As the owner of a business who has experienced some major upsets lately the only thing I can reconcile is how much I continue to learn. And the only things I know for sure is that I am the only one responsible and I need to own it.
As Nerida Hansen Fabrics grew there have been many, many more challenges than fun times. I have been navigating through challenging world events for the past 3 and half years, most of the time holding on for dear life, sometimes with my eyes shut tight.
My ADHD brain isn't naturally geared for organisation and executive decision making. An unfortunately a lot of that was required over this time. I need that guide book called "How To Run Nerida Hansen Fabrics through a Global Pandemic and Popularity Explosion" but apparently nobody has actually authored that yet.
Through all this, signs that my work was worth fighting for kept me moving forward. Even after the onset of Covid, when I felt lost and uncertain, seeing all the sewers out there making such beautiful things and enjoying my curations spurred me on.
In 2022 I thought I was totally spent. Shanghai closing down from Covid19 with all my 2022 winter stock on it's shoreline was the last straw. But after the roughest few months of uncertainty, packing up my warehouse and making staff redundant there was still excess inventory to sell so I soldiered on. I think I did stuff others would have left far behind. It was so hard, and I did not rest.
But then early in 2023, two opportunities presented themselves to me, which provided solutions that would allow me to focus on what I'm truly passionate about – designing textiles and producing sewing patterns. Seeing the power of collaboration with the recently-released Verhees Collections has been life-changing. To have many more fabrics out in the world with my indelible stamp, without all the pain of manufacturing is more than I could have ever wished for.
Still in transition, I am not quite there yet but the light is at the end of the tunnel.
The shift requires a significant transition which in itself is presenting many challenges.
The obligations to my new partners meant I would be closing down manufacturing. Without much warning, I was needing to shift gears, and to honour commitments to existing suppliers I had to move a LOT of fabric and quite quickly.
I thought it would be a suitable way to end the manufacturing game - reward my customers with near-cost pricing, use an amazing sale to clear eight months of inventory in the limited time frame I had to move to my next phase of business.
I wasn't sure what to expect, and the overwhelming interest in the offer caught me off guard.
The first mistake was a doozy - I sold products online at the same time that had different production windows. Before I knew it, I had hundreds of orders that had up to 4 different delivery dates on them. With one freight charge.
An overwhelming amount of customers ordered, which created confusion and chaos and so I tried to make adjustments to the orders that were placed with my supplier. My non-existent eye for details meant more mistakes were made which would have ramifications for customers who ordered.
Given I had only charged one postage fee for fabrics that were now coming in at hugely varied time frames I needed to budget very differently.
All this time I did not know what the right solution was. Not only did I feel a sense of obligation and responsibility to my new suppliers and partners, I had new obligations to upset customers which was so much worse.
Juggling the new exciting opportunities alongside the order chaos of my closing sale proved more challenging than I could have ever imagined, and our customer service was unprepared for the high level of inquiries, which naturally lead to complaints.
With no margin left due to the discounted prices, I faced tremendous pressure while trying to untangle the web of broken orders.
I ended up paying significant extra costs for postage and issuing refunds to customers who were understandably upset at the delivery time frames.
Living five hours away from my warehouse, I struggled to manage these issues physically which also made it difficult for me. I cannot compute situations well without observing the physical space. It is one of my more significant cognitive challenges.
Our customer service fell short of expectations, upsetting people and subsequently, my staff and myself.
Kat and our staff care deeply, and it's been tough to watch them battle to fulfill orders knowing they cannot provide the solutions customers want, despite trying their best.
Reading comments by customers online was very upsetting and at times very hurtful. There has also been a lot of confusion around my business generally, not just with outstanding orders. Customers have been upset at the significant changes to my business and I was not communicating in the right way.
If I could describe the past few months in anyway, I would say that I was "back in the ring". Just like Covid, waking up at 5.30, boxing gloves on, in the ring with all the to-do's and pressures flying at me all day until I collapse at midnight. My tenacity keeps me there, my focus thankfully enhanced with ADHD medication. But lately there have been lots more bruises than normal. I have been too tired to duck, too busy to see the next punch fly.
But in regards to hurtful comments online I need to own those. It doesn't mean I let them harm me, but I am ultimately responsible for them. I know the people in my midst are far from hurtful. Even the kindest people have a right to lose confidence and be angry when they pay for something that has not arrived.
I have always known that trust is so important when it comes to customer service, but I was fiercly reminded of it through this experience.
I have always been so proud of my team's ability to deal with complaints and resolve issues with ease, and it feels sickening to think that you have eroded that trust.
One of the dumbest things I did was close the clearance site when the stock was spent. When the clearance site closed, I didn't think that I was also shutting down those terms and conditions and expected delivery times, or for some people, even a contact email.
Through my haze of preparing for the "New Era" I was tied up in knots and could not provide my team with the help they needed. With so much to do and deal with I started to spiral into cognitive decline again, which only ever results in further mistakes.
All of these difficulties could have been managed differently, but I honestly did not know how to play out this transition. Hindsight is always useful to see where there were alternative approaches.
In the case of recent customer service chaos, the ordering sequence, the communication , the availability and transparency of the details of the biggest sale I have ever had could have been SO. MUCH. BETTER.
ADHD can create both beautiful creativity and boundless energy, but it can also lead to disorganization, time management challenges, and imbalance. If you know anyone who lives with ADHD they will relate to the crippling noise and hyperactivity - it is extremely tiring for everyone around you, including your customers.
I am exhausting. But I also caring, creative and kind. I also have enough self-awareness to know that regardless of my neurodiversity I am the only one who can control my behaviour and decisions.
I think this is true for anyone in business, Spectrum disorder or not.
There are many external factors which dictate how easy or hard things are, and as business owners it is easy to get mad and angry at these factors out of our control. It is also easy to blame delivery delays, the US exchange rate aginst the Australian Dollar, poor quality or being short-changed by a suppllier. Understandably, in a perfect world everything would go as planned. But ultimately as a business owner you need a safety net that puts your customers first, so when things get tough they are still comfortable. Without Customers, you have nothing.
And so I still don't have any concrete answers to any of it, but I do have some reflective actions that I think will appease the situation.
Rest assured, I am Owning it.
Nerida xx
To Customers Affected by the Pre-Sale
It is my priority above all else right now to make sure my customers are comfortable and up to date with the status of their orders, and any other actions they can take.
For those who have been affected I have prepared information including a schedule that gives you a guide to the remaining deliveries HERE.
I have included my phone number and email that you can contact me on to discuss what is important to you.
With many apologies and deep thanks for your patience
Nerida xx
As I leave on a life-changing trip around the world I wanted to share with you why things will be so incredibly different.
In late 2019 The COVID-19 pandemic sent shockwaves through economies worldwide.
For the first time since the beginning of the Pandemic, I have finally allowed myself to acknowledge the disproportionate brunt of the impact that Covid had on me. With chin-up and the acute knowledge that businesses everywhere were in turmoil, I did not want to seem like I deserved any special acknowledgement. But without acknowledging the pain, how can you possibly deal with it. I will not go into the detail of events because it would take too many pages to write about.
Even before the pandemic I struggled under the weight of constant adaptation from my extreme hyperactivity. ADHD has always required extreme resilience as I find myself constantly taking the path of MOST resistance. But the "COVID YEARS" left me even more vulnerable and my cognitive decline over the past few years from stress and menopause has resulted in personal chaos.
But amidst this chaos, my customers were transforming my brand. With each stitch of your machine, each posted photo, each order and each word of encouragement, you have helped me find the determination I needed to overcome the compounding challenges.
I have persevered, even though at times only just.
In recent months, I have had 2 incredible companies express their faith in my brand and my creativity, and it has resulted in new and very exciting opportunities for Nerida Hansen Fabrics.
