), a green uranium depression glass bottle I found last week in an Op Shop, my pincushion (a stuffed Japanese cat), my sewing scissors ( a huge pair of vintage Wiss dressmakers' scissors, inherited from my grandmother), and my computer. Favourite virtue? I have learned to "make lemonade out of lemons", as the old saying goes. Biggest vice? Collecting too many old things! Any parting words of wisdom for aspiring creators? Create while you can. Seize the day. Biggest Thanks Go to our Etsy Feature Artist Lynda for taking the time to share her creative thougths with us! You can find more info about her amazing bracelets at her Etsy store: www.etsy.com/shop/sewnewthings Gather Magazine // 7
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ARTIST PROFILE
SHINGO SATO
Hailing from Japan, Shingo Sato is one of the finest couture designer/patternmakers of this age. His Transformational Reconstruction design process opens up a whole new world of possibilities and pushes the creativity of those he teaches further than imagined. I dare say nobody who has had the privilege of attending one of his classes or workshops has left feeling anything but completely inspired and reawaken with a love of design. During his visit to Australia, I sat down with Shingo as he highlighted the major influences in his life and what inspires him today. As a student Shingo found an article on French designer Azzedine Alaia and decided from that one article that he wanted to be Azzedine’s assistant. With this goal in mind he worked hard on developing his own style & preparing his portfolio. Once the portfolio was completed he sent to Azzedine along with a letter in French stating ‘I want to be your assistant’ and without waiting for a reply he headed to Paris, “.. after 6 months I got it, my place as his assistant. During my time with Azzedine Alaia I was able to learn a very unusual technique that was a shock to me, a very special way at looking to create 3d shape onto the mannequin/model.”
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After 4 years of training in Paris Shingo went to Italy with the first of his collections using the technique he learnt from Azzedine and for the next 15 years he showed his collections in Milan. “.. after (this time) I started teaching student(s), and then I created my (own techniques). (At first) it was very difficult to teach especially for the student, because for the student it was very difficult to convey my technique, it was to advance for them. So I wanted to modify (and find a) more simple way for them. Then I created TR pattern, TR technique, which is basically (a technique that is) really easy to understand how to create 3d shape to 2d pattern. I started teaching students so (and through) using my technique somehow I could communicate to them (in an) easy way.” As a designer fundamentally communication with his student is very important for Singo. “Because a student wants to learn many things, new things, not (just the) conventional way (techniques); which you can learn from a textbook. Every school is (teaches) the same thing: - where the grain line is, placement like this, the pocket always like this - they only have three pockets. I have created many, many styles of pockets, it’s
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very exciting from them (the students) and at the same time I can learn something from them. Shingo’s designs are always created against the conventional way which is non-existing in a text book, but always with communication with his students in mind. It’s important for him to always find the easy way for the students to achieve the technique “not a complicated way”. He explains that his design process is always by accident and he doesn’t follow the latest fashion trends whether in fashion magazines or a high Milan collection “for me no, it doesn’t work. I think for my inspiration comes from the street, from the people walking (by), (and) speaking to the young people. For example (Shingo sees a) normal outfit, the fabric is sort of dropping down. (It gives him) another perspective (where) you can see (fabric and drape in) a different way. The fabric (is) dropping or something in a strange way, (Shingo asks himself) what (has) happened I can’t understand. Because maybe they are sitting this way (he thinks) and the fabric is falling down, its kind of a creation. You can see the creation accidently, (and Shingo thinks) maybe I can create this shape my way. (It’s always) by accident, I never create first (by thinking) I have
ARTIST PROFILE
to do this one (this way), then after that this. (This) is not an existing process for me. In my try outs, my exercises and experimental try outs (this is Shigo’s process).” Shingo is also inspired by structure, “...the building, the architecture for example, anything with shape, any shape, the structure of the object.” An important message Shingo imparts on his student is to have respect for everything they learn through textbooks and their teachers; but to know they always have two options – “the conventional school way and their own way or own concept. They should try many things, never be afraid to (try other things). (Just) because the teacher doesn’t try this (new) way, (does not mean) I shouldn’t. In front of the teacher pretend to be good ‘ok, I do (it) this way (teacher’s way)’, but at home try other things. Very smart to be good student but – two characters, you have to change depending on the circumstances”
Shingo Sato will be returning to Australia in April 2013, holding workshops at Beautiful Silks in Fitzroy, Melbourne. Visit their website to find out more information and to secure a limited place www. beautifulsilks.com. Shingo’s ‘Transformational Reconstruction’ Book & accompanying DVD is available at www.centerforpatterndesign.com. Videos of his technique can be seen online through YouTube.
