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Kathleen from Fashion Incubator blog pointed me to an article that a meteorologist friend of hers posted on her Bad Mom, Good Mom blog about the global environmental impact of raising cashmere goats to feed the western world’s insatiable desire for garments made from their luxurious fiber.

Little did I realize that the soft and lovely cashmere sweaters in my closet were a cog in the wheel of global warming. Her post has stuck with me for many months and I feel compelled to share it with you as winter sets in and holiday shopping begins. Sadly it all really makes sense.

photo: © Ellen Warner (www.ellenwarner.com)

In her post titled “The Planetary Cost of Cashmere”, which I strongly urge you to check out along with all the links attached to it, Bad Mom, Good Mom writes,

“The global dust belt has not received as much press as the global fashion weeks so you might not be familiar with this story. Occasionally, dust can be injected into the jet stream, a fast-moving river of air that circles the globe. Asian dust ends up in north America, American dust ends up in Europe, European dust ends up in Asia and so on.

The Sahara desert used to be THE major source for dust, but there are other smaller seasonal sources, such as glaciers grinding rocks in Alaska. The amount of dust is rising, and global dust season is lengthening due to both growth in dust sources (industrialization and desertification) and lengthening of local dust seasons.

In recent years, Mongolia has become a major source of dust. The Gobi desert is spreading up into the Mongolia Steppes and the goats did it. Or rather, we did it, with our collective lust for cashmere.”

Photo: The Green Backpack

So what do the goats have to do with it? Here’s what The New York Times article “Pastoralism Unraveling in Mongolia” says

“Sukhtseren Sharav has a herd of 150 goats and 100 sheep, and as they chew their way through everything else, and the sharilj spreads, he must shepherd them ever higher into the mountains to find fresh grazing land.

The lack of foraging terrain is not Mr. Sharav’s only worry. The price for cashmere, the wool made from the fleece of his goats, has plunged 50 percent from last year. The price of flour, his most essential food staple, has more doubled.

These are hard times for Mongolia’s cashmere industry, which provides jobs and income for a third of the country’s population of 2.6 million and supplies about 20 percent of the world’s market for the fluffy, feather-light fiber, prized for its warmth, delicate feel and long wear.

To compensate for low prices, herders have been increasing supply by breeding more goats — a classic vicious circle. Mongolia’s goat population is now approaching 20 million, the highest ever recorded.

Environmentalists and social scientists say this is destroying biodiversity and pastureland, and undermining herding livelihoods. But goats are hardier than other livestock, breed faster and can survive on sparser resources: so, the more the land is degraded, the more herders are driven to switch from cows, camels or other less destructive herds — another vicious circle.”

This is a tragedy for the herders with global consequences. Aerosols are a strong feedback to the global radiative budget. In plain English, this means that dust traps heat. This can have both local and global consequences as the trapped heat changes the global air circulation, impacting storm patterns, heat waves, etc.

With all this knowledge I feel guilty about my cozy cashmere collection and realize that I need to take good care of those sweaters since I won’t be buying any more new ones.  Whether you are consumer or manufacturer I urge you to carefully consider the global impact of purchasing or manufacturing cashmere garments.

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High in the Swiss Alps between 1900 and 1960 indestructible Swiss Army blankets were hand woven in alpine villages from the grey and brown wool of local sheep. The blankets, woven with the characteristic red stripe and white cross were stored in caves for many peaceful decades until synthetic sleeping bags replaced them. Each blanket bears the initials of the maker and the date it was woven. Sometimes a stainless steel coin or seal is woven into the fabric. Each one is unique.

In the Swiss village of Törbel, cobbler Titus Karlen came up with the idea to reuse the blankets by hand stitching them into heavy-duty tote bags and knapsacks. Their leather straps are recycled from straps and belts from the Swiss army.

Family run Karlen Swiss, the largest employer in the village of Törbel, contributes to the local economy by providing jobs to women who would otherwise have to travel beyond the valley for work. Their work is synonymous with Swiss quality and ingenuity.

My passion for Swiss mountain culture (edelweiss, cheese, skiing, cow bells, mountain huts, yodeling) is embodied in the blanket bags. So many aspects of this collection appeal to me; the recycling of vintage, yet new, blankets into practical, rugged and attractive bags and accessories, all bag components are handmade, and that the “hand” of the original craftsperson is evident in each individual piece. Guess what’s on my Christmas list?


Photos via The Desalpes Company - another Swiss company making bags and household items from vintage Swiss Army blankets.