I am about to embark on a round-the-world trip that is hugely sponsored by others who believe in me. I will be starting a new era, and I am incredibly grateful, excited and happy.
I am forever grateful to the amazing artists I work with, some who have had to wait much longer to get paid than they should have, and had many emails unanswered as my inbox drowned to the thousands.
And I am deeply, deeply grateful to you, my audience of sewers, creators and makers for loving my designs as much as I do. You are inspiring, incredibly creative, clever and living sustainable, joyful lives. I cannot wait to continue this journey with you by my side and look forward to sharing news of my travels with you.
Much Love
Nerida
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Sustainability is at the core of everything now. Environmentally, socially, morally. There is SO MUCH MORE to Sustainability than local production or organic fabric.
My biggest learning is that SUSTAINABILITY IS A JOURNEY, NOT AN END RESULT. Very few companies have it right, but we all need to begin somewhere.
]]>All my life I have had a deep connection to the Ocean and the green world around me. I grew up a sea-loving babe, and turned to surfing in my 20s. As I have grown older, our environment has become so much more delicate, and so this connection has now turned into an insatiable need to do something more. No longer am I just going to admire all the Green Advocates of the world, I am becoming one and am committed steadfastly to learning and raising awareness over the coming years.
The past 6 or 7 years have been a whirlwind for me, and I have not been shy about how challenging the Covid Years have been. From the very beginning, I have been extremely conscious of the demand cotton has on the world, and have strived to ensure I source mostly organic yarn and worked with well-certified factories. But through the Covid years my energy slowed as I raced just to survive business. But now I am starting to feel energised, and have been piecing together how my business fits in the world, and how I can contribute to making it a better place.
Sustainability is at the core of everything now. Environmentally, socially, morally. There is SO MUCH MORE to Sustainability than local production or organic fabric.
My biggest learning is that SUSTAINABILITY IS A JOURNEY, NOT AN END RESULT. Very few companies have it right, but we all need to begin somewhere.
We need to be very transparent about our sustainability policies and practices and as business owners who's products potentially contribute to the degradation of our environment we carry a huge responsibility.
I am very behind in terms of identifying my practices, but I am catching up and so you will see a lot of new messages and exciting new products coming very soon.
Product Disclosure
Today I launched my Bamboo Cotton, which I didn't want to release until I could give people more insight to where and how it is produced. So here is a little statement about my Bamboo and where it is sourced:
This sustainable bamboo is grown in Henan Province of China. My suppliers are accredited with FSC which means the towering Bamboo Forests that my bamboo comes from is replenished. The wonderful thing about Bamboo is that is replenished very quickly, which is why it is such a sustainable product.
The normal downside to Bamboo is that its natural state is a Yellowish Colour. So even though most Bamboo is grown without Pesticides. Bamboo that is dyed or printed needs to be cleaned or semi-bleached to bring it to a white state and in this process uses Hydrogen Peroxide.
My factory is Oeko-Tex certified which means all processes, materials and products have been rigourously tested to be safe and great for the planet. You can find more information on Oeko-Tex Certification and what it means HERE
My factory has high level emission control for cleaning processes, and all yarn is stripped of any toxins using high pressure heat and steam, so it remains a very Eco-friendly and skin-friendly fabric.
My Sustainability Journey Going Forward
There is so much work to be done. But all the amazing Sewers out there are contributing already, by lessening the need for dangerous fast-fashion. So together we have the best platform to make real change, and I love my community for their approach to this matter. Educated, alive, proactive. Amazing.
Look out for my New Pages and Products and come along for the ride with me!
Love to all and our Planet!
Nerida xx
PS: These beautiful photos were taken by the delightful photographer Nikole Ramsay. Check out her work on her website HERE
]]>We have written about Heather and Skinny laMinx before, but as I released another lot of her best-selling Flower Fields and Pebbles designs online today, I felt very nostalgic about having these beautiful, timeless designs back in store.
My introduction to Skinny laMinx was a very long time ago, shortly after I returned from living in Denmark. After seeing images of Heathers incredible hand printed fabrics in magazines and on very early Pinterest pages I became literally obsessed. So it was a huge thrill many years later to be able to collaborate with Heather and put her beautiful designs onto my fabrics.
I am excited to say that we have more newness in store for this summer, based on a unique combination of Heathers classic designs with new bold palettes that are also from her archives, or from other active products in her own home and lifestyle collections.
This type of timeless design is becoming more and more important to me. Maybe it is my age, but I really feel like I am also seeking solace in authenticity, quality and designs that I can live with for the rest of my life. This week will see some new garments for my pending Overseas trip in Flower Fields and Pebble.
Here are some of those old images of Skinny laMinx designs that inspired me soooo much.
Enjoy
Nerida xx
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INSPIRATION
My Inspiration always comes from a number of sources, and the Kiewa Collection was inspired by a strange mix!
Firstly I was lucky enough to go to New York in May, and I was loving all the twin sets in simple retro geo prints, hence my "Chainlink" fabrics for this collection. I don't often lean into browns, but I took a chance this time with cinnamon and a crisp dark brown because I saw a lot of simple brown, grey and green in New York and thought it offered something new.
I am also inspired by the brights that have appeared in all my trend research over the past months, so with butter and yellows, analogous pinks and the new greens "Kiewa" is an exceptionally fun colour palette.
At the time of creating this collection, my family and I had also decided to take 6 months away to live in our little log house in Victoria's high country. It sits in the Kiewa Valley, which inspired my very graphic botanical print "Kiewa". It is a lot bolder than I had planned but very fresh and fun. As usual I played with other prints in my library and ended up with the shapes from Kiewa laid over my Trellis Print. Thankfully anything goes in my world!
I am somewhat of an "emerging" textile artist, having had in-house designers in my business in it's first 5 years. I am definitely working on new skills but I am not yet getting time to draw or paint original art that I long to put on textiles. As a result, most of my work is grabbing elements that exist in my library and creating simple shapes on illustrator. This kind of process really suited the graphic result I was after.
I work the designs into a textile repeat which requires you to design a "tile" that will repeat seamlessly on all 4 sides. I do all this work digitally on Adobe Illustrator, sometimes using Photoshop. Because I like designs to be "oversized" I always start with quite a large art board and create the pattern within a square or rectangle boundary that will represent the size of a single repeating section.
To make it seamless I match up the elements first on corners, then on edges. I copy those elements and paste them precisely on the opposite side of the bounding box. Commands within Adobe Illustrator and Photoshop make it easy to paste the elements precisely so the pattern will flow continuously on the fabric printer.
I ALWAYS get carried away for hours in this process and after playing around with scale and options I normally develop many more prints than I finally run with.
SELECTING COLOUR PALETTES
Holly is a contemporary artist, teacher and proud Bundjalung woman from the North Coast of New South Wales. She currently lives and works on Yuin Country on the South Coast of New South Wales. Through her art she aims to share her stories, culture and country in a contemporary way.
The new "Shaping Country Collection" will redefine how we are using our First Nations Artwork. Hollys work in the past has produced hundreds of beautiful garments with their bright hues and strong pink palettes. This collection however, lends itself to a much more glamorous aesthetic with strong deep greens and olives. The warmer pinks are much more tonal than before, and will add depth and warmth to our winter wardrobes.
First nations art holds a special place in my heart. The recent and unfolding environmental and social challenges we are facing as Australians need action, and the deep wounds of industry and politics in this nation need healing. We are so privileged as Australians to have our First Nations peoples who's connection to land, country and sky hold the key to the health of our nations heart. It is just so unfortunate that too many of us are not listening.
Holly and I have the same vision for moving forward - working together, sharing the stories and celebrating our artists, who's work can educate us, and remind us that white Australia is just a small part of a much bigger, much more important picture.
