For our first in-store pop-up in two years, we are so excited to welcome William Ellery to Hatchet Supply from October 23rd - November 6th, 2021 with small informal celebrations on the first and last days of the pop-up.Come by, relax with a drink. William Ellery’s designer, founder, and maker Trevor Davis will be measuring and cutting custom belts to length (available for purchase) and continuing the stories of his garments through alterations, scars, and repairs. RSVP here. We talked to Trevor about William Ellery and what makes his vision unique. You say, “William Ellery produces outdoor and workwear apparel from vintage wears, reenvisioning each garment’s unique story.” What is it about vintage garments that draws you to them?When looking through used clothing, you are bound to come across a camping bag with a girl's name written on it, first and last. Right below it, her older brother's name, victoriously and unceremoniously crossed out from when he used it at camp a few years past. You may find one of the straps reattached with thick nubby stitches, or the drawstring replaced with an old shoelace. Two summers at camp at least, countless miles, and an unknown number of nights in the tent. There is a particular sense of love shown through each one of the alterations, grafitis, and customizations. I am drawn to the rich backstory and deep personal connection we can only conjure through use and abuse of our clothing. What properties might a vintage piece have that would make you want to continue its story?Quality. I don’t mean herringbone twill, or cashmere, or french silk. Sure those things are all great, but vintage dealers & vultures will convince you that these are the pearls of used clothing. I think it’s more about the life it has lived, and what life it has left. A 50 year old 50/50 truck driver’s t-shirt will be the softest and most luxurious shirt you will ever own, and it will appear untouched. It has been worn and washed thousands of times in it’s life, but never really used. This is exactly where I want to start writing. Is there a piece you have made that best typifies the continuation/reenvisioning that William Ellery represents? How so?It would have to be the William Ellery Vest. I am at the heart a laborer, and that is who I keep in mind when making these. I start with a 1960s-ish hunting vest, and strip out every pocket and stitch. They usually have a waterproof bag on the back for carrying captured birds, and because of this, no-one washes them. Garments live a much longer life without washing. I give them their first gentle wash, being sure to get rid of any bird blood, tobacco, and gunpowder. Then reconstruct them with original and supplementary fabrics in the style of a workers vest. Pockets for pencils, notebooks, and small tools rather than ammo and small arms. My community is not that of fur trappers and bird hunters, but rather furniture makers, wood workers, and makers. What was your path to founding William Ellery? I’ve been wearing hand-me-downs since I was born. Used and thrifted clothing since I can remember. I’ve been falling in and out of love with the clothing I have owned all my life. I have lived as a chef, forager, farmer, sculptor, designer, student, and general laborer. These have been the moments that helped expose me to clothing and culture, and sometimes these moments have forced me to abandon almost all my possessions and start over.When you start over you force yourself to decide what you don't want to be burdened by, and what you find truly important. I decided that I wanted everything I owned to be special, and for that to happen, I had to make it. Where do you make your apparel? My studio and International Headquarters is in Brooklyn, NY. While I am fortunate enough to have a community of craftspeople who help supply some of our goods throughout the USA, everything starts and ends in my studio. Outdoor and workwear apparel is arguably intrinsically purpose-built. But you also weave this narrative thread through your garments. How do you understand the interplay of function and narrative?In the 50’s Natick Labs in Massachusetts developed olive drab uniforms for the military. US military uniforms always have to be industrially tough, to a certain level of comfort, and have a level of style engineered into them. This keeps morale up and helps the clothing to last.I wanted to take this technology and give it to the outdoors people of the National Parks Service, so I made Acadia National Park uniforms with the tested fatigues of the 1950’s.For William Ellery, the narrative always begins with the function. I may change the storyline, but ultimately I want the garment to be just as comfortable in what it does, as what it used to do. In a way, there’s an extra level of borrowing or continuation just in what you call your company. Why did you choose the name “William Ellery”?William Ellery is a family name on my Father's side. It's a sweet name, William Ellery. And I make American clothing with a certain sweetness. But if you were to ask me who WIlliam Ellery is, I would say it's you. It's me. It's your boyfriend, your girlfriend, it's who you want to be, or who you want to be with. It's a feeling. Like borrowing your partner's sweater, stomping around in cowboy boots as a child, or wearing your lucky red shirt on a first date. I wanted to give this name to that feeling. Could you talk about what “ownership” means to you? And do you see it participating with other ideas of ownership?Purchasing something does not simply grant ownership. When you buy pants from William Ellery I expect you to get them tailored. Actually any pants you buy ever, get them tailored. You have only one life to live in them, and we are far too advanced to conform to the things we own. True ownership starts when we make something uniquely ours, not just put our name on it. Companies, who will outlive us, can