{Interview & Article by Annastasia Ryan-Woods}
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POSTAGE STAMP HEELS Materials • 1 Pair of Sad Old Heels/Shoes • Decoupage Glue. (All in one sealer, glue and finish. Dries clear.) • Paint Brush • 90-100 Stamps (More needed if covering the heel) • Small Scissors
Preparation Remove as much excess paper from the back of the stamp as possible Give your sad old shoes a good clean
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DIY PROJECT #1
How To... 1.
With your paintbrush lightly cover a small area of the heel and the back of a stamp with the decoupage glue.
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Place the stamp on the covered area of the heel. Use your fingers to smooth out any wrinkles.
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Use your paintbrush to lightly cover the next small section of the heel, including a small area of the first stamp which is to be slightly overlapped by the second. Cover the back of the second stamp with the glue. Use your fingers to press the stamp down onto heel, slightly overlapping the first stamp. Continue covering the heel one small section at a time. Use your scissors to cut small incisions into stamps to help fit the curve of the heel (if needed) and for cutting the stamp to fit the shape of the heel at the sole. Have your stamps overhanging at the top/opening; cover a small area inside the heel in decoupage glue, fold the stamp over the heel and press to the inside. Once entire heel is covered in stamps, repeat on second heel. Coat both heels in a layer of decoupage glue, covering all the stamps on the outside and inside of heels. Leave to dry and repeat with another coat to help with waterproofing. Gather Magazine // 13
FEATURE PRODUCT
FALL IN YARN As soon as you walk into the shop at Beautiful Silks, in Fitzroy, you are hit with an overpowering and dangerous urge to lose yourself within the vibrant colours and intriguing textures that surround you. This captivation is illustrated perfectly in the yarns section, where their colour co-orientated display enthrals you, while calling out for you to rekindle your love, or jump head first into a new passion for knitting. Falling into either of these two categories above you open up a whole new world of exploring and learning and luckily for you, nobody knows how to create a pattern that enhances the beauty of these exquisite yarns more than the experts at Beautiful Silks. Beautiful Silks currently have 25 in-house designed knitting patterns available, ranging in difficulty from beginner to advanced. The patterns can be purchased either on their own or in a kit which includes the yarn and any required embellishments. These patterns and kits can be purchased in-store or through the Beautiful Silk website. Beautiful Silks 101 Victoria Street, Fitzroy VIC 3065 www.beautifulsilks.com.au
The patterns are now also available online at the knit & crochet community site Ravelry. www.ravelry.com
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MOOD BOARD
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FEATURE DESIGNER
Devine Anna
A showcase of beautiful garments designed by Anna Devine of Melbourne, Australia Melbourne textile and fashion designer Anna Devine, arrived at her current vocation in a round-a-bout fashion. It was during her time working for an International Non-Government Organisation, on a trip to Uganda that she first came across the vibrant and bold wax-resist dyed fabrics. An all consuming passion was born and she has become a student of textiles and textile design, with a particular passion for global cultural textile traditions. “My personal style is still developing and evolving. Wax resist dyed fabrics are still central to my style but I also want to develop further, finding ways to incorporate these designs with my own textiles designs including printed and embellished pieces�. Ultimately I guess my designs reflect my view of my place in this world.