"Shaping Country" is a new series of patterns created from Holly's orginal works bearing the same name. The soft pinks and taupes offer a beautiful soft winter palette, whilst the deep greens and olive colours will make incredible garments that can be worn as formally, or as casually as you like.
Shaping Country Prints
Shaping Country
This work is our hero which is the namesake of the collection. "Shaping Country". It represents the shaping of Country. For thousands of years and generations First Nations people managed, fostered and shaped the land carefully. A complex system of land management, fire stick farming, aqua and agriculture of managing native flora and fauna were sustained for thousands of years. First Nations people are the first farmers, and Early European explorers marvelled at the maintained open grassy plains growing on friable, spongy soil. These explorers failed to recognise this was not ‘natural,’ but the result of thousands of years of careful management by the land’s traditional custodians. Evidence from artworks, journals and plant lifecycles show how Aboriginal communities had a profound impact on caring and shaping the Country.
Hill Country
I love this beautiful fluid design. This work represents hills and Country, symbolising First Nations peoples ongoing connection to the land. The natural green colours represent the colours of the hills on Bundjalung Country. First Nations people are the ancient people of this land - we respect and listen to the land, our elders and the ancient spirits. Our ancestors have walked this sacred country for millennia and continue to live on in the land, the hills, the waters and the sky.
Bush Seed Country
I will be using this fabric to warm my winter wardrobe. "Bush Seed Country" represents the seeds and grasslands on Country which were the result of First Nations people who, for generation upon generation, actively and intelligently shaped and manicured. First Nations people are the first farmers and bread makers, and Early European explorers marvelled at the maintained open grassy plains. These explorers failed to recognise this was not ‘natural,’ but the result of thousands of years of careful management by the land’s traditional custodians. Many grass seed species are known to have made highly nutritious ‘bush breads’ and cakes.
Seed Pods on Country
I will be wearing this design on my organic cotton sateen and Tencel™ linen for evening and special occasion pieces. This piece represents bush seeds and pods on Jagun- Country. First Nations people were the worlds first bread makers and bakers. Seasonal seeds, grain, legumes, roots and nuts were ground into a flour and were then formed into a dough. Bread making was a labour intensive task, generally carried out by several women at once. Millstones for grinding seeds into flour have been discovered which date to be over 36 000 years old, which is well ahead of other civilisations, such as the Egyptians, that started baking early on.
This joyful collection is now available for back-order and will be delivered in late April. We cannot wait to see this collection on a wide range of products. Holly's work is seriously magical.
Nerida xx
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Katie Byrne is an illustrator, surface pattern and product designer based in
Melbourne, Australia. With over 10 years of experience in the design field,
collaborating with brands and seeing illustrations come to life on any product
such as clothing, homewares, stationery and giftware – still gives her a thrill!
She draws inspiration from joyful moments of everyday life, quirky animals,
nature and childhood memories. Katie loves the challenge to adapt her graphics
with commercial trends and colours in her own watercolour/pencil playful
aesthetic.
I have fallen head over heals for Katie's work, and am absolutely loving wearing the neutral tones and organic illustrative style.
Instagram: @katiebyrnedesign
Website: www.katie-byrne.com
]]>Hooked on florals and nature, Australian designer, Rachelle Holowko, has a few tricks up her sleeve – she is an artist, surface pattern designer, podcast host and teacher. A few years ago she quit her day job and decided to dedicate herself to learning all she could about the textile industry and we are thankful that she did.
Recently, Rachelle spoke with Nerida Hansen for her podcast, Design & Shine, and this time it is our turn to find out what makes Rachelle tick, inspires her with her designs and sets her work apart from the rest. Read on to learn more.
Hi Rachelle, let’s start with your career as a surface pattern designer and artist, when did it commence and how did you get to where you are now?
I actually started my career as a radio microphone technician in musical theatre but I always had a calling to do something more art based. I decided to do a short course in screen printing which led me to discovering surface pattern design. I loved it so much that I decided to do a BA in Textile Design. From there I went on to work in the Textile Design industry where I not only got to design but was involved in the production process as well.
When I had my first daughter, I wanted to be able to work from home so I decided to set up my own design practice and at this time I was also approached to teach surface pattern design at a college and later at a university. From there my love of teaching developed and I created my business Pattern and Design where I not only get to create pattern designs myself but I get to help others do the same.
Let’s delve deeper into your creative process. How do you start? What is your process?
My process usually begins with photos. I’m really drawn to creating botanicals particularly florals so I tend to take a lot of photos when I’m out and about and use those as inspiration for my designs.
From there it depends on what medium I’m using. These days I like to mix up how I create my designs. After creating designs exclusively on my computer for years, I now really enjoy the meditative process of painting and also being away from my computer. My process is either to paint my motifs in watercolour or use my iPad and Procreate. From there I always bring the elements into either Photoshop or Illustrator (usually Photoshop) to create my pattern repeats.
What inspires you the most with your art?
I’m most inspired by botanicals, flowers and Australian flora and fauna.
What has been your greatest achievement with your designs and career?
I’m finding it hard to answer this as I feel like so many things have led me to where I am today. I’ll never forget the first time I walked into a store and saw my artwork on products so that would have to be a stand out.
Tell me about your upcoming collection for Nerida Hansen Fabrics. What is it called and what was your inspiration?
My collection is called Sofia’s Garden and it is inspired by my grandmother who passed away recently. She had such a huge love of gardening and it’s something I’ll always remember her for. I wanted to create something special in her memory
What would be your dream job?
I’m doing my dream job! But my dream client would be Anthropologie.
Give me three words to describe your style.
Botanical, organic, colourful
What advice would you give artists starting out or anyone keen to explore textile design?
Just get started. Do something small every day. Let yourself make mistakes because that’s how you will learn and remember that we all started not knowing
Lastly, apart from a fabric launch what is in the pipeline for you?
Oooh, I have lots of great things in the pipeline. I will continue to work with my amazing Pattern to Product mentoring students teaching them how to create pattern designs and build their creative businesses.
I have some projects with some amazing clients (which I can’t mention yet) and I’m wanting to start selling a few of my own products such as art prints and cards.
To shop Rachelle's collection visit www.neridahansen.com.au.
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Let’s start with yourself Heather, please tell me a little about yourself – where did you grow up, where do you live now?
I was born in Johannesburg in the 1970s, and grew up climbing trees with my three brothers.
Now I live in central Cape Town, and don’t climb trees anymore, but there’s a mountain just a short walk away from our city apartment which I occasionally climb.
When did you start working in textile design?
I took my time getting there!
After studying languages and drama, I ended up with a 10 year career in schoolbook illustration and writing. But with the dawn of the internet, a new world opened up, and I became consumed with the idea of creating my own screenprinted fabrics.
In 2006, I started experimenting with textile prints, started a blog and opened an Etsy shop. The friendliness and encouragement of that online space truly is what spurred me to continue.
Talk me through your process.
I have daily and weekly creative habits on the go, alongside other handwork that I do for pleasure.
My daily practice is to set myself a daily ‘thing’ to notice over the course of a month. This could be noticing a particular shape, a colour, or even a concept, and I find this a great tenchique for keeping my perception open and alert. I record what I notice daily at @theattentionhabit on Instagram, and it’s fun when other people play along.
My weekly practice is at my studio on a Friday, which is where I noodle about with cut paper or simple printing techniques. I keep this work intentionally unfocussed, as it allows me to explore ideas outside the immediate needs of the business. I record some of these results at @makingfriday on Instagram.
In the evenings, I generally have a tapestry canvas on the go, while my husband cooks us dinner, and on the weekends I like to bake or sew.