Become an interactive part of Poppy Gall Design Studio on facebook  - click here.

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Take a guess at what this vintage camping themed flannel print was used for. The inside of a sleeping bag? Pajamas? The lining of a rugged vintage inspired tweed jacket?  You probably wouldn’t suspect that it is a 1980-something Ralph Lauren skirt that I found in the bottom of my fabric drawer. Perhaps I’ll wear it for fun this Thanksgiving  (with long sweater and a cinched leather belt at the waist and tall boots) and then repurpose it into balsam pillows. Anyone have any clever ideas for how to reuse the fabric?

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Artist Jillian Tamaki used needle and thread to deliciously illustrate three book covers for the recent debut of the Penguin Threads series. She was commissioned  to stitch covers for Jane Austin’s Emma, Frances Hodgson Burnett’s The Secret Garden and Anna Sewell’s Black Beauty. Each is beautifully rendered, her stitches are perfect, the color selection impeccable. The covers are sculpt-embossed for a textured feel. With a resurgence of handmade and homespun goods in the marketplace (think etsy.com, craft fairs and farmer’s markets), it is nothing short of genius to update the classics for a new generation of readers by “embroidering” their covers. Do you know a young reader who would delight in these editions? Find the series at your favorite local bookseller.

Jillian Tamaki’s blog shows her work in progress and more about the project.

The inside flap is a truly inspired! The back of Tamaki’s canvas shows her neat stitches.

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I don’t usually post literary humour, but found “A Note of Apology” too much fun to resist. The photos of crazy quilts interspersed throughout are from a collection at The Adirondack Museum. Grab a cup of coffee and enjoy!


©Poppy Gall 2011

A Note of Apology

Via: The Wag and the Knave


That I stand accused of rendering your 2011 New England Quilt Competition entry a linguini-like heap of shredded cotton squares and eviscerated wool batting and, further, that it has been strenuously impressed upon me by the Northern Vermont Quilters Association that I offer you a formal apology, this note could not have come as less of a surprise to you had you planned and orchestrated the entire incident yourself. However, I must precursor the requested amends with some clarification for, as the saying goes, it takes two to tango. In short, I believe our problem–that is yours and mine–has progressed along from the very beginning.

©Poppy Gall 2011

I have been a member of this quilting guild for more years than I can remember, while you came aboard only a short while ago when you left Manhattan with your husband and retired here to Northern Vermont. Prescott had decided to push away the plate of commodity futures and heed the call of the trowel as a country squire. That you took to the gentle needle art like it was the Indie 500, cranking out quilt after quilt, swamping the rest of us, was not in and of itself a complete negative. We appreciated your virulent enthusiasm. It was your inability to take constructive criticism that chaffed so. For instance, when I gently pointed out to you your fruit-themed appliqué throw had all the salaciousness of Francis Bacon but none of the genius, you reared your head and flexed your nostrils like a mare whose oats were off. Unprovoked, you shot back, suggesting I knew nothing about art and even less about abstract themes. Shall I now remind you of my ladder of years quilt whose rungs, with an almost Kafkaesque perversity, lead nowhere? Admittedly, it was lost on most viewers, but I ascribe that to both my choice of fabric (a cheerful Swiss dot), and the thematic necessity of looping the quilt like a Möbius strip, rendering its use as a bedspread null and void. At any rate, I managed to quell the urge to trapunto your chin and ascribed your flinty behavior to immaturity. I presumed over time you would come to your senses and learn to take criticism gracefully, so I neatly tucked the whole incident away in my mental scrap bag.

©Poppy Gall 2011

At our monthly meetings, it grew increasingly apparent we would inevitably clash again. Your running for board president after only a six-month membership was unheard of the in the guild’s history. The added fact that you beat me by a landslide contributed to my irritation. I lobbied hard, it’s true, but did not have the financial means to treat the electorate to hundreds of free six-inch cotton squares. (I admit I was a little surprised how quickly members of the guild can be swayed when enough free cotton is dangled in front of them.) Please don’t think I’m accusing you of buying the presidency. You won outright, but it was yet another incident that I was forced to file away.

