manifestos Archives - Right Sides Together

manifestos

Ch-ch-ch-changes!

I originally began Right Sides Together with Rhonda Jordan in May of 2014 and then transitioned into a one-woman gig about a year ago. While the RST Manifesto explains a lot of our inspiration, I also had a professional reason for wanting to start a website: to gain some viability in the sewing and quilting industry.

I have always taken my website seriously, even though it does not make money. (I have all sorts of opinions about people who offer to blog for companies for free, and for companies who expect bloggers to do that and it’s exploitative and unfair and we need to RISE UP MY SISTERS BERNIE 2016…but we’ll save those for another time.) I’ve found that Right Sides Together is clearly at its best when I’m not actively trying to monetize it. Sponsored posts are fun, sure, and they pay a little bit, but there’s a lot of pressure. The posts that have performed best for me are the ones that I’ve loved to write most: “manifestos” on the state of the sewing and quilting industry and culture, interviews promoting and celebrating other quilters and sewists, and fun graphics where I’m just being a general doofus.

But in a sweet turn of events, RST did open up opportunities for me — not as a sewist or a quilter (let’s be honest: I’m middling at both), but as a writer. I got a gig early on blogging for Craftsy, and it became obvious as I traveled to Quilt Markets and MQG events and got to know people in the industry that there are many, many talented artists and business people in the sewing and quilting sector. There are not, however, many people with the time or inclination to write about sewing and quilting.

So in July of 2015 I launched Wordcraft, a full-service copywriting and editing business for creatives. I’ve collaborated with many talented folks in the industry (as well as some larger businesses tangentially related to sewing and quilting, such as the Renegade Craft Fair) and I’m finding that there is a genuine need for someone who knows about the subject matter to write/edit sales copy and press releases and product descriptions and all that good stuff. I’m thrilled that I can bring my talent to the industry, and I’m thrilled that I can get paid to do it.

And so I’m excited today to announce that I am merging Right Sides Together with Wordcraft. It’ll still be right here at http://www.right-sides-together.com and nothing will change, except that the layout will reflect that the two are now linked. This way I’m still able to contribute regularly to the public discourse (and offer up weekly fabric deals), but via an outlet where I can support myself. Think of it all like an online mullet: business in the front with Wordcraft, party in the back with RST.

Welcome to the party, everyone. Happy 2016!

(Need a writer or editor for your book proposal, manuscript, Etsy shop, or website? Shoot me an e-mail! I’d love to work with you.)

How to Avoid Being the Modern Quilt Police

Up until recently I was a member of a popular social media modern quilting group. The group is a robust collection of thousands, and it’s heavily moderated; each submission or post needs to be approved by one of the group’s founders. This isn’t an uncommon practice in large groups or forums such as this; they need to weed out spam and off-topic posts, and make sure people are playing nice.

The problem, unfortunately, is that once a month or so, someone submits photos of a quilt that the moderators do not find to be modern enough. And so they delete the photos. And then things do get nasty. The original poster gets upset and hurt and demands to know why the quilt was literally shunned from the community, and the moderators respond with something like, “Your quilt just wasn’t modern. Sorry.” The quilter feels as if their work is devalued, and it’s resulted in fewer and fewer posts to the group; members fear that their work will be arrested by the Quilt Police.

SIGH. The “modern” QP squad are the newest iteration of people who feel the need to disparage the quilty work of others, but the Quilt Police as a whole have been around for ages. Mary Fons provides a spot-on definition, and the Onion has even parodied them. (And for some more cerebral discussion about judging quilts vs. criticizing quilts and the role of technique, be sure to check out Beverly Fine and Ebony Love’s excellent pieces.) I’ve been thinking on this since the latest group drama, and I think that there are ways we can promote modern quilting and encourage others to adopt a modern aesthetic without being total butts about it. Here are some good standards of practice:

Lead by Example

When we cut people down by telling them straight-up their work isn’t modern enough, it is an affront to everything the modern quilt community should stand for. How can we expect people to join and learn about modern quilts when we shun them for their efforts?