All of these constant bits of creative work supply me with fuel for design ideas to explore when I need to create something for Skinny laMinx. They also help to balance the toil of running a business with the joy of creating.
What is the meaning behind your business name, Skinny laMinx?
It’s a nickname for our skinny little Siamese cat, Monkey (who was a total little minx!)
When did this become a full time gig for you? What was the turning point?
I’d started to get royalties on some of the books I’d co-written and illustrated, and was looking to leave the world of educational publishing, so I took a half-day job as a scriptwriter at a comics company. This is where I worked for three years, heading to my studio in the afternoons to create products and run my Etsy store.
By 2009, with wholesale orders across the world and my fabrics in professional production, it was clear that this enthusiasm of mine had morphed into a proper business. That’s when I teamed up with someone to help with production and finances, and Skinny laMinx started taking itself seriously.
Tell me about your upcoming collection for Nerida Hansen. What was your inspiration for that range?
Nerida approached me with the idea of introducing some classic Skinny laMinx prints into the Australian market. All of the designs in this range have been favourites with our customers for almost a decade, but have only been seen as furnishing fabrics. So when Nerida came up with the idea of putting the same prints onto fashion fabrics, I was super excited to see the results.
There is a distinct retro vibe with your work. Who/what has inspired you the most with your designs?
I like to think that if Alexander Girard and Marimekko had had a love child in Cape Town, they would have named her Skinny laMinx!
What would be your dream project?
I’ve recently designed a tile range, and now my dream is to cover the underside of all the bridges across Cape Town in patterned tiles. I know that pattern makes people happy, and my hope would be to lift the spirits of people stuck in traffic with my colours and patterns.
Heather, what do you do to ensure your business/art is moving towards being more eco-friendly and more sustainable?
South Africa has a 37% unemployment rate, which is why it’s so important that our manufacture and production stays local. We’re also devoted to skills-based work, which is why we choose to screenprint rather than go digital. Everything we do at our women-run company is made in South Africa - almost all of it in Cape Town.
On top of this, we are very careful to make good use of all of our offcuts and scraps, and anything we don’t use is sent off to sewing projects, or to a dog rescue organisation who use them to stuff dog beds.
What does a typical day look like for you?
After some early morning exercise – a pilates class, a walk on the mountain or a swim in the sea – I take a walk to my production studio in the centre of Cape Town. There, I’ll work with my team on the week’s orders, do some production planning, and maybe see some customers in our showroom.
We’re lucky to be on a street full of amazing shops and restaurants, so I’ll grab a plate of salads at Cafe Frank for lunch, and on my walk home at the end of the day, I’ll shop for dinner.
Then while Paul cooks, I’ll work on my tapestry canvas and we’ll listen to music, watch something on Netflix, then early to bed to read before lights out. All of this is punctuated with many cups of tea along the way.
What advice would you offer to those starting out as a designer?
I’d advise learning to style, shoot and edit decent photographs of your process as well as your finished goods, as a great image can really be a multiplier of what you do.
Finally, give me three words to describe your style.
Bold, fresh and optimistic
Follow along with Heather's journey here, @skinnylaminx.
]]>What to do with those odd scraps of fabrics and remnants from your last sewing project? The pile is growing and it is time to address it. Our guest ambassador, Heather Jameson (aka @_heathermade), recently whipped up a dog scrunchie bandana from her leftovers for her cute pooch, Wren.
Following along with these steps from Heather.
Heather embraced our sewing challenge and her end result is a knockout. Read on to replicate:
Two brilliant patterns of course! The construction of both were fantastic and I learned some new skills as I went. The below are the modifications I made to each pattern.
Culottes - the only modification I made was raising the waistband to make an ultra high-waisted, ribcage version. This is my favourite style to wear, as I find it flattering on my curves and elongates my shorter legs.
Everyday Unisex Shirt - I had a lot of fun with this pattern and can’t wait to make another variation! For this version, I added a scalloped collar and cuffs, trumpets sleeves, as well as some added volume at the shoulder.
I’m going to really enjoy wearing these two pieces together, as well as separately! The shirt is great with jeans worn tucked, out or tied - as well as being a great layering piece over a bodysuit. I also plan to make more pants with this pattern - my toile wears fantastically as well and I really love the elongating nature of the super high waist.
Miss Moresby's fabrics are available at www.neridahansen.com.au.
Sarah has had a strong interest in the relationship between design, space and expression and her art brings together abstract forms, contrasting colours and intense tones. The end result has lent itself to a collaboration with Nerida Hansen Fabrics that has a decorative tapestry look and transports you to the festivities abroad.
Sarah talks to our blog editor, Jacqui Taylor, about her proudest career moments, challenging herself with patterns in her art and working with Nerida.
Tell me about your studio name, Miss Moresby. What is the meaning behind it?
Moresby Street is where I spent the first 21 years of my life, in a leafy suburb close to the city of Adelaide. It’s part of my own personal history. I wanted to reference that history in my studio name.
Do you still live in Adelaide?
No. I have lived in Melbourne since 1998! I also spent five years in Sydney since then.
Outside of your art, how do you fill your days?
I have three boys to keep me very busy. I also have two dogs and two cats. I walk the dogs daily. I like to cook and garden. I like movies and good TV and I’ve always been interested in fashion. I like listening to podcasts too, often whilst I paint.
Let’s delve deeper into your creative process. Talk me through it.
At the moment I’m swinging a lot between two main ways to create an image. If I’m feeling like using oil paint, I’ll start by filling up the canvas in a very intuitive and abstract way, using ink-like acrylic paint. Because this paint is so thin and dries quickly, it’s easy to add layers and layers to get interesting areas on the canvas, some with much colour intensity. Once I’ve got some colours down I start to consider shapes and composition. At this point I decide on colours and lay down first oil areas. After this, it’s a puzzle-like game I set for myself of how many colours and patterns can I possibly stuff in there without making a big mess.
Collage has also become one of my favourite mediums and I guess my process is much the same, fitting puzzle pieces to make a composition that finds an end point almost on its own. With collage I decorate my own paper and so I’m led by the patterns and colours of the papers I’ve made. It’s a very rewarding process.
What inspires you the most with your art? Who inspires you?
Nature inspires me an awful lot, but I also pay attention to small visual details I come across in my daily life from almost anywhere. I’m alert to colour combinations and shapes interest me and of course textures and patterns from other artists and designers inspire me all the time.
I’ve always been inspired by Matisse and the Fauves, I love that movement. Also the Bloomsbury and Bauhaus movements are very inspiring. I love the work of fashion designer Stella Jean for her incredible ability to use pattern and colour so boldly altogether.
What has been your greatest achievement with your art?
I was so proud to be one of the four winners of the Kip&Co Art Series tea towel competition this year. It was just so cool to be recognised by a brand that I really like. Also, a while ago two of my paintings were acquired by the Epworth Hospital, I was told they were to be hung in the maternity ward, which was quite wonderful to hear.
Tell me about your upcoming collection for Nerida Hansen Fabrics. Is there a theme that is running across these designs?
These designs are almost like an introduction into my creative world that spans both painting, collage and digital design. Some of the fabric designs come from paintings that either Nerida or myself thought would make excellent print designs and then there’s a few that come direct from my iPad which I also love to use to mix up my studio practice.
What would be your dream job?
I think maybe I already have it.
Give me three words to describe your style.
Whimsical, rich, intensely colourful
What advice would you give artists starting out or anyone keen to explore textile design?
Be committed, work really hard and make as much work, good or bad, as possible. What’s worked for me is being tenacious and possessing an unwavering belief in what I bring to the table. Having lots of ideas and stamina is pretty useful too, because nothing happens overnight and nor should it if your looking for long lasting success.
Lastly, what is in the pipeline for Miss Moresby?
