sisterMAG61 – Rock'n'Needle – English by sisterMAG

SPRING 2021 ENGLISH

SAFARI

Our new collection of patterns inspired

safari

trips,

fashion runways and films

KNOTS

Punchneedling is a popular handmade trend with thousands of fans. How-To’s and the most beautiful projects from all around the world

Rock‘n‘Needle This issue deals with all kinds of skirts – from the past to present. All new sisterMAG turns DIY into High Fashion

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EDITORIAL DEAR READERS, Rarely have we been so excited to write our editorial and to fill the first pages of a new sisterMAG issue. The last few months were marked by a lot of discussions, shifts – and yes, even – struggles behind the scenes. Already for a few issues we had the feeling that we would like to change a few things about our beloved sisterMAG. With the launch of the sisterMAG Patterns Shop, a venture came into focus that once again made it clear to us what really drives us and gives us joy: DIY and handmade.

in our genes. Our grandfather was a carpenter all his life, our mother is well known to you as the designer of numerous fashion collections. In our sisterMAG Office we have always painted the walls ourselves rather than having handymen come in. Also, equipment is carried around by us. In this issue, we concentrate on two major topics: SAFARI in all its facets from catwalk to tiger cushion, and the second part is dedicated to a craft technique that we have come to know and love in recent months: punchneedling. With it, textile 3D surfaces can be created that are reminiscent of a carpet. Since carpet knotting is closely related to this technique, we also introduce you to interesting young start-ups that are

During the last few years, the variety of topics had grown and grown. This issue marks a new start for us that we can hardly wait for. The return to all the topics around do-ityourself. Maybe this love for handmade things simply lies

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Gabi & Norell during shoot

Evi working on our During the safari shoot cover skirt Hürriyet builds the background

making carpets seem cool and hip again.

model Anna Knollmann, are all the more beautiful.

Thus, the most elaborate piece in this issue is our cover outfit. You can buy the pattern for the blouse with a bow at the collar and buttoned back in our pattern shop. The skirt is a real masterpiece made from our grandma‘s old wool. There is no pattern for it, because we are sure that only our mother is crazy enough to tie 20.500 single Persian knots. In everyday life, the skirt is quite heavy and indeed feels like wearing your living room carpet around your waist. The cover pictures, which we produced with photographer Kathleen Springer and

As a real expert on the subject of knotting and punchneedling, we are delighted to have guest author Micah Clasper-Torch from L.A. on board. We not only had the pleasure of interviewing her, but she also wrote a detailed history of the punchneedle for us and designed a beautiful exclusive DIY for a punchneedle belt for sisterMAG Patterns

Brain juice ;) at Giro Berlin

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Marie making the punch needle safari pillow

We can‘t hardly wait to share this issue and the new sisterMAG - including the new logo! - and hope you like it as much as we do. See you very soon. Don‘t worry you won‘t have to wait that long until the next issue!

Yours,

Toni & Thea and the sisterMAG Team

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61-6 Blouse with bow and buttoned back Our cover blouse as new sewing pattern to make yourself

Do clothes make the language? Elisabeth Stursberg and her musings about language usage – the skirt.

On the hunt for style: Fashion Trips to Africa – Marie Jaster explores why every woman should participate in the »utility trend«

sisterMAG SAFARI sisterMAG Patterns Sewing Pattern Collection inspired by safaris in small and big cities

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TABLE OF CONTENT RO CK‘N‘NEEDLE

Get the Safari Feeling at home!

Punchneedle – Books & Ressources

Our editorial team shows you the best products inspired by safaris

The best books, inspiring Instagram accounts and best ressources

DIY Safari pillow A fun punchneedle project for your child‘s room or nursery

How the carpet got from the wall to the floor

102

My SEWING Story

The Rise of Rugs

We talk to sewists around the world about their start in the sewing world … today with Kai Ravelson

New carpets from cool startups that revive the image of the rug

124

One name, many shapes

Portrait Micah Clasper-Torch

Skirts in Art

Portrait of an amazing textile and punchneedle artist

138

The hatter of New York

DIY Punchneedle Belt

We visit the oldest specialist shop in the city

Exclusive design from Claspertorch

150

The sisterMAG team

The History of Punchneedle

152

Imprint sisterMAG 61 | 2021

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CONTRIBUTORS

TEX T Micah Clasper-Torch @claspertorch

Marie Jaster @marie_jaster

PRO OF

TRA N S LATI ON

Ira Häussler

Amie McCracken amiemccracken.com

sisterMAG Team

Andrea Lang

Alexander Kords kords.net

Elisabeth Stursberg @lizziemariees

@andrealangphotography

sisterMAG Team

Michael Neubauer Elisabeth Stursberg @lizziemariees

sisterMAG Team

P HO TO & VIDE O Micah Clasper-Torch @claspertorch

ST YL I N G

I LLU S TRATI ON

Evi Neubauer

Malgosia Cvetinovic

@evi.neubauer

Evi Neubauer

Andrea Lang

@evi.neubauer

@andrealangphotography

Kathleen Springer @photographer_kathleen springer

sisterMAG Team

MOD E LS Anna Knollmann @annaknollmann

Norell Sanatpour @norelljanan

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@malgosiacvetinovic

HA I R & MA K E -U P Franziska Dominick @franziskadominick

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FEATURE SEWING PATTERNS

OU R COV E R

61-1 Blouse with bow tie and back buttons

61-2 Raglan blouse with piping

61-3 Very loose business pants with welt pockets

61-4 Hooded soft shell coat

61-5 Oversized patchwork blouson

61-6 Oversized blazer with long lapel

Safari Pillow Illustration for our Punchneedle safari pillow

Pattern animals Punchneedle animals for our skirt 60-5

Claspertorch DIY Belt Punchneedle Belt from guest author Micah Clasper-Torch

MODEL

Anna Knollmann OUTFIT Evi Neubauer PHOTOGRAPHER Kathleen Springer HAIR & MAKEUP Franziska Dominick Many thanks to the whole team who created our beautiful fashion line and the new cover. You can find our cover blouse as sewing pattern in the @sistermagpatterns online shop.

NEW! WITH

AND

BACK

BOW TIE

BUTTONS

BLOUSE

61-1 Photos: Kathleen Springer // Model: Anna Knollmann Design & Styling: Evi Neubauer

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Straight from sisterMAG‘s cover: our blouse with a back bow tie and buttons all the way down the back. The bow tie is tied in the front or closed with a brooch. Special feature are the big balloon sleeves that give the blouse an interesting silhouette. The blouse comes in two varieties: wide or slim fit.

Recommended fabrics:

Fabric Requirements:

» Fabrics made of cotton, for example poplin. » Fabrics should be washed before cutting according to the washing instructions, so that the blouse does not shrink when washing it for the first time.

» 1.60 m with a fabric width of 1.40 m » If the fabric is used with a different fabric width or a special pattern is to be observed, the fabric consumption changes accordingly.

Other materials:

Available sizes:

» 10 buttons » A bit of fusible interfacing to reinforce the collar and the sleeve cuff, e.g. H180 or H200

» 34-46

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61-1

BLOUSE WITH BOW TIE AND BACK BUTTONS available here on sistermagpatterns.com sister-mag.com

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DO CLOTHES MAKE THE

? e g a u g n la Text: Elisabeth Stursberg Illustration: Małgosia Cvetinović

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The Worth of the Skirt

According to a German proverb, you can recognise the bird by the feathers. If proverbs were language’s feathers … what would their use reveal about us? Without metaphors, we could hardly communicate at all. Proverbs and idioms are also nearly indispensable, yet sometimes underestimated. In this column, Elisabeth Stursberg discusses why that is and why it should not be, bringing to mind many of our favourite fashion-related examples.

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What proverbs and similar phenomena actually do for us and what how we use them can reveal about us – discussed in the third issue . The fourth deals specifically with the »similar phenomena” since, hint, not all »proverbs” are actually proverbs. In the fifth , we attempted some light linguistic introspection. In this sixth and for now last issue we focus again on proverbs’ effects, but those going beyond the individual. The question is: What does the use of proverbs say about us as a society?

IN THIS ISSUE

the skirt Do clothes shape language? In this column, we have illuminated proverbs and their effects, presenting numerous fashionable examples who, incidentally, can reveal what our clothing choices say about us, too. Above all, however, they demonstrate the strong influence fashion has on our language – which this column celebrates. Yes, it is true that many proverbs sound rather … antiquated today, which is not surprising for a phenomenon that derives much of its power precisely from its long tradition. Anyway, we have discussed the reasons for this in the first issue . And as the examples discussed in the second issue show, proverbs are still a part of our everyday language today, even new ones are being created because if they fall on fertile ground, quotations can quickly acquire proverbial status.