©Poppy Gall 2011

I believe the final blow was your act as president to bar my pineapple log cabin quilt in favor of your own as the sole entry in the New England competition. You claimed my quilt “lacked sufficient follow-through and exhibited signs of an almost freaky post-menopausal dementia.” Those are not the kind of words one throws around in Northern Vermont, Margery. Yes, executing the quilt entirely in black, hoping to achieve a kind of folksy bleak, was a risky move, but brilliance requires risk. And, as to the collective gasp elicited by our fellow quilters when I unfurled it, what can I say? Failure is only amplified by a lofty attempt. Just ask any balloon artist. Your hostile gesture (laced with palpable envy) in vetoing my entry pushed me over the edge and I confess I completely lost it. So, yes, I suppose Nettie Childes did find me on my hands and knees running my rotary cutter back and forth across your entry “in a vigorous, almost savage manner.” Nettie, though, is given to exaggerated storytelling on par with a crack head. Remember the time she told us aliens had abducted her on her weekend trip to Montreal? They weren’t aliens, Margery; they were a French mime troop. As we say in quilting, her mind is not colorfast. But let me continue. As you and the entire board (which has somehow fallen under your spell) are certain that my intention in destroying your double nine-patch with its alternating pink and blue squares (I’m sorry to say a rather predictable entry which would’ve stalled out in the regionals) was to nix you from national competition rather than a temporary snapping of my heretofore stalwart demeanor, I appear to be the lone voice of reason and, therefore, it is difficult to persuade you (and the pathetically brainwashed board) otherwise. Frankly, during the proceedings, I detected a hint of acid creeping into what could have been an otherwise positive flensing. Old wounds I thought long healed were re-opened. My mind kept drifting to thoughts of the Salem witch trials and burning flesh. Beatrice Loom practically cackled as she sharpened her between needles on her pumice stone, and once or twice I though I saw the lycanthropic flash of her eyeteeth. So, if I must, I’m sorry. There. It is done.

©Poppy Gall 2011

On a more positive note, I’ve moved on to other things. Please forward all mail and messages to the Montpelier Knitting Guild where I’ve taken up some number eights and am happily subduing an obstinate bouclé.

Giggles compliments of The Wag and the Knave

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The Tibetan tiger rug that I designed last fall and had hand woven in Kathmandu arrived bundled in burlap.

Tiger Rug rolled

As I slit open the package, I was excited and anxious at the same time. Did the weavers follow my design exactly and match the wool colors I requested? Would it “work” in my living space?

Tiger Rug 2

As I rolled out the carpet, I was delighted! It is as wonderful and lush as I’d imagined it. And it “works”!

Tiger Rug Border

To see more about my inspiration and design process for the tiger rug click here.

Tiger Rug 1


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Nick Cave’s Soundsuits bring to mind the lyrics for the title song from the musical Hair, “…knotted, polka dotted, twisted, beaded, braided, powered, flowered and confettied, bangled, tangled, spangled and spaghettied…”

The sculptural, creature-like, wearable art pieces are made from layers of metal, plastic, found objects, textiles, fake fur, beads, twigs and other things that when rubbed together make noise – hence the name Soundsuits. They’re inspired by Cave’s background in textile arts and modern dance.

Currently an exhibit of his work, Meet Me at the Center of the Earth is on display at the Seattle Art Museum through June 5th. Cave discusses his creative inspiration in this short Art in Motion video. His furry monsters even appeared in the September 2010 issue of Vogue showcasing the latest boots and bags.


nick cave-soundsuit



Nick Cave




Screen shot 2011-03-13 at 12.32.28 pm

Screen shot 2011-03-13 at 11.48.41 am

For more about Cave click here.

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Who would have thought that there could possibly be enough red and white quilts in the world to dramatically transform the Park Avenue Armory’s historic 55,000-square-foot Wade Thompson Drill Hall? Between March 25 and 30, 2011, the American Folk Art Museum is presenting an dizzying array of 650 one-of-a-kind examples of appliquéd and pieced American quilts, all of which are on loan from the collection of Joanna S. Rose. The quilt designs, which will hang in spirals from the ceiling so that fronts and backs of the quilts can be viewed, range from geometric to fanciful florals, and span 300 years of artistry and craftmansship. Infinite Variety: Three Centuries of Red and White Quilts will be the largest exhibition of quilts ever held in the New York City. As a gift to the public, entry to the exhibit is free.