Having just signed up to be a part of Nerida Hansen Creative, her agency, I’m thinking there’ll be a lot in store for me in 2022. I’m so looking forward to working with Nerida next year on whatever exciting project she sees working for me. I’ve got my fingers crossed for a packaging gig or maybe even a licensing deal with an international retailer if I’m really lucky!
Miss Moresby collection is available in-store and online at www.neridahansen.com.au.
Our hacking superstar, Heather Jameson (@_heathermade) has surpassed the challenge with our Puff Sleeve Blouse sewing pattern and she'll have you shirring in no time.
Heather's instructions:
This blouse feels like a great in-between season weight, in the organic mid-weight cotton. I found that it shirred beautifully, I was a little concerned it may be on the heavier side to be effective, but it worked really well.
This hack involves adding a front slit with facing, as well as extended cuffs and neckline - both of which are finished with a rolled hem on the overlocker. Additional supplies you will need for this hack are two spools of shirring elastic and a tie of your choice (I chose poly cotton bias binding).
From the first time we introduced the Shell Top pattern, it stood out as a base for many hacks to come. With the cooler months fast approaching it is the one that we thought we could utilise for jackets, vests and outerwear.
Heather Jameson (@_heathermade) was quick to put up her hand to switch up the top into a jacket.
Here are Heather's steps:
I really love the versatility a good bodice block allows. The Shell Top pattern lends itself to get creative with hacking, in that it has a great neckline for a collar, facing pieces to take out a lot of guesswork and flattering darts that add shape, without compromising the ease of the garment. I’ve been seeing a lot of variations on the chore coat or artist jacket in ready to wear collections. As soon as I saw the fabric I’d be working with, a jacket was the first thing that sprung to mind. It adds a perfect light layer, coming into autumn (or spring for those in the northern hemisphere!) and I’m sure to be seeing this colour palette a lot in the coming months.
In this hack I have incorporated the sleeve piece from the Nerida Hansen Puff Sleeve blouse, which I found to fit the armscye of the Shell Top perfectly. A simple modification of the sleeve means I could take out as much volume as needed for the look I was trying to achieve. I recommend working on a toile for this hack to ensure you’re happy with the sleeve and collar pieces.
I hope you enjoy this hack - I know it seems like a lot of extra steps, but really I urge you to challenge yourself to add outerwear to your sewing repertoire. Not only is it incredibly satisfying to make your own coats and jackets, but the variations in length and style, weight of fabric and prints are endless!
Heather is often found on our socials - hacking and sewing! Follow along for tips and inspo.
Puff sleeves are clearly in and they are going nowhere fast, there is no denying it and here at Nerida Hansen Fabrics we are big fans. Our Puff Sleeve Blouse regularly makes an appearance on a staff member, as it is a top that can take you from a day in the office to drinks at the bar to shopping at the Sunday market.
Rhi Tomholt (@rhi___made) thought it was time to give the top some added spice and create a slightly different version.
She was set loose with the sewing pattern and Nerida Hansen Dalmation in khaki on Tencel linen and here are her instructions on mixing it up.
After last time, it was near impossible to resist asking Ambrosia Kramer @ambrosiakramer to sew for us again. Therefore, we didn't, we asked and she said yes.
This time it was a more challenging request, because due to the ongoing shipping delays, we only had two metres of a particular design to offer. But that did not stop this sewing goddess from tapping into her clever creative genes and turning our Cuff Sleeve Top into a spunky mini dress.
Here are Ambrosia's tips.
I was gifted two metres and I knew I wanted to make a boxy dress but that it would be a short one. I used scrap linen for the pockets, neckline finishing, and hem (I did a bias facing hem because I didn’t want to lose any length).
I used the size 14 pattern and measured nine inches from the bottom and cut it off level so it met my natural waist. I squared off the remaining fabric and cut it into two equal full width (45”) rectangles and added my favourite inseam pockets.
The entire thing has French seams, which has been my choice finishing lately.
Such an easy hack, which resulted in my favourite flowy silhouette. It does not pass the 'touch your toes modesty test' but this was quickly remedied with some bike shorts underneath. Boom, free to be!
Thank you @ambrosiakramer. You worked wonders with limited fabric.
Her instructions are as follows:
I had the joy of working with the latest Tencel linen (design by Jennifer Bouron) in two colourways. I didn’t have quite enough fabric for two dresses so I thought to myself, “Why not hack the NH smock dress into a top and skirt, to make them more versatile pieces in my wardrobe?”
I had never used this fabric before and have to say that the touch is so beautiful but do be careful that it can be a little slippery if you haven’t sewn with lightweight materials before! It has the perfect combo of drape and luxurious feel to the skin.
Alright, let’s get into some hacking.
You’ll need (on top of pattern requirements):
Cutting out your fabric
TOP
SKIRT
Sewing your pieces
TOP
SKIRT
I really loved painting in watercolour but found it hard to get the colours accurate when I would scan the paintings, so I moved to digital drawing methods instead. My first year of pattern making was much more digital as I hadn’t found that sweet spot between digital and traditional art making yet.
My designs are still evolving and growing but I’m finally getting closer to a style that feels like a good balance of both traditional and digital.
Tell me about your recent release, the Australiana Bush collection. What has been your inspiration?
For this collection I wanted to create designs featuring some of my favourite Australian flora and fauna in a colour palette suitable for all year round. I love getting out in nature and seeing different flowers growing together in the wild. It always inspires me and I start dreaming up patterns to create. These designs are a collection of memories of different outings in nature and the animals and plants I saw that really inspired me to create each design.
The wax flower design was inspired by a Monbulk main street, the town where I live. Near our library is a beautiful native garden that is bursting with rows and rows of wax flowers, when they are all in flower it is really beautiful. The snowy daisy bush design was inspired by seeing so many of the beautiful snow like flowers sprinkled through the gully opposite my house. I was fascinated by Spotted Quolls when I visited the Trowunna Wildlife Sanctuary in Tasmanina a few years ago and couldn’t wait to draw one when we returned home. They are such an interesting animal and really beautiful to see.
This time you embraced sewing a few garments in your own design, it completes the circle for you. Did you enjoy sewing and ultimately wearing your own designs?
I loved it! I was a little rusty at first and made a few mistakes sewing but once I had the hang of it again I really enjoyed it. The effort that goes into cutting and sewing a garment really makes you appreciate your own clothes more. My grandmother taught me to sew when I was little and gave me refresher lessons as I got older. Being able to show her something that I’ve sewn using my own designs on fabric is truly special.
What is next for you?
I’m currently working on a new Australian floral collection that’s a blend between hand drawn florals and abstract painterly backgrounds.
Christie's designs are available at online now. Follow along with her endeavours at @christie.williams.design.
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K: (laughs) Ten thousand times more stressful, but also great. It’s funny, I look back to life in 2021 and I thought I remember what life was like you know a few years ago when all I was doing was just sewing for myself. Now I’ve got a lot more going on. I’m a little more busy, and I’m not the first child born type of person. I love stress and hate stress, but I stress myself out all the time as I love to be busy.
I thought 2021 was busy and then I got back from Project Runway and decided to launch my own clothing line. It is a dream come true! Man, 2021 was a breeze in comparison.
N: Tell me about this garment you are wearing.
K: I made this first (Katie holds up a purple garment with big shoulders). I’ve made it out of this print (Primary Colour Party to the Max). I made a shirt and it has a quilted skirt as well. When Project Runway approached me, they found me on Instagram in 2020 and asked me to audition. I thought it was a joke! I was wondering how did they find me, don’t they know I’m not a real fashion designer and that I only sew for myself. But I could not miss the opportunity, instead of saying I don’t actually know how to design a pattern I only know how to sew a pattern. I said OK, I auditioned and I bought a dress from the bible of pattern making. I bought all of the tools and I just taught myself. I had to make a collection for the audition.