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»On the black skirt you see every speck of dust.« The phenomenon is obviously a worldwide one, and every language student on a certain level will encounter idiomatic expressions in some form or another. So we can also rephrase the question: To what extent do proverbs actually convey our cultural values and norms? Are they unique, and above all, representative? Linguists are still debating this.

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»Who has skirts of straw needs fear the fire« The cautious among them mainly offer two counterarguments. The first: proverbs are a broad reflection of human experience and thus do not apply to just one particular language community. »On the black skirt you see every speck of dust«. Unlikely that just one community would have noticed this. Or take this example from the African continent: »If you want to fight fire, you don‘t wear a skirt made of dry grass«. Meanwhile, Romania has this: »Who has skirts of straw needs fear the fire«. Considering the substantial overlaps and languagespecific variations, this first argument seems rather logical. My impression is that not proverbs per se that are the thing to investigate, but their respective country-specific form and if existent, their references to specific persons, events or traditions.

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The second counter-argument refers to, here we go again, the antiquated charm of many proverbs whose heyday seems to have been a long time ago. Their departure from the repertoire, however, their removal from listings and widespread disappearance from the active vocabulary, is a lengthy process. While proverbs can provide orientation, some are at the same time reminiscent of a past society – a society whose people distinguished themselves more naturally from others based on social class or profession: »You recognise the miller by his skirt« used to be en vogue in German. Another, »The shirt is closer than the skirt«, may also apply to a person’s social or societal environment. Incidentally, this is where you should aim for good judgment, as this gem from Africa points out: »Don‘t make a goat your friend if your skirt is made of plantation leaves, or else it will strip you naked.«

were suddently using more proverbs that revealed a relaxed attitude towards sex, there is still no universal agreement on how much proverbs and sayings really say about cultural norms. Nevertheless, projects like the collections of Afghan proverbs by US Navy Captain Edward Zellem are exemplary: Captain Zellem had noticed that in Afghanistan, proverbs are an integral part of the everyday language and his books – he relied partly on crowdsourcing for the research and invited students of

»The shirt is closer than the skirt.« a Kabul high school to illustrate them – ignited a fruitful and encouraging debate about ways to encourage rapprochement between cultures, while confirming at the same time that knowledge proverbs can contribute greatly. In this sense, perhaps we can draw the following conclusion: While proverbs might not be best suited to express the differentiation of cultural values, they are brilliant for illustrating them.

So while there is ample research on the dissemination of proverbs, and for example a British long-term study found that during the 1960s people

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»A poor dancer will be disturbed even by the hem of her skirt.« ( from Poland)

In each issue, Elisabeth Stursberg discusses proverbs and sayings related to fashion and their general qualities.

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ON THE HUNT FOR STYLE:

fashionable trips to Africa

Why every woman should participate in the »utility trend« even without having a safari planned Text: Marie Jaster

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»I HAVE NEVER BEEN ON A SAFARI«. Not that this is a prerequisite for writing about the famous safari style, but I thought I’d mention it anyways because it does mean that I have a very romantic idea of what such an arduous journey through rural Africa would be like — in my mind, sweat and hippo attacks (they are still one of the top 10 most dangerous animals for humans) are not part of the package. If you came over to take a look at my wardrobe however, you might think that I had been on hundreds of safaris: there are cargo pants, safari jackets, shirts and animal prints. It’s truly wild, without me having ever set foot in the famous Krueger National Park. The reason for my wardrobe’s content is not my insatiable hunger for adventures (on the contrary, I am a scaredy cat who would most likely faint when faced with a real lion) but the fashion designers that keep making great clothes in the well-loved »utility style«.

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Foto: Alamy

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WHERE DO THEY TAKE THEIR INSPIRATION?

They take their inspiration from the classic safari suit, which is made up from a shirt and jacket and trousers for men or a skirt for women and was designed during the 19th century. It was worn by Europeans on their expeditions to Africa and India, now called safaris. The reason for these journeys was to hunt and kill rare animals, which is why the safari jacket for example is based on a British garment called the Norfolk jacket, which is a non-restrictive shooting coat that allows for easy movement of the arms and elbows when lifting a gun. The safari version of this jacket was adapted to the warmer climates and usually made from beige or khaki coloured, breathable cotton. The whole ensemble was completed by a well-known symbol of imperialism: the pith helmet or safari helmet.

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S A F A R I Over the course of time, safari style slowly moved away from its rustic, imperial roots as particularly the safari jacket was discovered by stars in Hollywood. There is a fantastic picture from the Salvatore Ferragamo archives showing Loretta Young wearing a chic safari ensemble in 1938 and films like Mogambo with Ava Gardner, Grace Kelly and Clark Gable as well as Mississippi Mermaid with Catherine Deneuve increased the India-Africa-hype, taking the ensemble out of the Jeep and onto the catwalk. After all, the design of Catherine Deneuve’s costumes was done by none other than Yves Saint Laurent, who personally dreamed up the safari-style suit then worn by the icon. He had presented his first safari jacket two years before on the catwalk in 1967, but the piece became a classic only when the movie starring Deneuve and a Vogue shoot with famous model Veruschka in a corset-tied safari shirt came out. After women had made men’s trousers their own, this was a further step in fashionable emancipation.

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Saint Laurent admitted to taking his inspiration from the uniforms of the so-called Afrika Korps, a division of the German army under the Nazi Regime deployed on Northern Africa, as well as traditional African dress. Despite this inspiration from the 1940s, the 1960s Saint Laurent version embodied a free spirit. An important question that raises itself in relation to safari style is thus whether it is even still appropriate to reference clothing with such a clearly colonial undertone. There are many examples of those who have not been sensitive to this issue, first and foremost former US First Lady Melania Trump and the safari suit she wore on a trip to Africa, complete with knickerbockers and boots, safari jacket and a pith helmet. It was an insensitive sartorial misstep — one that didn’t surprise me unfortunately. Contemporary designers that are more open to addressing the issue, such as Derek Lam, link their »colonially« inspired looks to practicality: »I always think about functionality so I like using something like patch pockets because they’re not only decorative but also practical.«

Foto: Getty Images

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UTILITY And that is probably also the key element that makes safari style a modern classic — observed away from its past and worn under the right circumstances: its wearability. Over the course of decades, handbags have become bigger to allow for carrying more stuff around, and as we focus on having important items like smartphone, wallet and lipstick, as well as essentials like masks and hand sanitiser with us in 2021, it is suddenly obvious that all of these small things perfectly slide into the versatile pockets of »utility styles« — the politically correct name for safari style. Therefore, it isn’t weird at all that fashion designers still go crazy for the style even 54 years after Yves Saint Laurent’s first sketches … and that the patch pockets, belted jackets and wide-legged trousers find their way into almost every summer collection thanks to light fabrics and timeless natural colours. They’re certainly a huge part of my wardrobe, even though I personally am fully against the concept of a safari. So here are some examples from recent collections:

STYLES sister-mag.com

Foto: Getty Images

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S A F A R I SAFARI JACKETS

The safari jacket took over workwear’s role: many patch pockets, a belt to shape the waist. Worn with high-waisted palazzo trousers like at Chloé, pussy bow blouses at Celine or in striking contrast to feminine floral midi dresses.

CARGO PANTS

Non-stretch trousers? Usually a no-go for anyone who actually likes to eat. But cargo pants make the impossible possible: comfort without stretch. This comes down to the generous wide cuts and the many patch pockets that make handbags redundant. How to wear them best? Contrast feminine corsages with them like Dolce & Gabbana, pair them with a smoking blazer like Givenchy or go down the hippy route à la Chloé.

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Foto: Getty Images

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LEATHER

Leather might not be a clever choice for boiling hot days in the savanna, but jackets, dresses, skirts and trousers made from suede are still a big part of today’s »utility style«. Kate Spade proved the material’s feminine qualities with their Spring 2020 collection, specifically a khaki-coloured midi dress, just like Hedi Slimane with his vintage-seventies-vibes at Celine.

ANIMAL PRINTS

Foto: Getty Images

Safari style without animal print? Unthinkable! People who only think to include the classic leopard print in this category should open their eyes to all other options of the animal kingdom: giraffes, zebras and tigers offer stunning variety. Kings of animal prints are undoubtedly Stefano Gabbana and Domenico Dolce, who dedicated their entire Spring 2020 collection to the jungle.