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Outfits supplied by Anna Devine Shoes and Accessories supplied by Gather Magazine
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THE STORY OF THE HUMBLE STRIPE Whenever I pop into my local fabric store I know there are a number of fabrics I will always find, regardless of season. Stripes, spots, florals, toiles and checks come to mind. Each season they are reworked in different colours, sizes and fabrics (cotton, linen, silk, polyester, knits), but the design or pattern itself stays true throughout. For as long as I can remember they have been around and we call them classics now. But when were these patterns new? One of my favourite textiles designs is the stripe. Even as a little kid I always chose striped tops for myself, and it turns out the simple stripe hasn’t been ‘new’ for a very long time. Striped textiles date back to the very beginning of man-made fabrics, thousands of years ago. Stripes were often the result of the construction process and have been evidenced in numerous different cultures around the world. In earliest examples stripes were created almost by accident through the use of uneven yarns and different coloured threads. Then, with more consideration through the warp and weft weaving processes. They were often also the result of embellishment and decoration techniques including dyeing.
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HISTORY MADE
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HISTORY MADE
These were interesting and varied and often pretty ways to add more detail and more meaning to cloth, making a statement and giving its wearer status within a society. But in the 13th and 14th centuries, the stripe took on a more sinister meaning relegated to those on the outer edges of society and respectability. According to Michel Pastoureau in his book The Devil’s Cloth: The History of Stripes and striped fabric, the arrival of the Carmelites in France from the Holy Land caused quite the uproar that lasted fifty years and determined how stripes were worn for the following two centuries. In medieval times “any surface in which a background could not be distinguished from a foreground” was disturbing. Stripes disturbed this viewing habit, breaking up the conventional figure-ground relationship and as artist and art critic Joe Fyfe points out stripes in this context, were the visual equivalent of “speaking in tongues.” Carmelites were given the nickname ‘barred brothers’ and striped clothing was even banned from all religious orders by Pope Boniface VIII in 1295. The stripe was then relegated to those on the margins or outside accepted society including prostitutes and jokers, burdened by the perjorative associations of the time of being a doubler or insincere person who can’t be trusted. The stripe has however come full circle, taking on positive meanings of freedom (the American and French flags), youth and in the case of the pinstripe suit, wealth and success. This may be in part to the adoption and popularization of the stripe by designers and artists such as the Breton Stripe, which came into being following the Act of France in 1858. A striped top was introduced for all French Navy seamen (featuring 21 stripes, one for each of Napolean’s victories) and was made famous in fashion by Coco Chanel and more recently by Jean Paul Gaultier. Or it may just be through the benefit of time, a chance to forget and start again. Regardless, it is astonishing that something as simple as a striped pattern has had such a lasting impact on the world. Written by Anna Devine, Photography by Gather Magazine Image sourced http://vintageprintable.com/wordpress/
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CROCHET DOILY PENDANT Materials • Doily Section • Glass Coat Resin (a two part resin, available from most hardware stores) • Popsticks • Measuring cup • Plastic surface such as acetate • Wet and Dry Sandpaper (about 600-1200superfine)
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How To... 1. 2.
Checkout your local opshop and find yourself an old doily that you are happy to cut up {preferrably a med thickness, too thick and you could end up with the doily pendant that muscles are made from!} Cut out a section that you would like to turn into a pendant. Mine was oridinally large enough to use as a table cloth, but was made up of lots of little smaller sections! Very handy! Try to keep the edge as neat as possilbe to avoid fraying.
DIY PROJECT #2
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THE FUN PART!Set yourself up in a well ventilated, sheltered area. You will need a smooth level plastic surface such as on icecream lid, or a sheet of acetate resting on a smooth surface.
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Grab your 2 part clear top coat resin and mix according to the instructions. You won’t need much, say about 20-30 mls. (you can always mix more, the drying time is quite long) Pour over the doily, making sure everything is covered. Use a popstick to smooth out the resin and get rid of any trapped bubbles. (It doesn’t matter if it goes over the edge too as you will clean up your pendant later. Wait for the resin to dry (this will probably be about 24 hrs. You could put a container over the top if you like to stop any insects or dust getting trapped on the sticky surface. When the resin has dried, you can now clean up your piece, either with a file (or if the resin is soft enough, like agar jelly, and not quite set (within 24hours) you may even be able to cut the excess off. To really smooth of the edges, use some Wet and Dry Sand paper with water. Time to attach a pendant bail with a strong glue (such as a 5 minute araldite), add your chain, and Doris is your aunty, you have a crochet doily necklace! Gather Magazine // 31
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A MAKER’S PHILOSOPHY
SOMETHING OLD, SOMETHING NEW
What happens when a maker meets the Right Tool? Holly Elliot gets up close and personal and considers what it means when the two become one.