N: It has actually fast-tracked your fashion label. Surely, now with all that knowledge and experience that was forced upon you, you must be relishing in the knowledge that you now have.
K: I talked to my husband, because I did invest a good chunk of money into launching my fashion line. It needed to get done and ready by the time the show aired. I had a really tight timeline, therefore I did it in the more kind of fast and expensive way. Now, I've learnt a whole lot. I've learnt a lot from the show.
N: Did you draw much from the other contestants such as the interactions and their ideas?
K: It was amazing because I did not go to fashion school and I’ve been sewing and designing only in my own space with nobody around other than the Instagram world. I was able to ask them so many questions and they all do something different. They all have a different approach to being a fashion designer and I had to ask what do they do, how do they do it and ask them for resources. I still can, we are still friends. We became very close with each other. I got an education to prepare for the show, I got an education on the show and then an education on the manufacturing and money side after the show.
N: I’m so thrilled to have this relationship with you. You would see it too, I know you’re commenting and looking and appreciating it everyday what people create and how others interpret your designs. You’re at the top of the mountain right now, Katie. Thinking about everything that’s produced whether it’s been dog collars or dresses. It is beautiful to watch and how broad your appeal is.
K: I often think I should have been from Australia. The brands that are using my designs. It is so fun to see people are using it for furniture, clothing, children's wear and like you said dog collars. It is very cool to see!
N: Not only have we launched your new designs, but it's also alongside new substrates. We’ve launched the most incredible voile, which is a beautiful lightweight and organic cotton. I’ve had this shirt made out of the voile, it’s well under the gsm and it’s not see-through. It’s one of the best shirts I’ve ever put on my body. We are still experiencing a lot of hot weather here in Australia. We are going to see this on the beach as sarongs. How are you at tying a sarong?
K: I don't know how to tie a sarong.
N: Actually, I am going to announce it now on social media, does anyone want to win three metres of organic cotton voile in a Katie Kortman design. Show us how you would use one piece of fabric! We'll share the tag soon.
K: I have friends who have said to me that they want a big piece of my fabric and they would wear it like a sarong at the beach. I am like I do not even know how to tie one of those.
N: Katie, what is happening next?
K: I've got Wear Happy Colour happening in March. I do like to do all of the challenges and there are prizes to organise. I better get moving with that. I am going to try and launch some new styles with my fashion line. I've got custom dresses. My problem is I have so many ideas. I need a replica of myself to get everything done.
N: Don't ask me. I've got ADHD and I just keep adding to me list of things to do. It is exciting to see the energy that you bring to this energy. It would be a privilege to do another collection with you, as soon as you have time.
K: It is on my lists of things to do. When did I design this collection, I think it was 2020, but it took so long to produce due the pandemic.
N: Thank you so much, Katie. It has been lovely to chat with you.
Katie's Party collection is available at www.neridahansen.com.au and join her with her Wear Happy Colour (#wearhappycolour) challenge via @katiekortmanart.
]]>Not sure how true that statement is though, because her end results are flawless and if you love big floaty sleeves then Sandy is your girl. Recently she had full creative freedom to hack our Shell Top pattern with Nerida Hansen Summer Spot in green and true to style, she turned up the volume and added statement sleeves.
Here are her instructions to master the addition of a balloon sleeve.
1. Make the Shell Top as per instructions, but at step 10 sew up the seams of the side of the shirt instead as per original instructions.
2. For balloon sleeves - cut two X large rectangles. The wider the width the bigger the puff! Here Sandy has cut out for her width is 34" and length is 16". Depending on how long or short you want your sleeves you can adjust the length according to your liking.
3. Fold one X rectangle right sides together and straight stitch together. Finish off your edges with a zig zag stitch/overlock. Once you have done that - set up your stitch length to your longest for the shoulder seam. Sew two rows and do not back stitch, keep your ends long. We are going to gather this part.
4. Start gathering like so.
5. Now attach the gather part to the arm hole. Make sure you attach right sides together and spread the gathers to fit your armhole.
6. Sew straight stitch and finish off your edges with an overlocker.
7. This is how it will look like now.
8. Now hem your sleeve up making sure you have left a gap to insert your elastic. For the elastic measure around your arm just above your elbow and include 2cm for seam allowance.
9. Once you have inserted elastic, zig zag to stitch together and close off the opening of the hem.
10. You now have your puffy balloon sleeve for your Shell Top. Now do the same for the other side.
11. This is how it should look on the inside.
There you have it! Click here to shop the Shell Top sewing pattern.
Discovering talented and creative sewists who love our brand is one of our favourite things to do - meet one of our latest finds, Ambrosia Kramer. She is a maker, collector of hobbies, mother of two and thrives outdoors.
Recently Ambrosia hacked the Nerida Hansen Fabrics Cuff Sleeve Top sewing pattern into a stylish dust coat that takes you from the couch to the restaurant.
Read on to learn how she did it, using one of Lisa Congdon's designs.
Ambrosia's Words:
Last night I finished what I’m calling a modernish housecoat and an oversized slip dress for sexy lounging. A combination I feel Blanche Devereaux would fully approve of. I lounged around all day in both pieces, which were created with lounging in mind, but I also left the house in them because wear what you want, when you want to wear it. Right?
*I was gifted this gorgeous artist fabric in cotton sateen and the Cuff Sleeve Top sewing pattern by @neridahansenfabrics in exchange for posting about it.*
They fully supported getting creative with the pattern and I was torn between hacking this cuff-sleeved boxy top into a jumpsuit, gathered skirt dress, or a collar-free button up. The button-up won because it added the most versatility to my closet, but I WILL be back for some gorgeous jumpsuit action in a different artist fabric from @lisacongdon (a local artist❤️).
I tend to not toille so when it comes time to cut into nice fabric I start doubting all of my calculations and ideas, especially when hacking. 10/10 times I think I will ruin the fabric and make the wrong modifications, 9/10 times things turn out just fine.
Shirt Details: I sewed a size 14, max pattern size B110cm (only metric listed).
Modifications: I raised collar 2”, lengthened pattern 21.5”, tapered out about 1” to make room for my hips, and added a button placket. I will add an image in stories for visual people. These were all super simple hacks.
Follow along with Rhi's steps to do a copycat hack.
Step 1. I measured my chest and decided to cut a size L for a bit of extra ease. I measured from my shoulder to the desired length (knee length for me) and slashed the pattern along the lengthen line. It worked out that it was the length of an A4 piece of paper that I wanted to add to the shirt.
Indigenous artist and early childhood educator, Emma Stenhouse is hot property at the moment with her creative work booming. She has been dreaming of her art on textiles since she was a young girl and it is soon to come to fruition due to her upcoming collaboration with Nerida Hansen Fabrics.
Deeply inspired by nature and country with a subtle use of colour, Emma, is riding high on a wave and not coming down anytime soon. Here she has a chat with our blog editor, Jacqui Taylor, on her passions, the three most important women in her life and staying true to herself.
Hello Emma, thanks for the taking time to answer a few questions. Firstly, can you tell me a bit about yourself, where were you born and where do you live?
Hi there! I’m Emma Stenhouse, 42 year old mum of three – two boys and a daughter in heaven. I have been married for 20 years this November and was born and raised in Broken Hill, outback NSW. Five years ago my husband Shane, sons Lachie and Fraser and I moved to Warrnambool, Victoria. We now live on peek Whurrong Country in the Marr Nation.
I’m an early childhood educator and passionate advocate for the rights of the child and the opportunity to share my culture and educate people through art.
How long have you been an artist? Talk to me about your journey.