1-Collection of Joanna S. Rose 2011-02-28 at 8.56.16 pm

2-Collection of Joanna S. Rose 2011-02-28 at 8.52.28 pm

3-Collection of Joanna S. Rose 2011-02-28 at 8.53.17 pm

4-Collection of Joanna S. Rose 2011-02-28 at 8.55.03 pm

5-Collection of Joanna S. Rose 2011-02-28 at 8.55.32 pm

6-Collection of Joanna S. Rose2011-02-28 at 8.53.54 pm

7-Collection of Joanna S. Rose 2011-02-28 at 8.57.16 pm

Photos: American Folk Art Museum/Thinc

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The Tiger Rugs of Tibet by Mimi Lipton is one of those delicious design books that once I opened it I knew something good would come of it.  It highlights 108 (an auspicious number in Tibetan Buddhism) different rugs with tiger motifs. An interesting and scholarly text explains the origins of the style, weaving techniques, and materials and the significance of the tiger in Tibetan Buddhism.

6 Tiger Rugs Mimi Lipton

For a decade I’ve flipped through it’s pages and dreamed of having a tiger rug in my home. So when the opportunity recently arose to design a custom tiger rug and have it made by Tibetan weavers in Kathmandu, Nepal I jumped at it!

Since I can’t be there to oversee the weaving (it will take four to five months before I see the final product) and probably won’t be able to approve lab dips for the yarn colors, I am taking a leap of faith that it will turn out just fine!

I worked up a design with a stylized tiger pelt bordered with jagged mountains wreathed in clouds. The mountains have meaning for my husband and me as we’ve spent lots of time exploring high places. The clouds also have personal significance as I have a wonderful and surreal memory of sitting high on a Himalayan plateau at night looking down onto clouds, a thousand feet below, illuminated within from flashes of lightning.


Our living room is narrow so the size rug I’ve chosen is not standard – 60” x 120”. I based my design on a rug from Lipton’s book, changing it only minimally. I drew my design to scale in my computer and then printed out enough of the design to get a feel for its scale. Just the very corner of the rug design used twelve sheets of paper which I then taped together and placed on my living room floor. I did this a couple of times before I felt sure the scale would work.

I played around with hanks of DMC embroidery floss to achieve a palette that I felt would work nicely with my furnishings. DMC floss colors are amazing for their wide range of choices and are great for specifying just the right shade. My colors are a little more muted than some of the tiger rugs in Lipton’s photographs, but they will work better in my home.

work table

My packet went off to Kathmandu yesterday with a full-scale print out of half of the rug, yarn swatches for the dyer to match, and a colored reference sketch for the weavers.

Scale drawing

In my professional design life I’m in intense and regular contact with the people making my goods, so this project will be an exercise in patience. Perhaps a fitting one for a carpet with roots found in sacred Buddhist art! I’ll share the end result – good or bad – when it arrives on my doorstep in the spring.


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“Mayan weaving is a celebration of feelings shared in common by an entire ethnic group”

My travel compass tends to swing towards lands where textiles play an important cultural role in the warp and weft of a locality.

Gianni Vecchiato has assembled a book full of heart-stopping photographs that illustrates Guatemalan people going about their daily lives, wearing their richly textured clothing.  The title, Guatemala Rainbow, speaks for itself with page after page of brilliantly colored pictures.

The armchair traveler can feel the warmth of the air, the bustle of the marketplace, the electricity of festivals, and get a sense the men, women and children who weave and wear exuberant colors every day. Vecchiato succeeds in convincing me that Guatemala is a place that I’d like to explore.









If you’d like to purchase this book, order it from your local independent bookseller.

To become an interactive part of Poppy Gall Design Studio on facebook click here.

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A blog reader, who rightly thought I’d be fascinated by her art quilts, introduced me the textile art of Linda Gass. Gass is a Californian whose work is informed by her environmental activist passions. She hand paints and stitches aerial views of endangered landscapes on silk crepe de chine. With needle and thread she magically makes bird’s eye views of oil refineries and water treatment plants beautiful.

Her work focuses on creating awareness of the struggle for water resources in California and the American West. Growing up during the drought years in California made Gass keenly aware of the preciousness of water, an irreplaceable element for all life. She has done research on the history and practice of water management and hopes to use the lure of beauty in her work to encourage people to look at the hard issues confronting us. Visit Gass’ website to see more of her work. Click here to see where her work is exhibited.


Title: Refined? Dimensions: 30" w x 30" h

Detail of Refined?