How you frame and word your suggestions is key. Constructive criticism (given only when it’s solicited) can be difficult when you have strong opinions about that sawtooth star made of repro fabric, but we’re grownups. Nothing is ugly enough to merit being rude, condescending, or insensitive. There is always a way to be kind. When I taught college English to ~~infuriating~~ lovely 18-year-olds, I saw some baaaaaaaad papers. But when students came to me for help, I never said, “Wow, this isn’t even an essay” or “Maybe you shouldn’t even try to write.” I found something to complement first. I began criticism by saying, “Maybe next time you could try ________.”

People who come to us asking our opinion either in person or via the Internet are showing respect. We should return the favor by being gracious with our feedback. And if you have a modern technique or aesthetic that you feel strongly about, share it! Many people who began quilting in the traditional sphere and want to make the transition need to learn about the basic conventions of modern quilting. And they can’t do that if we alienate them and don’t inspire experimentation in a safe space.

That said…

Never Say Never

Strangely, the Modern Quilt Police really, really like rules. We’ve heard them in the recent and not-too-distant past, right?

Modern quilts don’t have raw-edge applique.

Modern quilts don’t have batiks.

Modern quilts never have a black background.

If you are paying attention to modern quilting trends, you’ll find that these rules have all been busted a thousand times over. Modern quilting is about breaking boundaries. It’s how it all started, right? The Modern Quilt Guild was founded in response to the restrictive rules of traditional quilting, to flaunt all the Quilt Police who told people that everything had to be symmetrical and solids were for borders only and WHAT DO YOU MEAN YOU DON’T PUT BORDERS ON YOUR QUILTS?

Ironically, some modern quilters seem to have forgotten the origins of our movement. They cling to the original definitions of modern quilting (wonky piecing, negative space, bold solids) as if they’re gospel, not realizing that those definitions were originally simply what set modern quilting apart from traditional quilting. They’re a guide, not an edict. Those rules, too, are made to be broken. What if, instead of desperately regulating what constitutes modern quilting, we decide to let its organic evolution surprise us? What if, as one of my fellow guild members says, our litmus test for modern quilting is not a set of criteria as much as it’s Supreme Court Justice Potter Stewart’s 1964 litmus test for pornography: “I know it when I see it”?

Embrace Diversity

Breathe. Accept the fact that there are many different kinds of modern quilting. Don’t like wonky quilts? Don’t make them! Think the gray and baby blue your tablemate is using for her queen-size quilt is an abomination? Smile and complement her piecing, and recognize that her approach is different from yours. YOU ARE NOT THE ARBITER OF MODERNISM. Nor am I. Nor is anyone. Diversity of opinion as a community only makes us stronger. Come to terms with this. Come to terms with this as you moderate your modern quilting social media groups. Come to terms with this as you decide who to nominate for your local MQG executive board next year. Come to terms with this as you wonder why your latest fabric swap prize had so much green.

Most importantly, let’s not forget why we’re all here: this is supposed to be fun. It’s supposed to be encouraging and liberating and a fabulous outlet for expression and creativity and invention. And yes, quilting is a serious art form. And yes, as Ebony says, quilts that we’re submitting professionally for publication or for a quilt show should be judged by high standards, and sometimes their standard for what makes a quilt modern differ from yours. But otherwise, if you feel the need to criticize or comment on the degree of a quilt’s modernity without being asked? If you feel the urge to belittle (or worse, erase) someone’s contribution to your group or to modern quilting at-large based on some abstract aesthetic criteria? Breathe. Pause. And then don’t.

The Do’s and Don’ts of Quilting for Charity

As the Modern Quilt Guild and hundreds of years of quilting history remind us, quilt guilds have a philanthropic streak. Quiltmaking is naturally a generous undertaking, right? We make these blankets ultimately to comfort and warm our friends, our communities, our families, and ourselves.

I am on the Outreach Committee of my local quilt guild. Our committee’s mission is to spread the appreciation of quilting throughout the metro Denver area, both in process and in product. We have donated (and are in the process of donating) several quilts to charities. It’s been a great experience, both as a “guild builder” and as an opportunity to do good in the world.

If you or your guild are interested in making quilts for charities, there are a few general guidelines that are good to follow or at least keep in mind. Here are some best practices for philanthropic stitching:

Know your audience.

