Work with patchwork and artist Anna Farago to play with this beautiful Korean form of patchwork.
Teacher: Anna Farago
Workshop Duration: Half Day
Description: Pojagi patchwork creates seam allowances which are totally enclosed, so either side can be displayed. Pogagi can be used to create leadlight effects for curtains, table runners or simply beautiful non-functional work.
Traditionally pojagi patchwork is done by hand. A couple of the traditional methods will be demonstrated during the workshop, as well as a non-traditional method using a sewing machine. Workshop participants can choose to have a go at a few methods or pick one and stitch away during the workshop.
Materials:
Participant to bring:
- Scrap sheer fabric such as linen, lightweight cotton, hankies
- Rotary cutter (if you have one)
- Cutting matt (if you have one)
- Neutral cotton thread or colours to match your fabric
- Greylead pencil, ruler
- Needles
- Sewing machine (optional, you may just want to hand stitch)
Supplied: Some fabric scraps, cutting matts and rotary cutters, samples and examples of pojagi patchwork made using the techniques and methods to be used during the workshop.
Takeaway: You'll takeaway a small piece of your own Pojagi patchwork along with the knowledge of how to use this technique to stunning effect.
Level: Beginner/Advanced Beginner/Intermediate
Please note that the work and the photos on this page are by Siri Hayes.
Work with patchwork and artist Anna Farago to play with this beautiful Korean form of patchwork.
Teacher: Anna Farago
Workshop Duration: Half Day
Description: Pojagi patchwork creates seam allowances which are totally enclosed, so either side can be displayed. Pogagi can be used to create leadlight effects for curtains, table runners or simply beautiful non-functional work.
Traditionally pojagi patchwork is done by hand. A couple of the traditional methods will be demonstrated during the workshop, as well as a non-traditional method using a sewing machine. Workshop participants can choose to have a go at a few methods or pick one and stitch away during the workshop.
Materials:
Participant to bring:
- Scrap sheer fabric such as linen, lightweight cotton, hankies
- Rotary cutter (if you have one)
- Cutting matt (if you have one)
- Neutral cotton thread or colours to match your fabric
- Greylead pencil, ruler
- Needles
- Sewing machine (optional, you may just want to hand stitch)
Supplied: Some fabric scraps, cutting matts and rotary cutters, samples and examples of pojagi patchwork made using the techniques and methods to be used during the workshop.
Takeaway: You'll takeaway a small piece of your own Pojagi patchwork along with the knowledge of how to use this technique to stunning effect.
Level: Beginner/Advanced Beginner/Intermediate
Please note that the work and the photos on this page are by Siri Hayes.
We all have the capacity - and often the desire - to deny truths that show us engaged in things we know aren’t ideal. To minimise, avoid, distract and rationalise our way to feeling OK with our choices and our behaviour.
And it makes sense. It’s human to avoid the hard stuff, especially when that hard stuff involves us changing behaviours we enjoy. I do it. Regularly. And I’ve been doing it regularly in my making, for many years, in many ways.
“The term fast fashion refers to ….speedy production of ….clothing, ….. in order to meet the latest and newest trends.”
I do this. I produce things in a speedy way in order to meet the latest and newest trends.
So I wrote last week a post asking “Is my making fast fashion?”. And then I did a video on Instagram discussing similar topics in a slightly different way. And as always, you lovely humans have helped me clarify some of my thinking with your thoughtful, clever commentary.
And while I think there is so much more to discuss, here are four key possibly-more-meta ideas that have come up for me out of those conversations.
In using the quote last week that suggested that there was no single answer, and suggesting that this was freeing, I really did mean that we should sit in the grey. Not that the lack of “an” answer to this question should mean we get to ignore the question but rather that the lack of “an” answer means that we need to keep asking bigger more beautiful questions. And keep asking them.
Is my making fast fashion?
Am I living my values or merely thinking them?
And how can I make those two things a little more aligned in this moment?
These are my big beautiful questions.
Yours might be different.
And importantly this leads to point 2.