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THE SKIRT RO CK‘N‘NEEDLE

SAFARI sisterMAG

Clothing design: Evi Neubauer | Photos: Gabriela Morales | Model: Norell Sanatpour | Floral

Design: Hürriyet Bulan (Botanic Art) | Production: Thea Wittemann & Carolin Kralapp & Ilaria Trombí

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Our raglan blouse is an elegant everyday wear that‘s made special because of the contrasting piping.

R AG L A N B L O U S E WITH PIPING

Did you know? A raglan sleeve is a sleeve that extends in one piece fully to the collar, leaving a diagonal seam from underarm to collarbone. It is named after Lord Raglan, the 1st Baron Raglan, who is said to have worn a coat with this style of sleeve after the loss of his arm in the Battle of Waterloo. Another feature: the lapel collar. GET SEWING PATTERN NOW IN OUR SHOP

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These fashionable breeches are not easy to produce. Ideally they are made of cord, twill or a mixed fabric. The trousers become narrower towards the bottom and have 7 buttons on both legs. The trousers sit on the waist and can be combined well for chic occasions.

BREECHES

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GET SEWING PATTERN NOW IN OUR SHOP

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V E RY W I D E B U S I N E S S PA N T S WITH T WO W E LT P O C K E T S Very wide business trousers with 2 welt pockets at the back and pleats. Several pleats are inserted at the upper waistband. The trousers follow the trend for oversized clothing and are therefore super comfortable. They fit very loosely.

Evi says:

You can‘t really argue about the length of the waistband of a garment, because everyone has a different feeling for their comfort and the standard one fits very few people. For skirts or trousers with pleats, it is very easy to conjure up a fitting garment.

GET SEWING PATTERN NOW IN OUR SHOP sister-mag.com

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WIDE HOODED SOFTSHELL C OAT On many social media platforms such as Instagram or Pinterest we can find users in white coats. That looks wonderful, but most women have to limit themselves to just admiring them. No one would wear a white coat in nasty weather, while shopping or using public transport as most coats are not washable. We have designed a garment that can do it all: it is washable, warm, weatherproof and last but not least chic. We have been inspired by Prada’s Spring/ Summer collection 2021. The best thing about this coat is that despite its high fabric consumption it comes at a rather favourable price and softshell is available in many variations, colours, patterns and price ranges. The snap buttons are really the most expensive part about this coat, but you are free to choose different ones. We hope to see lots of white coats. They do lift our spirits. GET SEWING PATTERN NOW IN OUR SHOP sister-mag.com

6140

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-4 41

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A few tipps & tricks when working with this material »Softshell« (or PUR): Ƿ Softshell is an easy-to-use fabric that can be washed in a machine Ƿ Usually used for outdoor jackets

and

children‘s

clothing, it is very durable and a perfect outerwear fabric Ƿ You can use a normal sewing machine and sewing needle Ƿ You

not

have

necessarily trim the edges, but … Ƿ …as it is a hard to iron, Evi recommends

topstitching

all edges for a nicer and cleaner finish (see image below). That‘s why we used jersey for the sleeve cuffs of our 61-4 Hooded softshell coat for a cleaner, less bulky finish

Pants: 60-6 Breeches von sisterMAG Patterns | Tank Top: Schiesser | Shoes: Paco Gil

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OV E R S I Z E D PATC H WO R K BLOUSON

This jacket is the right choice for all sewers who are looking for a new challenge. What‘s special about this model are the different materials that were used. Fabric scraps are perfect for this - everyone who sews has them at home. The cut is combined with a crochet pattern, which additionally enhances the overall look and makes it really exciting. How the pattern should look exactly, of course, everyone can decide for themselves. We have summarized some different patterns for you in the instructions. Who cannot yet crochet: Maybe you have now got the desire to learn it for this very special garment! GET SEWING PATTERN NOW IN OUR SHOP

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61-5 45

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OV E R S I Z E D B L A Z E R W I T H LONG L APEL COLL AR Instagram fashion right now is full of oversized blazers. The top influencers pose in sponsored designer pieces, others have raided the closets of their male relatives or just shopped at the men’s department. Unfortunately, men still like to wear gray, blue and black instead of purple, pink or yellow. In order to keep up with fashion trends, I have sewn a blazer that is not too complicated. Once completed you can make one in every colour, amaze everybody around you and, best of all, it is buttoned the right way. ;-) GET SEWING PATTERN NOW IN OUR SHOP

Furthermore Well suited as maternity wear for expectant mothers due to the oversize character. 47

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60-5

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RO CK‘N‘NEEDLE Skirt from sisterMAG Patterns | Sweater: Mango | Shoes: Pura Lopez

This flared skirt with wide waistband and pleats from our sisterMAG and sisterMAG Patterns Christmas Calendar Shooting is ideally made from a fabric with a lot of stance, like cotton or denim. This model looks very elegant, the band sits on the waist and the cut ends just above the knees. Can be combined wonderfully to elegant occasions and looks very high quality.

PLEATED FLARED SKIRT WITH WIDE

In keeping with our favourite craft technique of this issue, we have embellished the skirt 60-5 with punchneedle animals. We used old cave paintings as a template, but of course you can also punchneedle any other animals from the jungle or home. For sisterMAG readers we have prepared the template for our animals on the website and look forward to your creations - the download is free.

WAISTBAND GET SEWING PATTERN

DOWNLOAD PATTERN FOR OUR

NOW IN OUR SHOP

PUNCHNEEDLE ANIMALS

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P L E AT E D WRAP S K I RT This pleated wrap skirt with unbuttonable straps from the fashion shoot of our sisterMAG issue 60 is not easy to produce. There is no sewing pattern, but there is a manual that you can print out at home. With this special and extravagant garment you feel like in another time. Combined with a blouse you quickly create a chic complete picture. High shoes visually stretch the leg length on top. Skirt: 60-10 from sisterMAG Patterns | Sweater: Mango | Shoes: Burberry | Suitcase: Vintage GET SEWING PATTERN NOW IN OUR SHOP

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GET THE SAFARI FEELING AT HOME! When unrestricted travel is not possible, you can bring a piece of the world into your own four walls. Discover interior and decoration inspirations for your home and also for your little ones. In addition to product suggestions, you‘ll also find DIY inspirations that you can implement yourself. So you can give your home a safari and jungle look in no time!

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5. Urban Jungle LED light chain canning jars, via butlers.com This string of lights you can certainly also simply make yourself

Wallpaper Nakuru Beige, via tapetenstudio.de

Doing Goods Elephant Wall Hooks via debijenkorf.de

Safari Bench DIY, via meandreegs.com

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Set decorative objects Jungle, 2 pieces, via depot-online.de

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Coconut Tree Candle Holders, via lnt.com

Lampshade made of cotton, via lampenundleuchten.de

Shower curtain Safari, via segmueller.de DIY Project Animal-themed drawer handles - homes+, via youtube.com

Doing Goods Gloria Baby Giraffe Wall Hooks, via debijenkorf.de

Lorena Canals Washable Rug sisterMAGMonstera 61 | 2021Leaf, via wallenfels.com

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OYOY Children’s rug Tiger, via connox.de Mobile »Safari« from felted wool, via shop.zeit.de A mobile can also be made yourself, like here onPinterest for example. Elephant Thyme, via cozymoss.com

OYOY children poster Noah giraffe, via pinkmilk.de

Mat wallpaper adventure in the savannah, via wayfair.de

Rice storage basket elephant, via jollyroom.de

ferm Living Safari cushion lion, via connox.de sisterMAG 61 | 2021

DIY PILLOW

WITH

PUNCHNEEDLE

SAFARI ILLUSTRATION

SAFARI PILLOW // DIY: Ezbah Ali & Marie Darme // // Video: Gabriela Morales // // Photos: Thea Wittemann //

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A real safari DIY for the kids‘ room: For our safari theme, illustrator Ezbah and DIY expert Marie have come up with a special handmade piece: a cushion with a safari motif that you can simply punch-needle. The templates for all three motifs are available for free on sisterMAG. We have chosen a small cushion of 30x30cm, but of course you can make it as big as you like. If you like, you can also punch-needle the entire beige background for more texture.

Materialempfehlung:

Anleitung:

» Wool in matching colours

» Stretch and clamp the fabric tightly in a suitable hoop. Transfer

» Soft cotton fabric, e.g. monk

our design onto the fabric. The

fabric, approx. 8-10cm larger

pattern in the download is mirror-

than the final cushion

inverted and is drawn on the back

» Punch needle for thicker yarn

of the fabric. » Punch-needle

» Cushion filling with feathers

the

motif

matching colours.