There is something wonderful about a collection of tools. I could spend hours sorting and arranging, picking them up one by one and feeling the weight and balance and eagerness of each tool as it lies in my hand. In his book Complete Metalsmith (2004), Tim McCreight suggests that the Right Tool can offer more than meets the eye: ‘You know the way a well-designed tool not only fits into your hand but educates it as well, like a dancer whose nuanced movements turn clumsiness to grace…They impart a wisdom that traces its roots not to brilliant thought but to a genius of touch’ (p. 22). The idea of this ancient tactile wisdom really appeals to me, and I mull it over as I place a hammer back on the table. This exercise in handling and arranging inanimate objects may seem a little strange to the outsider, but to me, it ultimately feels like exploring and deepening a life-long relationship with my partners in craft-crime.
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A MAKER’S PHILOSOPHY
It takes time and practice to build this relationship. As I move across disciplines, or even delve further into my practiced fields, I find myself introduced to new tools that are perfect strangers. Purchased new they seem young and naïve. They speak only of their birth: wood and stone and metal, displaced and formed and united into a new existence. We are nervous and excited, tentative as together we land the first blows, make the first marks. I can’t help feeling a little impatient, a little scornful at how clean and shiny and unmarred these young tools begin. I find myself looking forward to a time when the blisters on my hand have hardened over, and the tool bears the marks both of my grip and of the pieces we have created together. I remind myself of the beautiful journey we are just beginning. Acquired old, they come to you filled with memory of past creations wrought with another’s hands. Like an abandoned lover, the old tool can’t help but compare my touch, my technique, to that of its last partner. In time though, old tool or new, we fall comfortably into each other’s pattern, an extension of one another, and together give life to new things. It’s all a bit intimate, really. {Written by Holly Elliot - Photography by Gather Magazine}
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EAGLE & THE WORM Q&A with Emily Caracella of Melbourne’s Eagle and the Worm {Interviewed by Annastasia Ryan-Woods}
How would you describe the music Eagle & the Worm create? We’re an 8 piece rock n roll band with a 3 piece horn section. It can be a bit hard to describe our sound because there’s so many different personalities and influences in any song. I guess we sound like 8 people having an enthusiastic conversation about their favourite records in the corner of a pub. What has been the craziest moment you have had so far at an Eagle & the Worm gig? Oh, there’s been a few! The most infamous one would be the punter who, uh, lost control of himself during a particularly audacious jump-spin dance move. He stayed til the end of the gig though! What influences helped you in discovering your love of music and attracted you to playing the trombone? Definitely my parents, they always had music blaring in the house and in the car. And it was always classical music, musicals and operas, which my friends thought was pretty bizarre. Car pools with my dad would have him blasting Aida, whereas other parents would be playing Gold 104. But music was just always there, and I learnt to appreciate a lot of different types of music through that exposure. The trombone was my second choice, actually, and I only put it down because I was curious to see if the slide clicked (it doesn’t…), but I had amazing teachers and just fell in love with it. Which creative medium would you love to pursue but haven’t yet? I have always been drawn to film, and I briefly started studying film before touring commitments became too hectic, so I’d love one day to get back to that. What was the last handmade item you made or brought and who was it for? Seriously racking my brain and I can’t remember! I know I once glued coloured paper on to my brother’s face while he slept, does that count? What’s next for Eagle & the Worm? We’ve just released our new single, Angela’s Lonely Heart, off our EP Strangelove, and we’ll be back in the studio sometime soon recording our next album. So a lot of rehearsing and writing is on the cards between now and then.