Refined? detail

Artist Statement: Refined? is an aerial view of the Chevron Refinery in Richmond, CA. The refinery extends over 2500 acres and processes 225,000 barrels of crude oil daily. The site of this refinery is on the edges of San Francisco Bay and was chosen for the convenience and efficiency of delivering oil by tanker ship. The water quality of the bay has paid a high price for this convenience. Dioxin and PCB discharges from the refinery have polluted the waters around the refinery – eating any oysters or fish caught in this area is a serious health hazard. Having industrial processing like this right next to the bay highlights the vulnerability of the bay and the vigilance we must maintain in protecting it.

Title: Sanitary? Dimensions: 30" w x 30" h

Title: Sanitary? Dimensions: 30" w x 30" h

Sanitary? detail

Sanitary? detail

Artist Statement: Sanitary? is an aerial view of Newby Island Sanitary Landfill  in Milpitas, CA one of several landfills right on the San Francisco Bay. Newby Island is a 342-acre pile that is estimated to be 14 years away from reaching its maximum permitted height of 120 feet. The facility processes 4,000 tons of garbage daily. According to the company website, the landfill is an island surrounded by a levee which keeps its runoff from directly entering the bay, and the water that drains from it is treated in the dump’s own treatment plant. The landfill has a composite clay layer beneath it and that in combination with a synthetic liner and an underdrain system keeps contaminants from leaching into the groundwater. These many layers of mitigation are susceptible to failure and underscore the vulnerability of the bay and ground water to contamination.

Title: Treatment? Dimensions: 30" w x 30" h

Title: Treatment? Dimensions: 30" w x 30" h

Treatment? detail

Treatment? detail

P.S. I have a new ‘Poppy Gall Design’ facebook page. “Like” it to see what sorts of projects I’m working on and to be an interactive part of my design studio.

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Having had a love affair with VW beetles since before I even owned an orange 1972 bug, I was especially smitten when I discovered the ‘’Bokja Bug” on designboom.com.

Bokja Design has taken the iconic Volkswagen and entirely covered it with car stickers and a patchwork of vintage textiles from the Middle East. It was recently exhibited at Spazio Rossana Orlandi during the 2010 Milan Design Week.

The whimsical bug, auctioned on ebay, brought in 1,004 euros which were donated to Fondazione Francesca Rava to benefit the children of Haiti.

Imagine how spectacular it would be if it were a rag top!

velvet01  © designboom

velvet02 © designboom

velvet03 © designboom

velvet04 image © designboom

velvet05 image © designboom

photos: copyright designboom

Click for more textile inspiration or VW bug inspiration.

P.S. I have a new ‘Poppy Gall Design’  facebook page. “Like” it to see what sorts of projects I’m working on and to be an interactive part of my design studio.

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Outdoor gear designers and manufacturers take note! There could be a design nugget for you in the Adam & Eve Interactive Sleeping Bag!
Pratt design grad Alyona Makeeva’s masters thesis was titled “Designing for a Better Marriage”. One of her thesis products was the Adam & Eve Interactive Sleeping Bag.
“My thesis explores the notion of marriage in today’s America, as it’s affected by social changes and cultural tradition, and how design can bring back the affinity and genuine communication into a family.
Inside the warm top cover of the sleeping bag are 12 Tyvek panels that can have multiple uses. You and your lover can write your special romantic memories, keep a running diary during a long romantic excursion, copy your favorite love poems, draw, use each panel for an individual theme, or use just one panel per trip to keep a shared “post-card” to record highlights of your times together.”
With slight modification in fabrics and insulations (I can’t quite imagine being cocooned in Tyvek) it could be converted into a functional bag and a real conversation starter.
How about solo bags with Adam or Eve screened on the inside for Lonely Hearts Club members?  It’s a silly idea, but there might just be something to it!

Outdoor gear designers and manufacturers take note! There could be a design nugget for you here with the Adam & Eve Interactive Sleeping Bag!


Pratt design grad Alyona Makeeva‘s masters thesis was titled “Designing for a Better Marriage”. One of her thesis products was the Adam & Eve Interactive Sleeping Bag.

“My thesis explores the notion of marriage in today’s America, as it’s affected by social changes and cultural tradition, and how design can bring back the affinity and genuine communication into a family.

Inside the warm top cover of the sleeping bag are 12 Tyvek panels that can have multiple uses. You and your lover can write your special romantic memories, keep a running diary during a long romantic excursion, copy your favorite love poems, draw, use each panel for an individual theme, or use just one panel per trip to keep a shared “post-card” to record highlights of your times together.”

With slight modification in fabrics and insulations (I can’t quite imagine being cocooned in Tyvek) it could be converted into a functional bag and a real conversation starter.