I have been a creative person since childhood and have explored many different art forms over the years including sewing, screen printing, print making, fabric dyeing and my two current passions have both stemmed from me connecting to my Ngarrindjeri heritage. I began weaving the coil weave about three years ago, unaware that it was the weave of the Ngarrindjeri women. I connected to an incredible weaver who turned out to be my dad’s cousin! My Aunty Glenda, a master weaver, has helped me put the pieces of my family history together that had become so important to me once I turned 40. I was able to connect with myself as an Indigenous woman, and have become a very proud Ngarrindjeri woman and sharer of my culture - which I’m still learning about.
Painting art from my culture soon followed and has allowed me to explore my own family connections and use of traditional iconography to create contemporary artworks. These focus on my connection to country, the beauty and importance of nature and the stories I want to share, especially about family. These are stories that I have connected with. My work is inspired by nature, particularly the colour palette close to me heart which is the beautiful reds and earthy tones of the desert. Recently, I have begun exploring more coastal palettes and I look forward to a time when I can visit my grandmother’s country - the lower lakes on the Murray River, Ngarrindjeri Country.
Like many indigenous women who have skin that isn’t quite dark enough this journey has not been without it’s challenges, I'm exploring this through my artwork which I feel an important journey to share and inspire others.
You have a new collection coming out with Nerida Hansen Fabrics. What was your inspiration?
The focus of this particular collection is about our journeys and the things that we are connected to such as our family, country, the stars, nature and the places we meet. They show our connections. It is called the Pinkie collection after my grandmother.
What is the meaning of the symbols in your art?
The traditional icons I use are used all over the country to share stories. In these pieces you will see the symbol for meeting place - I often use this symbol to represent home - the place we come together. The symbol for journey is also represented with five lines between circles, they represent travel and the circles represent camps of rest stops.
I use the symbol for star to represent the spirits of those who have gone before us, who watch over us and continue to light the way. We are all connected to the stars and the spirits. I also honour nature with a seed pod - this is an icon I have created myself to represent our connection to country and growth.
People are also represented strongly in my work - these look like an upside down U shape. These can be used to show a single person, child or mob depending on how they are placed. I also use the traditional icon to represent a male and a female. A single line to the left of the upside down U it is female, a pair of lines means male.
I'm currently leaning towards a more feminine colour palette that represents the softness of women, there are still many colours I am looking forward to using in my pieces, however I find myself being drawn back to these. Perhaps it is my link to my grandmother who was a very soft and gentle woman.
Emma, did you ever imagine your art on textiles?
Did I ever imagine? Not only did I imagine it, I have held on to the dream of it becoming a reality for as long as I can remember. When I was a young girl, I would sit and watch my nan sew on her old Singer sewing machine, I was drawn to the different fabrics she used - the textures, the weights. I’d admire her busy hands and her button collection - which I have since been gifted, and had fear of her fabric scissors which were sharp and that I was not allowed to touch under any circumstances! At 91, my darling Nanna Rosie still has busy hands and is still creating!
I began sewing myself about 13 years ago, I created pretty much everything from pin cushions to clothing and found my obsession with fabric had no end. I learned how to sew and draft patterns (thanks Pinterest), to dye and then screen print my own designs. I guess from that moment I saw that if I held onto my dream of designing my own fabric, it just might happen one day…And here we are!
What or who inspires you?
My main influences in life generally are my mum and my nan and in more recent time my beautiful grandmother who I didn’t get to spend enough time with. These three women in particular have given me a strong sense of courage and self belief. They have worked hard for what they have in life, as do I.
The other biggest influence in life is my connection to country. I can’t ever remember a time in my life where I wasn’t outside in the dirt, admiring little flowers, the sky and its changing colours, a bird singing - I’m a nature nerd! I can’t quite put into words to explain my connection other than to say it’s a knowing. A trust in our country to give and take, to nurture and challenge. The elders of the Ngarrindjeri say ‘everything is connected ‘ - this is something that has resonated with me even more since I came to connect to my culture.
What is next for Emma Stenhouse?
I hope to use my artwork to continue to educate people - to take the fear away for people who are scared of ‘getting it wrong’. The only way to truly discover our beautiful culture is to learn about it. I will continue to work in schools, work alongside the Peek Whurrong Elders and language facilitators in my community to share our artwork and stories and languages.
I’m also working on more pieces to share and reflect my own identity and allow for people to have conversations about their own connection to country.
What advice would you offer to other emerging artists?
I was given some advice last year that has stuck with me - know your worth!
This is a challenge that I've grabbed with both hands, it hasn’t been easy, and has been so much learning about myself and my capabilities as it has been about practicing art - with discipline and focus. As an emerging artist and someone who has just connected to my culture I found myself on the end of a lot of advice that was given with love mostly, but some not so much… so I needed to own who I am.
So my pearl of wisdom is to listen to yourself and surround yourself with people who know you and support you. Truthfully, I value the opinions of my family and my elders, anything else is white noise. Know who you are and just do you!
Name three words that describe your style of art.
Feminine, story telling, a conversation
Shop Emma's collection at www.neridahansen.com.au and follow her own journey @emmastenhouseart.
There you have it, one Cuff Sleeve Top with a twist. Create your own with your choice of fabrics from www.neridahansen.com.au.
Hobby sewist, Sheila Duffy from @sheilasewsherclothes road tested an up and coming new sewing pattern for Nerida Hansen Fabrics – the jumpsuit!
Hello Sheila, thanks for taking the time make the jumpsuit and test it out. Firstly, when and why did you start sewing?
I was 11 years old and i had created a fuss, because my younger sister had had art lessons. I wanted lessons too. My mum thought sewing would be a good fit (she didn't sew). Back then we had a sewing school in our community and several places to buy fabrics.
What do you like about sewing?
I like everything about sewing. I love unique prints, especially ones that are designed by artists in natural fibres. I also like the constant learning that sewing involves both in terms of figuring out my personal fit issues and discovering new sewing techniques.
Why did this exercise appeal to you?
The jumpsuit appealed to me due to the late 60s vibe, as well as the lightweight linen cotton and mid-weight cotton fabrics. I really like the drape and weight of Nerida Hansen’s new range of lightweight linen cotton, but I have not had much experience sewing it, therefore I was keen to try out a pattern specifically designed for this fabric.
I also love the mid-weight cotton because it has both weight and softness, which is hard to find. I also had some mid-weight cotton in my stash from 2018 that I had been meaning to make a jumpsuit, but I could not find a pattern I liked and joined at the bodice.
I ended up making two jumpsuits in two different fabrics – one in Melanie Macilwain’s Marigold Garden in cotton linen that I was gifted and the other from my Nerida Hansen stash.
What were your initial thoughts from the jumpsuit pattern?
After reading the layout, I saw that the pattern included measurements for both the v-neck depth and the thigh width. I liked this because the v-neck depth gives me an idea of the functionality of the garment as everyday wear and the thigh width gave me the option of double checking before I cut the pant leg so I could be sure that I would have enough room to accommodate flat lying pockets.
What suggestions or tips would you like to share with other sewers keen to make the jumpsuit?
I made a toile. I cut the pants playsuit length to save fabric. I don’t always toile, but this was semi-fitted and I had no previous posts to reference.
I found that this pattern fits just like the line drawings. I made the mistake of cutting my first bodice a size below my measurements. I recut the bodice to my measurements and it all came together as it should. If I was not short waisted (with a few other gravity related body issues) my first sew of this pattern would have fit me perfectly. If I hadn’t made a toile it would have still looked okay because that big, long waist belt would hide my uneven waist and give me a waist curve and generally shoulder problems (mine slope) aren’t that obvious in things that are sleeveless, like this jumpsuit.
What adjustments did you make?