30x30cm

» To keep the loops in place, fix the

» textile glue

back with fabric glue. When the

» also: scissors, brush, sewing

glue is dry, sew the cushion with

needle and download template

a domestic sewing machine and matching backing fabric. Fill with cushion filling.

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61-1

SAFARI PILLOW WITH PUNCHNEEDLE Download illustration pattern sister-mag.com

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Download illustration pattern

sisterMAG 61 | 2021

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Do you know whether your neighbor sews? Do you know that your hair stylist does Makramée? Especially during the pandemic, many of us learned new skills or rediscovered old hobbies. Whether you are new in this field or have been doing your craft for years: we love to hear your stories. This is why we are starting a new series in sisterMAG that talks to old and new friends about their journey into handicrafts. The start for our series „My SEWING story“ does Kaira Velson. She is a fine art portrait photographer from New York City and avid sewer in her spare time. We asked her how she got started, where she shops for patterns and what she fabric she loves to use most. If you want to follow her musings, be sure to find her at @kairavelson for her beautiful portraitures and sewing stories.

One What was your first Two When and how did you start contact with sewing? Do you come from a family of sewers?

sewing? Are you self-taught or with a course?

I started as a kid but did not really have the patience for it. I picked it back up when I was an undergrad, but it was not until my first job out of college that I really started to hone my skills. I worked for a costume designer in Milan, constructing costumes for Shakespeare productions. After that, I moved to California and worked as a stitcher for a theatre company. I learned a lot about theatrical garment construction, which is somewhat different from garment construction using commercial patterns. Because of this (once I

I have been around sewing my entire life. My mother is an interior decorator; she makes custom slipcovers and drapes. She runs her own business out of her house, and it is just her making each custom piece for her clients. She also started making her own clothes from an early age. Her mother sewed her own clothes, as did her mother before her.

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Six Where do you find inspiration

s tar te d sewing my own clothes) it felt like I was learning everything all over again.

for your sewing projects?

Instagram, Etsy, and my mother’s vintage paper sewing pattern collection.

Three What was your intention why you started sewing?

Seven

What are your favorite sewing channels?

As a young adult, I got into it because I was a theatre major in college and costume construction felt like the most natural track to follow. But I very rarely made things for myself. It wasn’t until the pandemic hit that I really started making my own clothes. It became a wonderful coping mechanism.

I do not watch a lot of sewing channels - if I need to learn a technique or maneuver, I will do a YouTube search for it and just watch whatever videos come up to help me get to my goal. For recreational viewing, I prefer to watch the stories of various sewists on Instagram.

Four What was your first every Eight What is your favorite fabric? self-made garment?

I love natural fibers and wovens so I tend to stick with linen, cottons (double gauze and voile especially), and silk. In an effort to challenge myself, I will do a knit cotton project every now and then. I just learned how to use a double needle in my machine, which was immensely gratifying and makes working with knits less frustrating.

When I was 22 and living in California, I self-drafted a pair of indigo denim high waist wide leg trousers with sailor-style button closures.

Five

What is next on your tosewing-list? I have 4 projects lined up: the Burnside Bibs by Sewhouse 7, the Lindsey Hoodie by Viki Sews, The Shelby Dress by True Bias, and the Marlo Sweater by True Bias.

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You would like to tell us your story and how you started your handicraft? Write us

@kairavelson

an eMail at mail@sister-mag.com

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Get to know Micah Clasper-Torch

@punchneedle.world

Fiber artist & Fashion designer

Interview: Theresa Wittemann & Carolin Kralapp

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INTR

We talked with fiber artist and fashion designer Micah Clasper-Torch from Los Angeles—who shares one of her own creations with you here in sisterMAG—about her work, the different stages of her career and the special craft of punch needling of which she is a real expert. We are very pleased that she took the time to talk to us via Zoom for you to be able to get to know the artist.

Micah Clasper-Torch is a fiber artist and fashion designer based in Los Angeles, California. Her work bridges the intersection between art and design—decorative design and fine art—and also experiments with a variety of textiles and materials. Mostly, she works with the mediums of fabric, thread, yarn and paper. She had a few different careers before she got to the point where she is now. She studied fashion design in New York City, and her special focus was tailoring coats and contemporary women’s wear. She really loved fashion school, and her dream at the time was to work for a large fashion company after university or perhaps start her own company. Pretty quickly after graduation in 2009, when it was not easy to get a foothold in the fashion industry, Micah found a job in an art gallery—a furniture design gallery in Chelsea where she learned about designers like Charlotte Perriand or George Nakashima and got a lot of inspiration for her further career. She then understood that there were items that were functional but also bridge that gap between being art.

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FIBER ARTIST FASHION DESIGNER

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PUNCH

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After three years working for Coach handbags, and a little disillusion in the fashion industry, Micah founded her first own online e-commerce company with a friend in 2010. They shut it down after three years, and Micah’s last stage was working in business development for a start-up in New York. Today, relocated to Los Angeles, her work is divided into two areas: her personal brand Micah Clasper-Torch with a lot of collaborations and one-off commissions for people and the online academy »Punch Needle World« which was founded last year as a separate company based around education. There is her own artwork, on one hand, which is the design oriented aspect: She creates unique coats and jackets, handbags, pillows or mixed-media artworks. On the other hand, there is information sharing about the history of punch needle and different tutorials and techniquessomething Micah would also have wished for when she started punch needling.

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When we talk about punch needling, we always have to keep in mind that there are different ways of creating that might not mean the same thing. This is what people sometimes confuse in the beginning. What are these different techniques? Punch needle rug hooking, punch needle embroidery and a technique called »Banka«. Technically, there are three different crafts but some people use the words »punch needling« and think that it all has the same meaning.

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MICAH TIPP

So, what is the best way to get started with punch needling? Micah’s tip: The easiest and best projects to start are mainly the smaller projects because you can actually finish them in a short time. It is a lot more fun to have a finished product much sooner than endlessly making one big rug. So start with making little coasters or even small pillows. In Micah’s online courses you get to know the different techniques and the whole history around punch needling. It took her a lot of research in conversations with experts and literature to accumulate this all-encompassing knowledge which she now wants to share with all who are interested in it. From all different techniques to the specific tools and where they come from—the »Punch Needle Academy« gives an overview and is also a good starting point for your own creative ideas. Here you can learn the traditional techniques and then experiment. You will get an understanding of the traditional ways and discover your own afterwards. Where does Micah get her inspiration from for her own creations? Shapes and colors that cross her path naturally. She absorbs impressions from the environment and the things around her. Los Angeles is a vibrant breeding ground for textile art with a rich history. Therefore, good conditions to work creatively. She has gotten out of the habit of planning pieces precisely beforehand, since a lot usually still changes in the process. So Micah gets right to work and gives her ideas free rein! This results in unique pieces that seem like abstract works of art.

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If you now want to become part of the punch needle community and explore your own creativity, check out the »Punch Needle World« website and for more art inspiration and fashion design, the personal website by Micah Clasper-Torch.

@claspertorch

@punchneedle.world

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We are especially happy to be able to share a beautiful project with you together with Micah Clasper-Torch. A DIY punchneedle belt with an exclusive design by Micah. You can now find the pattern including instructions in the sisterMAG Patterns Shop and we can‘t wait to see new colour combinations and designs from you. For all sisterMAG readers there is also a 15% discount with the code micahXsistermag

Click here to the shop

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What you need: Ƿ Pattern A (punch needle pattern) Ƿ Pattern B (lining/backing pattern) Ƿ Monkscloth for punch needle piece (front) Ƿ Lining/Backing Fabric (~½ yard of cotton or linen recommended)

Ƿ Wool rug yarn (various colors) Ƿ Punch needle (Oxford 10 regular) Ƿ Small, pointed embroidery scissors Ƿ Flat-backed / Duckbill scissors (optional) Ƿ Fabric scissors Ƿ Iron and ironing board Ƿ Pins Ƿ Needle and thread Ƿ Leather cord (2 pieces, approx 22 inches long each) Ƿ Leather hole punch 75

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The history of Punch Needle By Micah Clasper-Torch In just a few short years, punch needle has seen explosive growth in popularity, spurred almost entirely by social media. Ask any artist or crafter where they learned about this technique, and most will tell you they saw it on their Instagram feeds, found an image through Pinterest or watched a video of the technique on YouTube. However, despite its sweeping resurgence and the increasing number of photos, videos and blog posts about the technique, one question remains largely unanswered – where did this technique come from? What is the history behind this craft? As it turns out, the answer is not so simple. There are actually three traditional styles of punch needle that inform our current understanding of the craft today: punch needle rug hooking, Russian miniature punch needle embroidery, and bunka shishu (also known as Japanese punch needle embroidery). All of these techniques use a hollow needle called a »punch needle« to push fibre through a backing fabric, but each use a different set of materials and have their own distinct origins and purpose.