Website // www.eagleandtheworm.com Facebook // www.facebook.com/eagleandtheworm Youtube // www.youtu.be/yaXKAiCBVnQ
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MUSIC WE ARE DIGGING
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PREMIER SUPPLER OF
PURE SILK PRODUCTS
Supplying natural yarns, fibres and fabrics, coloured or prepared for dyers.
we also provide:
• Wholesale and retail Natural Fabrics Yarns & Fibres • Felting products inc. prefelts in a range of colours • Knitting & embroidery yarns • Threads • Fibres • Dyes • Business support services • Direct importing services • Training workshops and mentoring • Workshops – check wesite for schedule • Mail order despatched daily.
Can You See Yourself Here? Email us at Gather Magazine to Find out more!
Upcoming workshops:
Leiko Uechi pine needle feltmaking, Patricia Baldwin encaustic and many more! See website for more details: http://www.beautifulsilks.com/workshops/index.html
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Beautiful Silks, 101 Victoria St, Fitzroy Vic 3065 Phone: 03 9419 7745 Fax: 03 9415 8745 Email: info@beautifulsilks.com
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RESTAURANTS WE LOVE
SEAMSTRESS
When the Gather Ladies do lunch, they do it in style! Seamstress Melbourne housed over three levels of an old warehouse space that was once a textile factory and at one time a brothel, is a restaurant and bar that excites your senses. Any traces of the brothel are long gone, however the building’s heritage as an undergarments factory is preserved through the design and styling of all three levels including the restaurant, cocktail bar and lower level Sweatshop Bar. Cheongsams hang from the ceiling in the cocktail bar, with gorgeous coloured silk draped above. On all three levels, old Singer sewing machines from the original factory become beloved drinking companions, while the spools and threads have developed into great works of art, displayed for the enjoyment of patrons, remembering what is a treasured past. The sights and atmosphere of Seamstress are tantalising and promise an experience that will awaken another important sense, taste, and in this you are not let down. The cocktails are refreshing and full of flavour while the meals from the Asian inspired seasonal menu are beyond delicious. We highly recommend trying the Pork Belly with an accessory of Rocquette & broccolini salad, pickled ginger with tofu & tahini dressing or the vegetarian main of caramelised eggplant with red miso & silken tofu sauce, crispy spice crusted firm tofu & toasted sesame seeds. Both meals are extremely innovative, clever in their creativity and marvellous in flavour.
B B B B { This Dinner gets 4 ½ outta 5 Fried Bananas !} The Seamstress Restaurant & Bar 113 Lonsdale Street Melbourne VIC 3000 www.seamstress.com.au
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BOOKS WE ARE COVETING
ALABAMA STUDIO SEWING + DESIGN Natalie Chanin Stewart, Tabori & Chang, 2012, 176 pp There has been a lot of discussion in recent years about ‘slow living’ - living a more sustainable and ethical life, with a move away from the hectic nature of work and consumerism, and a shift back towards an appreciation of the handmade and community. If for you, like me, craft is an integral part of life, it could be worth taking some time to think about how you practice. Alabama Studio Sewing + Design is a book that takes ‘slow sewing’ to a whole new level. It guides you through creating a wardrobe of clothes stitched and embellished entirely by hand. It may sound overwhelming but, as I read award-winning designer Natalie Chanin’s inspiring words and pore over the pictures of her beautiful garments, I feel not even a hint of trepidation. The garments and stitches are simple and the embellishment techniques could be customised in infinite ways, by any skill level. They are garments that could be created in a timeless style, and I find myself rolling the word ‘heirloom’ around in my mind. All impatience melts away and I find that my attitudes towards sewing have been altered. Suddenly, each stitch starts to seem like an investment of time. www.alabamachanin.com/alabama-studio-sewing--design-4 {Review by Holly Elliot}