How about solo bags with Adam or Eve screened on the inside for Lonely Hearts Club members? Some of the best ideas often start out as the silliest! Love to hear your comments!

P.S. I have a new facebook page. Become a fan and be an interactive part of my design studio.
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If you’re in the Phoenix Sky Harbor International Airport between now and August 2010 you may see Nancy Judd’s Recycle Runway airport exhibit of couture fashions assembled from trash.

The intention of her trashy garments is to capture the public’s attention and inspire people to consider the environment in their daily choices. While fashion is front and center, environmental education is at the heart of Recycle Runway.

Judd, an artist and environmentalist, started Recycle Runway while working as the Recycling Coordinator for the City of Santa Fe. She recognized that art and fashion could be used to raise the environmental consciousness of the public in a fun and positive way. Companies such as Toyota, Coca-Cola, and Target have commissioned her elegant recycled fashion designs.


Convertible Trashique

This ensemble is made from car parts. The jacket, skirt and blouse are fashioned from convertible soft-tops. The “faux fur” on the jacket lapel is electrical wire. The hat is a front-end mask accented with electrical copper wire. The purse is woven out of electrical wire and metal “paper” that are wound around electrical components. This ensemble took 150 hours to create.


Glass Evening Gown

Approximately 12,000 pieces of crushed glass from the City of Albuquerque Recycling Program were individually glued to a 1930′s style evening gown made from upholstery fabric remnants and a pair of vintage shoes. 400 hours went into creating the dress and shoes.


Aluminum Drop Dress

Post-consumer aluminum cans were hand cut into teardrops and circles and hand sewn onto a 1920′s flapper dress made from an old cloth shower curtain. The Dress and shoes took 200 hours to create.


Fan Mail Dress

Colorful junk mail (catalogues, solicitations, newspaper ads) were folded into fans and sewn onto a skirt and dress sewn from scrap canvas. The vintage shoes are covered with old postage stamps. This ensemble took 200 hours to assemble.


Faux Fur Coat

Old cassette tapes are woven into the fabric of a thrift store coat; discarded videotape is used to accent the collar and cuffs. The inside is lined with an old thrift store prom dress. It took 310 hours to make this coat.


Rusty Nail Cocktail Dress

Old rusty nails are sewn and glued to a 1950′s style cocktail dress and hat made from canvas remnants. Nails also stud a vintage purse and pair of shoes. 125 hours went into making this outfit.

Recycle Runway collaborates with businesses, non-profits and governmental agencies to promote their environmental stewardship and sustainability programs.

Click here for more information about Recycle Runway.


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I have a huge respect for costume designers after being asked to help design and construct an elaborate robe for the sensational opening act of La Cage Aux Folles, “I am What I Am”. Lyn Feinson, Costume Designer for this Lyric Theatre production, has envisioned and created seventy original costumes. With the help of a team of thirty volunteer machine and hand stitchers her vision is becoming a reality. Most of the costumes are flamboyant, colorful and richly embellished – perfect for a cast of cross-dressing transvestites.

I quickly discovered that costume design has whole different criteria from the technical apparel design world that I am accustomed to. The fabrics don’t need to be durable or able to wick, they just need to be the right color. Easy on and off is key, so forget closures like waterproof zippers or buttons; Velcro works best. Meticulous seam binding and finishing are unimportant – as long as the costume looks good on the outside, who cares about raw seam allowances? Using any medium to achieve the desired result is permissible – paint, wire, cardboard, glue, staples.

At first I was intimidated by the free-form lack of precision and “go wild” attitude of costume making. The endless options overwhelmed me. I soon got over it and started painting, stitching, glueing sequins and drinking wine on Wednesday nights with the other costume-making gals. It’s always good for me to step out of my comfort zone and working on my costume pushed my boundaries in new directions.

I’m looking forward to opening night at the Flynn Theatre in Burlington, Vermont April 8th. The show runs through the 11th. I’d like to propose a standing ovation for Lyn Feinson for pulling this amazing costuming feat together – in her spare time no less!


Lyn Feinson was inspired by the flowers of Saint Tropez, where the play is set, and designed the gorgeous robes in the opening musical scene around them.



Robes in various stages of completion wait for final details and fitting on the actors.


This is how it all begins – a blank canvas…


One of Lyn’s concept sketches for the character Chantal.


This is the robe that I worked on. I hope Lyn’s right and that the third row won’t be able to see that accidental blop of paint! See you at the show!


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