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Punch Needle Rug Hooking The most recognizable style of punch needle that sparked the current resurgence (thanks to Arounna Khounnoraj and Amy Oxford), Punch Needle Rug Hooking is distinguished by its use of thick yarn and larger needle to create a distinct looped textile. Punch needle rug hooking first emerged in the late 1800s, evolving from the American craft of rug hooking, and is considered a distinctly North American art form. In the 1830s, floor coverings and manufactured carpet were all the rage in France and were gaining popularity in cities and wealthier households within the United States. But since the price was still far out of range for most people in rural America, creative, resourceful women in these locations began to develop their own methods to create rugs for their homes. Farming communities had plentiful access to burlap from feed sacks, so these women began to use a small metal hook with

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a wooden handle (similar to a crochet hook) to pull strips of fabric, including old clothing and rags, through the burlap to make dense, looped floor coverings. In the early years these designs were quite rustic, and rug hooking was often looked down upon as a craft of poverty. But over time, these women began to create small rugs for the home that were not only practical but artistic, designing their own unique patterns to suit their homes and their tastes.

Throughout the 1800s, rug hooking grew in popularity, and in 1886, a man named Ebenezer Ross from Toledo Ohio patented the first punch needle tool as an alternative to the traditional rug hook. Called »The Griffin«, this tool enabled early rug hookers to work more quickly, punching loops downwards from the back of the fabric rather than pulling yarn up through the front.

With the new ease and »speed« of the punch needle, rug making quickly gained popularity, leading to the emergence of rug making studios and a booming cottage industry up and down the Eastern Seaboard and up into Maritime Canada. In the 1920s, a selection of prominent rug hooking studios opened, including Abnake Rugs in New Hampshire, Cranberry Rug Industry in Maine, the Mills-Mosseller Studio in North Carolina, and The Ruggery in New York. The work of a talented punch needle rug hooker would last for generations, and by this time, hooked rugs from certain communities were so revered, that in 1930, a pair of rugs sister-mag.com

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from Walderboro Maine fetched an auction price of $1,550 — the equivalent of almost $24,000 today! Through the 1930s and ’40s, custom handpunched and hooked rugs made in America became some of the most sought after additions for the home. Modernist artists began to explore this art form, translating their paintings to rugs and tapestries. The work of these artists and craftspeople graced the floors of movie stars and politicians, were displayed in prominent New England estates and were displayed at institutions like the Metropolitan Museum of Art and the Smithsonian. More than just a craft, punch needle rug hooking was a true American industry for decades that provided livelihood, a creative outlet and the ability to work from home to women and men from Appalachia up through Maine. Sadly, by the 1950s, most American rug manufacturing was sent overseas to be imitated by the tufting gun (which is having its own resurgence these days), and many of these rug studios had to close their doors. Aside from a brief revival in the ’70s, punch needle rug hooking became a dying art, relegated to the category of »craft« and its rich history all but forgotten – until now!

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Russian miniature punch needle embroidery In 1974 a woman named Jean Cook Anderson visited a community of Russian Old Believers based in Woodburn, Oregon (USA) and was captivated by a raised embroidery technique that she noticed on their clothing, curtains, tablecloths and cushions. The Old Believers, a Russian Orthodox group who live and dress in a traditional style that has not changed for hundreds of years, had been practicing this technique that they called Igolochkoy (meaning »with a little needle«) for generations. Fascinated by this technique, where many little loops were clustered together to create beautifully delicate and detailed embellishments depicting flowers, animals and other designs, Jean asked one of the women to teach her. The woman showed her the process, which included using a tiny needle barely larger than 2.54cm to push loops of fine thread through cotton and polyester fabric. The density of the tiny stitches held the loops in place without any glue or adhesive, and washing only strengthened the embroidery. Soon they began to teach other non-Old Believers, needles were manufactured under the Igolochkoy brand, and this technique gained popularity across the United States and beyond as a decorative craft and art form. sister-mag.com

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There is little known about the history of Russian miniature punch needle embroidery before it was popularized outside the Old Believer circles in the 1970s. Because of the migration of the Russian Old Believers all over the world since the 1600s, it is not known if it travelled with them from Russia; if it was invented within their community during their migration; or if they picked up the technique elsewhere during their time in Turkey or the Ukraine. Practitioners and teachers of this art form have travelled around the world, to museums in Kyiv as well as in Poland and Hungary, and none of the curators had ever heard of this technique – the only clear examples of this technique and confirmed history that exists is from the 20th century. 85

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Bunka Shishu Japanese punch needle embroidery, or bunka shishu, is an embroidery technique that is slightly different from punch needle rug hooking and miniature punch needle embroidery. While the previous two crafts are more likely to be confused, often both just referred to as »punch needle«, bunka is both more distinctive and »under the radar« than these other crafts, and has not yet had the same resurgence in popularity. Bunka is practiced with a slightly different style of hollow needle, only uses one special type of rayon thread and is worked on a tightly woven polyester gabardine. The rayon thread is pulled apart and one strand is used at a time. The thread »kinks«, and these loops are what hold the fibre in the fabric. Bunka is the only punch needle technique that is practiced from the front of the fabric, and employs longer

stitches that more closely resemble traditional embroidery, instead of the looped side. Bunka emerged in Japan during the 19th century, shortly after rayon thread was invented. Rather than being used for functional items or embellishment, it was practiced purely as an art form. Finished work is framed, and looks similar to oil paintings. Bunka is truly the definition of painting with thread! Early bunka often depicted scenes of flowers, animals and landscapes, and features gorgeous shading and colours. Bunka is said to have made its way to the United States after World War II when a soldier returned home with his Japanese bride, who brought with her a love of this art form. She began to teach others, and the craft began to spread and gain popularity in the United States, and similarly, around the world.

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Unlike punch needle rug hooking needle techniques into pillows, wall and punch needle embroidery, hangings, accessories and a variety bunka is a very delicate art form and of other items in bold designs cannot be washed or used with the and colourways that are in stark same functionality as these other contrast to the darker colours and types of punch needle. The special folk art patterns seen in many of the thread used for this craft is part of traditional applications. Creatives its distinctiveness and beauty, and all over the world are experimenting can be brushed and manipulated with the possibilities for punch needle, to create all sorts of textures and as a hobby, as a business or as fine effects on the finished piece. art. Bunka continues to be practiced around the world by small groups of enthusiasts, yet still remains largely unknown to many fibre artists and crafters. Today, the beauty and artistry of punch needle combined with its rich history of self-sufficiency, creativity and slow craft, is resonating with a new generation. Contemporary artisans are incorporating punch

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Understanding the history and differences between these traditional crafts sheds new light on contemporary punch needle. It illuminates the ways in which we celebrate traditional technique or innovate with our work, and it enables us to uplift the history of this unique art form, while simultaneously pushing the boundaries of its application through contemporary design.

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PUNCHNEEDLE

The handmade technique of socalled »Punchneedling« has found more and more followers and enthusiasts in recent years. We were thrilled by the many projects and talented fans who create beautiful textile projects. You can learn much more about this technique and its origins in our article about its history. On the following pages we have compiled some helpful resources, the most beautiful projects and worthwhile DIY books that will increase your desire to make punchneedle crafts. Have fun with them.

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MATERIALS & RESSOURCES

BOOKS & RESSOURCES

At Rico Design you will not only find all kinds of materials, but also videos and instructions to follow.