1930S FASHION: THE DEFINITIVE SOURCEBOOK Edited by Charlotte Fiell & Emmanuelle Dirix Goodman Fiell, 2012, 576 pp If the lines and geometries of art deco style set your heart a-racing and your knees weaken at the sight of figure-caressing bias cut gowns, then pop on the kettle and plate up some delectable biscuits. You’ll need a good few hours to peruse the selection of 600-plus original photographs and illustrations contained in 1930s Fashion: The Definitive Sourcebook. The book is introduced by fashion historian Emmanuelle Dirix and as well as being a vintage fashion feast for the eyes, it offers insights into themes and trends of the period and discusses the leading designers and their influence. Definitive? Definitely. Now I’m off to plate up another lot of biscuits. Also available by the same author: Fashion Sourcebook 1920s. www.fiell.com/page/our-books/fashion/sourcebook-30s {Review by Holly Elliot}
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SWATCH STUDY
OPSHOP FANCY A SWATCH STUDY
I have been an opshop fiend for at least the last 15 years, and in which time i seem to have amassed a fairly large collection of patterned items, in particular vintage dresses! I love a good vintage patterned fabric, even if the dress pattern itself is, lets say, less flattering than Homer Simpson in a Muumuu. It still has that potental to shine in way that polyester can shine after 40 years, but also in a sense that patterns of days old are just not the same as what we can find in our modern day equivilent shop at the local supermall. I love these dresses because they were once bold, adventurous sophistication, but today remain as opshop relic or in my case, a mood board of creative patterned inspiration to take you outside the edges of your square. {Written by Sarah Byrne}
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FEEDBACK
What do you think? We’d love to hear from you! Feedback, story ideas, how can we improve? Email us at gathermagazine@gmail.com or visit our facebookpage www.facebook.com/gathermagazine
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www.gathermagazine.com.au As we grow and develop it is our goal to become a print magazine. Your support in helping us reach that goal is greatly appreciated
KEEP IN TOUCH
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UPCOMING EVENTS
EVENTS Some upcoming events that may be of interest to our like-minded peeps. If you know of an event or want to advertise your event please email us at gathermagazine@gmail.com
Merchandising for Etsy Success March 20 2013 Emily Bidwell, Senior Merchandising Expert at Etsy will speak to budding entrepreneurs on how to style your merchandise for maximum success. Hosted by the Textiles and Fashion Institute of Australia you can find more information including how to book here www.tfia.com.au/events
Shingo Sato April 2013 Shingo Sato, featured in this issue, is returning to Australia in April. He will be running workshops at Beautiful Silks in Brunswick. You can choose 3 courses – 3 day intensive, 2 day student workshop and 2 day Masterclass. More information and booking details can be found on the Beautiful Silks website www.beautifulsilks.com/workshops/Shingo_Sato_2013.html
Embroidery Courses Want to learn how to embroider? Well. The Embroiderer’s Guild, Victoria Australia runs a range of workshops for the budding embroiderer. More details can be found here www.embroiderersguildvic.org
There are a range of other Institutes, Guilds and Organisations across the country and state that offer a range of courses, workshops and events for crafts, art, textiles and fashion. We will be updating our events pages as new events are added but in the meantime you might want to take a look at these websites. Australian Textiles & Surface Design Association
Resin Jewellery Workshop Barnes {Richmond} Though March in Melbourne, Sydney & Brisbane Barnes Workshops
Rose St. Artist Markets For all things handmade, not to mention they are now celebrating their 10th year of handmade! {60 Rose Street, Fitzroy VIC, Open Every Saturday 11-5pm} www.rosestmarket.com.au
Design Institute of Australia www.dia.org.au/
Craft Victoria www.craft.org.au/
{Rose St. Artist Market, Fitzroy}
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MESSAGES
SPECIAL THANKS To everyone who helped us out with out very first issue of Gather Magazine. Marion Hera Gorr & Jon Yaakov Gorr (Elephant) {of Beautiful Silks} Shingo Sato Lynda Slade Eagle and the Worm Haruko Watanabe Ambra Corporation Seamstress Anna Boyd Anna Devine (for all our lunchtime snacks & hospitality) and yay us! oh and of course, Thankyou to all our wonderful new readers, we hope you love Gather Magazine as much as we loved creating it.
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This Space Could be Yours! Advertise Here! For Further Details, Email us at gathermagazine@gmail.com
And thanks for reading
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