All Together Series

Shadow is made from a deconstructed antique Japanese boro noragi jacket built up from multiple layers of indigo cotton. The fabric had already been heavily patched and repaired, with extensive sashiko stitching and worn through areas where the layers underneath had started to show. I kept as much of that original wear and repair visible as possible and added my own reinforcement where the fabric needed more support.

Inlets began with two Japanese boro noragi vest fragments from the late 1800s to the early 1900s. I was drawn to the icy faded blues and the incredible texture. The plaid and striped patterns show through the layers, and it feels like everything the fabric went through is still right there on the surface.

I made Mantle with two sides that feel different but belong together. The more textured side is made mostly from a deconstructed pair of Japanese monpe pants from the mid to late 1800s. I was drawn to the icy blue mixed with a soft yellowed patina, and the worn areas where the darker indigo shows through. I kept the patchwork and repairs visible and reinforced everything so it can continue to be worn.

Beneath came together from many Japanese boro fragments, including a long noragi jacket from the 1800s that I deconstructed. I peeled back layers on several of the pieces to see what was underneath. I was especially excited when I found the fabric with the three faces. I had never come across a print like that before. It was a nice surprise.

Passage is made from a deconstructed antique Japanese boro noragi jacket built up from multiple layers of indigo cotton. The fabric had already been heavily patched and repaired, with extensive sashiko stitching and worn through areas where the layers underneath had started to show. I kept as much of that original wear and repair visible as possible and added my own reinforcement where the fabric needed more support.

Crusted Crest began as four separate Edo period tsutsugaki panels from a Buddhist temple that I sewed back together. They’re dyed with bengala iron oxide, which is what first caught my attention. Most tsutsugaki I’ve come across is indigo, so seeing this warm brown red color was unusual.

Drift is made from a beautiful variety of patches dating from the mid-late 1800s to early 1900s with contrasting, muted colors and a very satisfying amount of distress. This piece is a homage to the beauty of imperfection, the passage of time, and the signs that an object has been used and enjoyed in everyday life.

Shutters is a homage to the beauty of imperfection, the passage of time, and the signs that an object has been used and enjoyed in everyday life. Beautiful variety of patches dating from the late 1800s to early 1900s with contrasting colors and patterns and a very satisfying amount of distress. Strong, soft, medium weight hand-loomed cotton and hemp fabrics that are multi-layered.