YOUTUBE VIDEO »PUNCH NEEDLE / STEP BY STEP« »PUNCH NEEDLE« FROM RICO

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Beginner projects with the Punch Needle. From a small cuddly lion to a lemon clutch and Rainbow Day Bag. The author is a freelance graphic designer and teaches the technique and macramée in the UK and Europe. Punch Needle Embroidery for Beginners from Lucy Davidson

@peasandneedles | Search Press

Punch Needle has many connections to rug making, making the technique particularly well suited to projects in the home. Author Rose Pearlman comes from NYC and makes beautiful, modern projects. Her book invites you to try your hand at it. Modern Rug Hooking from Rose Pearlman @rosepearlman | Roost Books

A little oldschool, but Marinda Stewart‘s work is stunning: the Texan has been writing punchneedle instructions for >30 years. Punchneedle miniatures of pansies? We‘re in! Easy, elegant Punchneedle from Marinda Stewart | Stackpole Books

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Julie Robert is a French fiber artists who is always full of wonderful ideas. Punch Needle will show you how to start and give you plenty ideas for your next punch needle design. Julie is a talented weaver too. Punch Needle (French) from Julie Robert @julie_weaves | MARABOUT

Emily runs the textile studio »Loomshakalaka«. She designs and makes punchneedle projects that you can buy directly: »From my hands to yours, thank you for being part of that movement.« Emily Primbs

@loomshakalaka

Your own slippers with punchneedle embroidery. This idea comes from Melissa from »A Happy Stitch«, who offers numerous shoe-making kits on Etsy. Melissa

@ahappystich

If you like the look but don‘t have the time to do it yourself, you can find nice little things at »mycraftmystuff« for nice little things like this punchneedle hair clip. my craft my stuff on Etsy sister-mag.com

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Our guest author Micah Clasper-Torch collects the most beautiful projects and inspiration around this craft on her account Punchneedle World. Punchneedle World

@punchneedle.world

Sara Moore from Great Britain is a punchneedle instructor and shows beautiful projects and tips around punchneedling on her account. Sara Moore

@wholepunching

Anyone who is getting into the topic of »punchneedling« will pass by Amy Oxford. She is the inventor of the Oxford Punch Needle, author of numerous books and holds numerous workshops and courses. Amy Oxford

@amy.oxford

A collection of punchneedle projects and ideas from sisterMAG co-founder Thea on Pinterest - here you‘ll find everything from fried egg coasters to punchneedle jackets. Thea‘s Pinterest »Punchneedle«-Board

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How the carpet got from the wall to the floor

THE CARPET AND ITS HISTORY

Text: Michael Neubauer Illustrations: Ezbah Ali

Carpet from BURKE DECOR

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As in everything, what counts is just the extraordinary that can only be achieved with effort and exertion. Only when a knotted carpet has more than 250,000 to 500,000 knots per square metre, is it »finely« woven, resilient and of high quality. This means that up to 50 knots have to find place on one square centimetre. Almost unimaginable, but how else could Aladdin could have carried off the princess Badroulbadour and her groom on their wedding night in their shared bed of a Persian carpet safely? It surely must have been the famous Ardabil Carpet (from 1539 – now in the Victoria and Albert Museum, London) from the northwest of Persia – a Kashan! It was big and extremely finely woven with 500,000 knots per square metre (»very fine«).

At all times, valuable carpets have only served for representative purposes: for »flying« or as everyday carpets that were affordable and used as wall or floor carpets, as sleeping blanket or tablecloth, as saddlebag or horse blanket.

People have been making carpets for a very long time. When they settled down, they used sheep’s and goat’s wool to protect themselves against the cold and wetness of the steppes of Central Asia. And that simply worked better when the fabric was compressed and knotted together. Of course, no textile witnesses from these early years have survived. However, in 1947, a Russian archaeologist found a 183x200cm wide carpet in the burial chamber of a former prince in the Altai Mountains in Southern If, however, someone wanted it looser Siberia at the border to Mongolia. and more permeable, settled for two Named »Pazyryk« after its place of to nine knots per square centimetre. discovery, it is considered to be the 95

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world’s oldest carpet. It’s said to but this warp knitting technique be woven in the 5th to 4th century is also known in Afghanistan, B.C., probably in Armenia, and the Caucasus region and in the it hangs in the Hermitage in St. Balkans. The kilim is used as Petersburg today. It’s genius for wall hanging, carpet, bag, tent its time, considering the 360,000 curtain or blanket. »symmetric« (see below) knots The warp knitting technique per square metre (»finely is also a predecessor of the knotted«) and the central European tapestry. Here, rosette motifs surrounded by images and motifs are woven deer depictions. into textile fabrics. Thus, the In the long history of carpet European tapestry is related manufacturing, the knitted to the knitted carpets but not carpet is distinguished from the identical. knotted carpet. Both techniques Tapestries are only called were used in individual regions. »gobelins« when they were With the warp knitting technique, produced in the Gobelins the warp thread is covered on Manufactory in Paris (active both sides by a close-fitting weft since 1607). thread since it leads back at With the knotting technique, the next colour boundary. This every knot row is followed by means that the weft threads with one or two weft threads across different colours determine the the entire width. Additionally, pattern on both sides. The result pile meshes are knotted onto is flat and without pile. The kilim the warp threads that give the is a knitted carpet, numerously carpet its plush feel. produced by Persian nomads,

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The following knotting techniques are distinguished:

The symmetric or Ghiordes knot:

The asymmetric, Persian or Senneh knot:

originating from Turkey used in Turkey, Caucasus by Turkish and Kurdish peoples in Iran and in Europe

used in Iran, India, Turkey, Egypt and China

weft thread

wool thread warp thread

Ancient Ghiordes knoten Carpet

Senneh Carpet via Carpet Avenue

via Old New House:

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The Jufti knot:

The Tibetan knot:

used in Iran, it’s more wide-meshed and less durable

A rod is placed in front of the warp threads, at the end of a row, loops around the rod are cut and knotted together

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For all three thread groups, still involved in the production sheep’s wool, goat’s wool or of hand-knotted carpets – up to cotton is used. Silk is only for 90% of world production. very valuable carpets. The wool With the settlement of Spain by is dyed in large colour vats North African Moorish tribes, with vegetable, animal and, the knotting technique was increasingly, synthetic dyes and brought to Europe. Travellers then dried flat. from the Far East had carpets Nomadic people used looms in their luggage before. But horizontally, however, they are with the settled Moors, the first more often used vertically in other European centre for oriental regions. In the knitting technique, style carpets developed on the the finalisation is followed by the Iberian Peninsula (Cordoba). sheering of the pile threads to a In England, carpets based on uniform or deliberate level and Persian designs were also made then combing. Then, the product in the 16th century. Parallel to must be washed intensively. The this, some regions in France, carpets get their name from their Germany, the Netherlands and place of manufacture, whether Switzerland were dedicated to in Asia Minor, Central Asia, India the aforementioned tapestry or China. Persian carpets are still after the 14th century. leading, valuable and sought With the 19th century, the after. Traditional, regional production of machine-woven motifs and colours determine the carpets increased also in look of the finished textiles. All Germany, together with a variety these countries and regions are

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of variants like smooth, loop, up a weaving workshop where the nap, plush, velour or pile carpets. old knotting technique was used Revolutionary for modern carpet again. Anni Albers, Hedwig Jannis, production was tufting, which Benita Koch-Otte, Margaretha was first used in America but also Reichardt and Gunda Stölzl in Europe from 1960. Machines created outstanding works. Floor with many needles in a row and in coverings, carpets, wall hangings, the width of the covering, pierce blankets were the results of an and lead the pole yarn into a intensive artistic engagement basic material. Technical variants with this traditional technique. create loops, cutting creates pile The skirt presented in our variants and graduated rotary magazine and hand-knotted by blades create pattern options. Evi Neubauer was manufactured When done with synthetic fibres, with a symmetric Turkish knot, the process is fast and relatively but with a knot density that cheap. wouldn’t be enough for a durable With the foundation of Bauhaus in carpet. However, it’s a skirt that 1919 in Weimar, Walter Gropius set never has to »fly« for Aladdin!

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THE RISE OF RUGS

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We have been observing for some time that fancy, stylish carpets with high design standards are becoming more and more popular. Instead of the cheap models from the furniture store next door, it may rather be something more sophisticated and highquality in your own four walls. That‘s why we present some of our current favorites here in sisterMAG. Brands that put a lot of emphasis on the production of their products and create special home accessories in traditional handwork. If you want to bring a bit of a »world feeling« into your home, you‘ve come to the right place.

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AMAZING RUGS amazingrugs.de amazing_rugs

What is special about your carpet selection? Our collaborations with different family-run companies in Morocco make for an eclectic selection from calming to expressive. Our label also loves realising custom orders. Where are the carpets made? We only offer handmade carpets from Morocco. Where does the inspiration for the designs come from? Most designs are just developed by our talented weavers and that could be anything from a classic diamond-shaped pattern to a story told through symbols. In the future, our label will mostly represent our customisable collection of Beni Mrirt: especially fine, luxurious carpets that are inspired by graphic design and paintings and produced exclusively for our label. We suggest a design but the weaver has every freedom to interpret it in her own way, making every result a unique specialty. We unite the best characteristics of a Berber carpet with our customer’s individual wishes, from the colours to the fringe design.