Having a good understanding, if possible, of who will be receiving your quilts is key to making quilts they will love. One of our recipients is our county victim services unit; the quilts go out on ambulances and fire trucks to comfort and wrap around people who have been affected by tragic events. Knowing this, we decided to make two small throw-size quilts with our blocks rather than one large one. And another organization needed a twin-size quilt for a small child, so we made one from children’s fabric. If the organization is calling for quilts, they will likely specify what they need. It’s always a good idea to listen.

Don’t spread yourself too thin.

There is so much pain and need in the world that it’s tempting to want to make quilts for everyone. But try to limit your philanthropic endeavors to what you know you can deliver; it’s easy to sign up and then not be able to finish a project in time due to other constraints. A few well-intentioned, mindfully given projects per year will keep you and/or your guild from becoming overwhelmed. Remember: it’s supposed to be fun. Quilting and sewing are joyful endeavors, and we as creators and guild-members should be spreading that sentiment through our work. Don’t give so much that you can’t do it with a happy heart.

Quilting for Charity | Right Sides Together — A postcard we received from We Are Kenya, a charity to which we donated through CraftHope

Give your best…

This might rustle a few feathers (as I do from time to time), but charity recipients are no less entitled to a quilt that will last. Giving generously should be just that: being generous with the quality of your work and your materials. Too often in “charitable” giving, there is the tendency to think that people should be happy with our ~~cast offs of sub-par quality~~ crap. It’s the same blindness that puts stained and torn clothing in the donation bin at Goodwill. That’s not generosity; it’s throwing your junk at other people. So if you feel tempted to rush the quilting or binding of your project because “it’s just for charity,” think again. And if the leftover fabric you have feels cheap or ugly to you, you probably shouldn’t use it in a quilt for another human person. It negates the purpose. Just sayin’.

…but use charity as space for experimentation.

You likely don’t know exactly who your recipient will be, but chances are they will appreciate having a well-made quilt of any design. Why not use the charity process as an opportunity to experiment with new styles? Our two small throw quilts arose out of a “quilt outside your comfort zone” challenge, where we each pieced a block using a new, challenging technique. It was motivation for us to do our best, and it was a great opportunity to try something new.

What suggestions do you have for quilting for charity? What has been your favorite donation (either given or received) so far?

Tribal Inspiration in Modern Quilting and Sewing: Is It OK?

Politics of Cloth: Using Tribal Prints in Modern Quilting and Sewing | Right Sides Together

You guys, LOOK AT THIS THING:

Politics of Cloth: Using Tribal Prints in Modern Quilting and Sewing | Right Sides Together

I just received this as a gift from some family members who visited Panama. It’s called a mola, and is a fabric panel used in traditional blouses of the Kuna people. Molas are a bit like Hawaiian applique on steroids; they involve reverse applique in several layers, and then additional layers of needle-turn applique on top. I think I counted five layers of fabric at one point in mine! It has the tiniest stitches I’ve ever seen.

I’ve recently begun discovering and learning about the embroidery and handmade crafts of other places and cultures. There is a shop here in Boulder called Bella Frida, and the owner, Laura, travels to Mexico, Guatemala, and Peru in search of folk artists. She purchases their work at fair trade and resells it here in Colorado. I’ve bought two Guatemalan items from her so far (a skirt and a huipil, a traditional tunic), both woven on a backstrap loom and then hand-embroidered. They’re gorgeous.

The geometric patterns and motifs of Mexico and Central/South America have definitely made their way into mainstream American design trends in the past few years. Tribal inspiration is everywhere, from clothing to bags to quilt cottons. Robert Kaufman, Andover, Art Gallery, and Michael Miller have all released fabric collections inspired by tribal prints and native folk art. And why shouldn’t they? It’s beautiful. But the cultural appropriation of indigenous artwork is a problematic issue, and rightly so: native peoples are struggling to keep their traditions and practices alive in the modern world. While quilting is a diverse enterprise — anyone can do it! — designer fabrics and expensive machines and the luxury of free time make it a hobby of the (white) affluent more than not. There are privilege issues at play. And so I argue we (if we are among the privileged) should be sensitive before we start taking liberties with design from indigenous and minority cultures.