I knew I’d be posting this so I did some adjustments. One was a short waist adjustment which is much easier with a two piece jumpsuit (like this one). This pattern also has an adjustment line on the bodice to do it from, which makes it very straight forward. I usually add what I take away from the bodice to the pant crotch curve because I’m longer below the waist (because once you start adjusting for fit you find all these strange things about your own body).
I can tell you that the crotch curve is perfectly drafted and that is a thing. Ideally, when I adjust I should just be able to add to the bottom crotch curve exactly what I subtracted from the top bodice. However, sometimes I’ll still end up with a jumpsuit that rides up the back crotch (something only a gusset can fix if you are ever in that uncomfortable situation) but this curve was perfectly drafted. After my little adjustments the fit was spot on.
What else did you like about the jumpsuit?
I really like the zipper. I like buttons too but not on a jumpsuit. Too much to fiddle at the loo and button line just isn’t as flattering. I hadn’t sewed an invisible zipper in a few years and I doubt I’ve done more than six but I was game to have a go.
I’ve sewn lots of those centre seam zippers in years past but I wanted that clean look of the invisible zip. I read the instructions which were clear but it’s still so different from the ‘seams showing’ style of zipper I knew and I’m super visual with new stuff so I YouTubed it.
Success with both jumpsuits especially when I remembered to mark the back waist seam and use zipper tape to hold it in place (and that info is in the pattern instructions). The pattern also has a nice little burrito method for getting a clean finish out of the armholes. I have previously YouTubed burrito method but in this case I was able to read the instructions and ‘get it’ because the illustrations are all really well drawn.
Finally, could you describe how you felt wearing the jumpsuit? What type of occasion would you say it is suitable for?
The design of the jumpsuit results in a flattering silhouette. I finished the linen cotton jumpsuit and made another from mid-weight cotton. The one in mid-weight cotton is more casual and I wore it to meet a friend for lunch and run errands. I'm going to wear the linen cotton version to a pre-Christmas dinner, but I also think it would be suitable for work too.
Overall, it’s a cracker of a pattern.
To shop the show stopping jumpsuit pattern visit www.neridahansen.com.au.
With one version, Shelley has made a straight shirt with no modification for her partner and for the other she graded the pattern down one size with minor changes to turn it into a dress. Both makes have been matched with Georgie Daphne's Poppie Season in olive on lightweight linen cotton. A stunning combination!
Shelley made a few simple modifications such as a flare at the hip, a centre pleat and a waist tie to finish it off.
Shelley's notes include:
Add 2cm to the centre fold on the back to make a pleat. This gave additional room and can be varied depending on waist to hip ratio.
Measured 4cm out from the bottom edge of the hems, then flared the sides according to this measurement. This allowed the dress to fit around her hips comfortably.
She also lengthened the pieces to her preference, added side splits to allow for walking, seam pockets and a 4cm wide belt that was interfaced for structure.
Basted collar stand in place for neat stitching later.
Ta-da! A spunky duo in matching attire ready for a summer of fun.
Well done, Shelley. They both look great!
If you'd like to give either version a try, the Everyday Unisex Shirt sewing pattern is available www.neridahansen.com.au.
Two fellow spoonies, Dominique Ribeiro Da Silva and Helene Hill, launched The Spoonie Society in Melbourne in 2020 as a means to offer support to the spoonie community. Both women suffer from Endometriosis and Polycystic Ovarian Syndrome, and together joined forces to help others find their voice and raise awareness amongst sufferers and non-sufferers.
Dominique and Helene are chatting with our blog editor, Jacqui Taylor, today about being a spoonie and running, The Spoonie Society, as well as its connection with Nerida Hansen Fabrics.
Hello Dominique and Helene, thanks for joining me for a virtual interview. Let’s start with The Spoonie Society, and for those who do not know what is a spoonie?
Hi there, thanks so much for requesting an interview, we are so excited!
Spoonie is a term used to describe people with a range of conditions, diseases, disabilities and a range of conditions as it is a very inclusive term. The term ‘spoonie’ is based on the 'Spoon Theory' which is a disability metaphor used to give a visual representation that signifies the decreased amount of both mental and physical energy available for activities. These activities can be as simple as washing your hair to going into the office and represent both essential and productive tasks. Each activity requires any given amount of spoons which can only be replaced through rest. Once a person has run out of spoons they are unfortunately only able to rest until they have replenished their spoons. There are so many chronic and invisible illnesses covered under the spoon theory and individuals who suffer from these refer to themselves as Spoonies. We decided to add Society as we really wanted to create a community of people who feel welcome and apart of our business and I think we have done that.
When and why did you launch The Spoonie Society?
We originally launched The Spoonie Society in late October of 2020 as we found a lack of representation in the wider community, a lack of products directed at the chronically ill and if there were any they were ugly as hell. It originally started with our diary and symptom tracker and we just grew from there. Both Dom and myself (Helene) always wanted to start businesses but until last year we had no idea what those businesses would be, we share a very similar passion and ambition and thankfully all of our hard work is starting to pay off and that is how The Spoonie Society came about.
How would you rate the response?
It has been absolutely overwhelming to say the least. Never in our wildest dreams did we think our business would take off this quickly and this well. We are very fortunate that we got to quit our day jobs and now have a team of 11 which is absolutely wild. We have also both been recognised a few times when we’ve been in hospital having procedures, as the owners of The Spoonie Society which has honestly been so surreal. We are so grateful for the community we have built that has allowed us to grow our business and we pinch ourselves every day that this is our life and that we have made our dreams come true.
How has launching and running The Spoonie Society helped both of you?
As we both have multiple chronic illnesses that we try to manage, having a normal 9.00am to 5.00pm day job previously had been quite challenging for both of us. It was hard to manage not only our symptoms day to day but manage hospital visits, surgeries and doctors appoointments all on top of a full time job. We are very grateful that we have our own business now where we can now just pop out for appointments and if we are unwell we can work from home. We also don’t have to have awkward conversations with our employers anymore about taking time off for surgery as we have an incredible team that we can rely on as well as each other.
Talk me through a typical day. Do you have typical day or do your illnesses mean your day is more unpredictable?
To be honest I don’t think one day is ever alike and recently both Dom and myself (Helene) have been tag teaming between hospital visits, which doesn’t make things easy. We are blessed that we can work from home when we need to but there definitely has not been a standard work day in a while. We both do push through our pain and go to work more often than we should and working with your best friend truly does make working whilst in pain a bit more enjoyable. A lot of our day to day tasks consist of doing emails, running our social media, managing our warehouse and sewing team and making sure our warehouse is running smoothly. No two days are the same but that is the best part and thankfully we love our jobs. We are also so lucky to have such an amazing team that care about our business nearly as much as we do so we are very blessed that when we are in hospital or at home sick we have a lot of faith and trust in them to keep our business running and for that we are forever grateful.
Could you tell our readers about the connection between The Spoonie Society and Nerida Hansen Fabrics?
Of course! The strong majority of the fabrics we use for our heat packs do come from Nerida Hansen Fabrics and we have been working with them for nearly the whole year we have been in operation. When we first started our business, we thought ordering 100m of fabric was a massive deal and we were terrified that we would never sell that many heat packs or use that much fabric. We are now at a point where we order thousands of metres of fabric each month and we are always increasing our numbers. Nerida Hansen Fabrics have been an integral part of our business growth and without their beautiful prints, I don’t think we would be where we are today without them.
What is next for The Spoonie Society?
Big things!!!!! We have recently hired a few new staff members to help increase production as we are growing so fast and are doing our best to keep up with demand. We also have so many new and exciting products on the way to help our fellow spoonie community that we are bursting at the seams to launch. We can’t reveal too much but believe us when we say that we are changing the game for the chronic illness community.
Follow along on The Spoonie Society journey @thespooniesocietyau.
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