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Describe your shop and products in 3 words. Keeping tradition, valuing, innovative design.

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HAND IN HAND handinhand.store handinhand

What is special about your carpet selection? The most special thing about HAND IN HAND carpets is that they unite traditional craftsmanship with modern design. This particular combination makes them unique. You know classic Berber carpets with their traditional Berber patterns. There also are countless machine-produced carpets with graphic designs. HAND IN HAND combines these two. And a HAND IN HAND piece only goes into production after it has been ordered, so we can avoid unnecessary overproduction and the pollution of our planet with waste. Where are the carpets made? Each HAND IN HAND carpet is completely made by hand so it’s one of a kind. We work with a family-run company just outside of Casablanca in Morocco who have passed on their craftsmanship for generations. Every carpet is made from 100% sheep’s wool, which has unique health benefits.

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Where does the inspiration for the designs come from? The designs by HAND IN HAND always hit the Zeitgeist-spot but are also classic enough so that customers can enjoy the products for a long time. For the first collection of HAND IN HAND carpets, I was inspired by my favourite pattern – the chessboard-check – and iconic

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cartoon characters that inspired the inspiration for the colours. That’s why some of the carpets also have the names of these original cartoons like Sleeping Beauty or Robin Hood. Describe your shop and products in 3 words. Slow, sustainable, soulful.

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THEM. them.fr/en themofficiel

What is special about your carpet selection? All my rugs are unique models. Each piece is the result of some months of weaving in the mountains of the Middle Atlas in Morocco. Each rug expresses the feelings of a Berber woman, her emotions, her loves, her sorrows. Each woman weaves according to her desires and movements. Each colour and drawing is a symbol. THEM rugs are not just an object of decoration, but a creation full of history. Every year, I make several trips to their source, the tiny Berber villages in the Middle Atlas Mountains, in order to seek out Béni Ouarain rugs with their graphic shapes, Azilal rugs with their vibrant colours, some rare Boujad rugs… The

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name of these Moroccan rugs come from the area they are handmade. I work directly with the craftswomen of the beautiful Moroccan mountains, and have eliminated the middlemen. My goal? Offering fair prices to my customers, an ethical way of working, which I believe is essential when you are dealing with craftsmanship. But also, more equality for the craftswomen, my customers and me. Where are the carpets made? All my rugs are handmade on traditional weaving looms in the Middle Atlas Mountains in Morocco. The weaving process is very long: around two months to weave a medium size.

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©THEM.

Where does the inspiration for the designs come from? THEM is not a brand but a retailer of handmade know-how. I don’t manage the design of my rugs. I let the weavers do that because they do it so so well! I don’t want to curb their creativity. Each woman weaves according to her desires and movements. Each colour and drawing has symbolism. Describe your shop and products in 3 words. Handmade, unique, colourful.

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THE KNOTS BERLIN the-knots.com

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What is special about your carpet selection? THE KNOTS is a label for handmade carpets that are being made according to the ancient rules of craftsmanship of each of their countries of origin. Every carpet is one of a kind because they differ in the details and all of them are made from natural materials. Our selection includes vintage Persian carpets that have been dyed for a monochrome and more modern effect than the original, traditional version. We also have different Berber carpets, those very cosy and shaggy carpets of which the Beni Ouarain is probably the most well-known. But we also carry beautiful vintage Zemmour and Beni Mrirt Berber carpets. Our collection also includes some Kilims, from traditional and classic pieces from the early 20th century to newer, colourful products.

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Where are the carpets made? Our Mid-century Vintage Persian carpets that are around 80 years old are from Iran, the Berber carpets from different areas of Morocco and the Kelims originate from a design collaboration produced from local wool in Peru.

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Where does the inspiration for the designs come from? The designs of our carpets are inspired by the traditional designs of the different countries of origin because they just work perfectly with the respective kinds of carpet and have so much potential to add a modern twist. Describe your shop and products in 3 words. Unique, handmade, traditional-modern.

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REVIVAL revivalrugs.com revival

What is special about your carpet selection? Quality and quantity! Our rug selection is very large and basically has everything you could want: new pieces, vintage pieces, small to large, bright to neutral, flatweave to shag. All of our rugs are handwoven, and our teams who source them live in-country, so they have a meaningful and established rapport with the collectors we buy them from—which means we get access to better pieces for better prices, and then we pass that onto our customers. Plus, we‘ve started selling non-rug products like handblown glassware, blankets, and handwoven baskets, all of which complement our rugs. Where are the carpets made? Our rugs are made in Morocco, from the Atlas Mountains to the Sahara Desert, in Turkey, from the Aegean coast to the plains of Malatya, and in parts of India. The cool thing about our rugs is they aren‘t just made across space, but they are made across time, too, as some are vintage and are anywhere from 20 to 100 years old, and some are newer, made six years ago, or as recently as yesterday.

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Where does the inspiration for the designs come from? It depends on the weaver. The designs of our vintage pieces are all steeped in an intricate, elaborate weaving language that is centuries old and has morphed over time. It‘s fascinating, and beautiful, and we‘ve taken great care to identify patterns and symbols—so each vintage piece you look at on the site has information about the motifs it includes. For our new rugs, our in-house design team draws inspiration from all over: architecture, songs, paintings, weaving history, the natural world. They also collaborate with artisans and weavers who draw inspiration from their weaving cultural legacy and everything that touches. Describe your shop and products in 3 words. Timeless, travelled, light-hearted.

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One name, many shapes S K I RT S I N A RT

In this sisterMAG series, we present a selection of more and less well-known artists. Their work features a particular piece of clothing that is also central to the issue. This time: the skirt.

Whether it’s short or long, tight or puffed up with volume, comes in a simple colour, sparkling with sequins or in wild prints: there are hardly any boundaries to the skirt as a piece of expressive clothing. For this issue, we took a look at skirts throughout the history of fashion and the different shapes that skirts can take. Because after lots of research, we now know that a skirt isn’t simply always a skirt!

Text: CAROLIN KRALAPP

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Un-

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Unknown Let’s start with an eye-catcher from what today is Iran which depicts an approximation of the clothes worn at court during the rule of the Qajar-dynasty in Persia. The piece of clothing worn by the woman painted would probably rather count as a pair of trousers in today’s terms but the wide cut does make it appear as a skirt at first glance. The fabric has a large-scale, repeated pattern woven into it. Her hands are lifted in graceful movement, holding a rose in her right hand and a sorbet in her left hand. Next to the very detailed depiction of the clothes’ patterns, the fine brushstrokes that make up the transparent scarf and glass are especially remarkable.

Unknown, Woman with Rose in her Hand, first half of the 19th century

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Edgar

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Edgar Degas (1834-1917)

The »Fourteen-Year-Old Dancer« by Edgar Degas (1834-1917) was shown in 1881 at the sixth impressionist exhibition, where it scandalised the art scene with its break from the visual conventions of 19th century sculpting. Furthermore, it was unusual for Degas to have made this piece, as he was known as a painter much more than a sculptor. It was only after his death that over 150 sculpted pieces of art were discovered at his atelier. He used different materials to make them, from wax to clay and textiles. The versatile colours coming from this technique were a neverbefore-seen innovation in sculpting. The little dancer is made from wax and was dressed in a real skirt and dancing shoes by Degas, with a linen corset, satin hairband and horse’s hair.

Edgar Degas, Small FourteenYear-Old Dancer, 1875-80.

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Adolf

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Adolf Erbslöh (1881-1947)

Things get a bit more revealing in this painting by Adolf Erbslöh (1881-1947). »Girl in a Red Skirt« (1910) is an expressionist painting showing a woman halfundressed with her upper body half-naked, wearing a long red skirt. Also in 1910, Erbslöh has painted another similar painting with the title »The Red Skirt«, which shows less fabric and more naked skin. Present in the title of both paintings, the skirt takes up a little more space in this painting – but both of them entice with their vibrant colours. The black framing of the painting’s elements heightens their contrast to the backdrop. As both paintings were made in 1910 and show similar scenes, the woman depicted might even be the same person. Upon closer inspection, the paintings could be showing the moment in time just before or after each other: on the left, just before getting undressed, e.g. to put on more comfortable clothes or just before being fully dressed to leave the house, on the right almost completely undressed, ready to go to bed or, on the contrary, about to get dressed. Adolf Erbslöh, Girl in a Red Skirt, 1910.

