Sewing Film

The abyss of transition can be a hard place to stand and hold. There is a sort of emptiness in the evolution where you are called not to fill, but to leave space. We must trust that what we want to create will make sense as we recommit. I often have to remind myself of the focus: (1) fine fashion making, (2) my sewing journey, and (3) fashion film productions as educational entertainment.

I am open to what that may look like but am working on themes that lead to those elements of a current reality. I pitched a concept for the Bygone Fashion Renaissance to the Baltimore Museum of Industry to be captured in the Garment Loft, which would be integrated with other public programs and followed up on the upcoming Indonesian fashion and textile cultural art event.

I would love to see the Garment Loft come together to produce a small Elsa Fitzgerald collection with heritage sewing machines, followed by an exhibition of the design and development process. It all feels like creative fragments that I am working to fit together as a fashion film about sewing that would evolve into an ongoing series and media channel. Where have you begun with your dream design? What three themes are emerging for you?

Fashion film productions taking shape as I dance around in a vintage fashion. I would love to have a huge vintage wardrobe like one would see in film production sets where the costume designer is putting together looks.

I want to awaken this deemed space, not to see it as a greyed-out part of our past, but as a current reality where fashion can be made in the most beautifully remarkable way.

I would love to roll out fabrics on this cutting table and show how garments are constructed.

I am so glad the meeting with the marketing head for the museum took place at a cute cafe rather than on the Zoom call we had originally planned. There was a lovely view of the harbor, along with a wonderful piano.