Do we need to boycott everything with a tribal print and stop wearing ponchos? I don’t think so. But are we keeping traditions alive if we just take the aesthetics but don’t pause to understand the cultures that produced them? How do we, as consumers and sewists and designers, enjoy native-inspired textiles but still honor the original handcrafters and the traditions of indigenous peoples? A few ideas:

1. We need to educate ourselves on the cultures that produce the artwork that inspires us. We do this already with many Western cultures. Even middle-school students are taught the prominent features and artists of different art movements and periods. We know what Michelangelo and Van Gogh and Picasso’s works look like, and even sometimes what inspired them and what events surrounded their creation. We know their history. This is important, and we should make every endeavor to learn the same about every culture from which we borrow techniques and find inspiration. Before we take our first sashiko stitches, let’s learn what zakka means and what it’s traditionally used for. Before we make quilts inspired by Navajo blankets, let’s how the wool is dyed and how they’re woven. It’s the least we can do.

Laura of Bella Frida often participates in Mexican cultural events around Boulder. She organizes a kick-ass Day of the Dead festival each year, and lectures often on folk artistry of the different regions of Mexico. She’s inspired me to look for the context surrounding handmade crafts. They don’t exist in a vacuum; they’re made by people with rich histories and cultures. We quilters share our finished work at guild meetings and talk about them because we want people to know how they are made and what inspired them. We need to listen to others who deserve the same attention.

2. We need to support artisans locally and internationally. As craftspeople, most of us are familiar with the notion that handmade goods take a lot of time and should be purchased for their actual worth. Paying fair trade prices for embroidery or weaving indicates respect for the artist and his or her time and skills. Textiles are expensive; we should not expect to pay less just because the artist lives in a different place.

3. We need to understand the repercussions of using culturally-inspired textiles. This includes using textiles with respect (no racist Halloween costumes!), of course, but also understanding the debate and the history of cultural appropriation. Sadly, white people have a long tradition of taking what we want from other cultures and leaving the rest. If we wear garments or make quilts sewn with fabrics inspired by these cultures, we should at least understand that this is a thing, and be sensitive and respectful as a result.

So here’s a story: very soon after moving to Boulder, I began planning my first trip to Fall Quilt Market. I stumbled into Bella Frida for the first time and bought the most beautiful huipil I’d ever seen. It was expensive compared to my everyday Old Navy mom uniform, but I loved it and told the salesperson that I’d be taking it to Market because I was pretty sure it would be appreciated there. Fast forward a week or so, and I walk into the MQG meetup in Houston, tunic on. I was right; I think I got at least six complements on my new huipil that night, but my favorite moment was very briefly meeting Denyse Schmidt. Before we said anything else to each other, before we even made eye contact, she reached out and touched some of the embroidery on my shoulder. “Beautiful,” she said. “Guatemalan.”

See? That’s what I mean.

RST Quilt-along: Month 2

I’ve now been to both Quilt Market and QuiltCon, two conventions on either side of the industry. If Market is more about doing business and making sales, QuiltCon is about building relationships: meeting virtual friends and Instagram followers in real life, sitting down with industry reps to chat and problem-solve, strengthening ties between guild members. Old friends take silly pictures like no time has passed. Two local guild officers walk into last Thursday’s Moda Party; they end up several hours later in a gift shop on Sixth Street in a cowboy hat and a Davy Crockett coonskin cap, thereby cementing a moment neither of them will be able to live down. (Not that I would know.)

When I went on the hunt for a quilt to feature for the RST Quilt-along, I had a pretty clear vision. It had to have a modern aesthetic. It had to be from an independent, rising designer. It had to be new enough that there weren’t 40 other QALs to compete with. Rachel van Tilborg’s Friendship Bracelet quilt was all those things, but it was perfect for another reason: its theme expressed my goal for this website so perfectly.

For so many of us, sewing has become much more than stitching together fabric — it’s about stitching together lifelong friendships. We should be approaching sewing, in my mind, as opportunity for social engagement and social support, not as a space for hero-worship, hierarchy, or competition. There’s enough of the bad stuff all around already. That’s what I try to do here: provide insight into the industry and into designers’ creative processes. Support independent creators and shops. Share what I know. A rising tide raises all ships, and I trust that this website works because we are committed to supporting those around us. A friendship bracelet is the perfect representation of this commitment. (more…)

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