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Egon

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Egon Schiele (1890-1918)

The oeuvre of Austrian painter Egon Schiele (1890-1918) offers a huge variety of pieces of clothing in art. From today’s point of view, »Back view of a Girl in a Blue Skirt« (1913) seems to be showing a knee-length wide dress with a back closure rather than a skirt. Considering the history and development of the skirt, however, it becomes clear that the skirt took a variety of different shapes over the course of centuries and depending on geographic location. If you search for »Knabe mit langem Rock« (translated to »Boy in a Long Skirt«, from 1910) by Schiele on the internet, you’ll find another example of something that does not look like today’s »classic skirt«.

Egon Schiele, Back view of a Girl in a Blue Skirt, 1913.

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Cindy

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Cindy Sherman (*1954) US-American photographer Cindy Sherman (*1954) always poses questions of identity, sexuality and the body in her work. For a series for POP magazine, exhibited in 2019 at the National Portrait Gallery in London, the artist worked with well-known couturier Chanel. The results have a strange aesthetic: Bored faces, awkward poses and haute couture against the backdrop of impressive landscapes. Sherman uses these photos to question our perception of the perfect glamour shown in the high-fashion magazines of this world. She took the self-portraits in front of a green screen and layered them with landscape photographs she had taken on the island of Capri and during the 2010 eruption of the volcano Eyjafjallajökull in Iceland. In »Untitled #540«, she is stiffly standing in her wig and a leather jacket and taffeta skirt designed by Karl Lagerfeld.

Cindy Sherman, Untitled #540 2010-12, 180.3 x 221.3 cm, Chromogenic colour print, Courtesy: the artist & Metro Pictures, New York.

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I was conscious about the choices I was making with the pieces, to select things that didn’t read »fashion«…I was looking for things that had some other kind of quality - Cindy Sherman

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Do you know more paintings with extravagant or interesting skirts?

Let us know! Share them on Social Media or to carolin@sister-mag.com . We’re looking forward to it!

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T h e h a t t e r o f N e w Yo r k And the oldest specialist shop in the city

Text & Photos: Andrea Lang

You enter the shop and are transported into another time. The smells, the wood panelling of the shelves and old chandeliers that give dim light. A world that calms, in which careful hand movements are carried out, in which the old is preserved and in which people are convinced of what they are doing. The feeling of deceleration set in immediately when the photographer Andrea Lang entered the shop in 2016 to take the first picture for her long-term photo series. She was welcomed by a well-dressed man named Jose with a charming and, at the same time, mischievous smile. He gladly showed her the salesroom and the workshop.

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Jose started working as a hatter in 1977-78. He doesn’t remember exactly. Since the 1970s, a lot has changed in this profession. There are only a few hat shops left in New York and fewer and fewer people who wear and appreciate hats. And yet there are trends, like short and wide brims and certain colours that are becoming more and more popular. Several hat styles are brought to the masses by TV series and movies. Caps enjoy great popularity since Peaky Blinders. The homburg, a tall

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felt men’s hat with a bent-up, framed brim and a centre snap in the crown, gained notoriety with Boardwalk Empire. And since the Frenchwoman Sarah Bernhardt fashionably played Princess Fédora Romanoff with a hat in the theatre, the fedora became world-famous and was preferably worn by representatives of the women’s movement. Thanks to The Marvelous Mrs. Maisel, it’s preferred with a medium-wide brim now.

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Jose started his career as a buyer of accessories for a small menswear chain. One of the divisions he was responsible for as buyer was headgear. A job in a headgear manufactory followed. »The rest is history!« Jose said and smiled. Founded in 1911, J.J. Hat Center is the oldest hat shop in New York and a real institution. For over a hundred years, the hatters have been proud of excellent customer service and competent advice. Buying a hat should be an unforgettable experience for their customers where they find exactly the hat that suits their individual style. They can choose from more than 10,000 highquality hats that are in stock at all times. It’s the biggest selection of headgear in New York City. Should you not have the pleasure of visiting the historically furnished building at 310 Fifth Ave in Manhattan, Jose and his colleagues also offer an online service and are available for advice.

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What makes his job special are the people he meets at JJ Hat Center. »Hat wearers are mostly very eccentric. But the service I offer fulfils me!« Jose loves working with hats as products. And he sees it as his task to take first-time customers by the hand, to lead them and to encourage them to wear hats. Sometimes people enter who are unsure and dissatisfied and require a lot of time and patience. »On other days, people seem to know exactly what they want!« And so you never know who will come in and what the day will bring. A few years ago, wholesalers came into the shop to talk to the owner, Aida, and to offer her products. During the meeting, one of the wholesalers made a remark that New York City needed a good hat shop. That was it for the business. »After that, we never ordered from them again!« Jose laughed.

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In addition to fitting customised headgear, there are also some repair services that always come up. These include brushing and shaping, widening or narrowing, replacing the sweatband, flanging and flattening the brim and replacing the lining. Equally varied are the forms, like western, travel, crown style, newsboy caps and berets, and the different materials, like felt,

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fabric, fur, leather and straw. »Our hats are not only worn and put on display through the whole city but also worldwide. People come from all parts of the world, are advised by us and return to their home countries with their purchases. The caps are especially popular and are shown and recommended by their happy owners.«

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When the pandemic hit New York City and the rest of the world in spring 2020, the shop had to close. For the small company, the situation was scary. Eventually, they got the permission to have one person in the shop to handle the online orders. This brought them through the summer months. When the shop was able to reopen in July, there were not many people in the city and the priorities had changed. Without their regular customers and the diligent staff, J.J. Hat Center could not have survived. And so everybody hopes that things get back to normal soon and that the shop will continue to leave a lasting impression and be a unique experience.

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In her photographic long-term project »Old craftsmanship & traditional professions«, the Hamburg-based photographer Andrea Lang shows craftsmen, old and classic occupations, jobs with passion and profession. Simply staged black-andwhite portraits in old style, inspired by August Sander. Unlike her advertising shoots with photo concept, these pictures are not prepared for long but created in reportage style without major staging. »I was able to hear incredibly exciting stories, meet people who are enthusiastic about their work and gain great insights into workshops and working methods. One of them asked me what my motivation for this series was. It

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has always been important to me to tell a story with my photos. I see how much is forgotten, and I want to preserve a part of it.« During her research, the photographer found out that the profession of carriage builder doesn’t exist in Germany anymore. »It’s just not worth it anymore«, she was told. In September 2020, Andrea Lang was able to realise the first photo exhibition on the project in an open greenhouse. Twenty-thre portraits, presented in old iron window frames, moved in the wind and formed a bond with the idyllic surroundings and nature. The first step to remembering that high quality craftsmanship has to be paid for was completed. And maybe the first step to not letting an almost forgotten craft die out.

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SISTERMAG – JOURNAL FOR THE DIGITAL LADY www.sister-mag.com Chief editor Operations

Theresa Wittemann, Antonia Sutter Lisa Bagdadjan, Theresa Baier, Annika Bittner, Marielouise Engel, Irene Günther, Carolin Kralapp, Christina Rücker, Norell Sanatpour

Fashion

Eva-Maria Neubauer (Fashion Dir.)

Design

Theresa Wittemann (Art Dir.), Ezbah Ali, Marie Darme, Gabriela Morales, Alina Tahir, Lale Tütüncübaşı, Ilaria Trombí

Contributin editors (Text)

Micah Clasper-Torch, Marie Jaster, Andrea Lang, Michael Neubauer, Elisabeth Stursberg, sisterMAG Team

Contributin editors (Photo & Video) Translation

Micah Clasper-Torch, Andrea Lang, Kathleen Springer, sisterMAG Team Ira Häussler, Alexander Kords, Elisabeth Stursberg, sisterMAG Team

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Ira Häussler, Amie McCracken, sisterMAG Team

Published by Carry-On Publishing GmbH, Gustav-Meyer-Allee 25, 13355 Berlin, Germany. Re-use of content is only allowed with written permission of the publisher. There is no liability for unsolicited manuscripts and photographs. The Carry-On Publishing GmbH assumes no liability or guarantee for the accuracy, currency and completeness of the information provided. All information is provided without warranty. Contact: mail@sister-mag.com Management

Antonia Sutter, Theresa Wittemann, Alex Sutter

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Alex Sutter (Sales Dir.)

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Antonia Sutter (Marketing Dir.)

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FO L LOW U S ON INSTAGRA M TO D I SC OV ER MORE!

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