put their name on a product, but will never have the pleasure of living and experiencing life with what we make our own.In my work I use mechanical connections such as stitches, rivets, snaps, grommets and knots. These are all undoable. My garments are meant to be changed, altered, customized, and even destroyed. You may never truly own anything, but you can make it yours while you are here, and leave a story for someone else to pick up. Upcycling and visible mending have been big for a while for many reasons ranging from the intangible to nostalgia to environmentalism. Vintage clothing, of course, is an enormous phenomenon unto itself. How do you understand William Ellery as a part of or apart from these other movements?I am entirely for the movement of patches and stitches on clothing as a means to repair and lengthen the life of garments. I think making garments from discarded fabric and clothes is a dutiful move towards the future. I believe visible mending is a badge of honor.But for William Ellery, these things are a given. I don’t want to convince anyone that they need a piece of clothing because it's sustainable, or upcycled. If I’m doing my job right, that should all just fade away into the background, and you should be in love with something that is entirely new. I make clothing, not from new fabrics, but from old clothes. I want to accept the rest as normal, move past it, and get to work. What are three books, artists/works of art, podcasts, articles, etc. that have shaped you?Jacques Cousteau and his series The Undersea World of Jacques Cousteau from the late 60’s & early 70’s is a constant source of inspiration. It is a reminder that exploration can be not only for scientific progression, but for the sake of catching a glimpse of something beautiful, mystical, and other worldly.Walt Disney, the man, was constantly thinking about the way the world should be and not the way it was. His gumption and determination reminds me that we need to shape our world to what we want it to be, and to be swift in what we can do before we die and a corporation takes over.The American Artist Tom Sachs, who reinforces the idea, by any means necessary. It is easy to believe there is a certain way of doing something, and to be trapped in that idea. Tom showed me that we can build anything at all with what we have available already, as long as we can separate ourselves from our predetermined idea of what things are expected to be. Interview by Storr Erickson Photos by Stephen Han Production by Michael Stewart
“🧵 American embroidery artist © Michelle Kingdom creates figurative narratives in thread. 🧵”
Junko Oki Automatic stitch 5
PANTS 260-RNCH Versatile, durable and vocal, our Block Print Whistlestop Underjohns elevate the classic bandana’s form and function. A wearable narrative, your personal take on a thread that runs through our shared story. Cotton Jersey Knit Drawstring Back Button Fly Adjustable Sides Hand-Distressing Each Magnolia Pearl item is cut "One Size Fits Most". Please contact our Creative Team for measurements.
Beyond Words: The Enduring Power of Traditional Storytelling... Across cultures and epochs, the ancient art of storytelling has woven the fa...
Michelle Kingdom is a fine artist based in Los Angeles, California. Specializing in embroidery, Michelle creates figurative narratives with needle and thread. Michelle explains her work by saying, “My work explores psychological landscapes, illuminating thoughts left unspoken. I create tiny worlds in thread to capture elusive yet persistent inner voices. Literary snippets, memories, personal mythologies, and art historical references inform the imagery; fused together, these influences explore relationships, domesticity and self-perception. Symbolism and allegory lay bare dynamics of aspiration and limitation, expectation and loss, belonging and alienation, truth and illusion. Decidedly small in scale, the scenes are densely embroidered into compressed compositions. While the work acknowledges the luster and lineage inherent in needlework, I use thread as a sketching tool in order to simultaneously honor and undermine this tradition. Beauty parallels melancholy, as conventional stitches acquiesce to the fragile and expressive.”
Narrative threads are a great way to explain why your company made its strategic choices, creating conversational stories that everyone can appreciate.
Who says that only men can have a dedicated space for unwinding and enjoying hobbies? Enter the world of the 'woman cave,' a sanctuary where any woman can express herself freely and retreat into her own haven of relaxation and creativity. This guide to 40 woman cave ideas will inspire you to create a space that's not only a reflection of your personal style but also an empowering environment where you can recharge, work on projects, or simply indulge in your favorite pastimes. From chic lounges to artistic studios, discover how these spaces challenge the traditional notion of retreats and
I've heard of drawing with all kinds of different materials before, but never with thread. It's hard to believe that as thin as thread is, it could be
In the intricate tapestry of storytelling, themes and messages serve as the underlying threads that weave together the fabric of a narrative, providing depth, resonance, and meaning to the story. Understanding how to identify, explore, and convey themes and messages is essential for writers seeking to create impactful and thought-provoking stories that resonate with readers long after they've turned the final page. Join us as we delve into the art and craft of identifying the theme and message in creative writing, exploring techniques, examples, and strategies to inspire your storytelling endeavors.
In the vast expanse of language, there lie hidden gems—words so rare and beautiful they illuminate the corners of our experience often left in the shadows.
A globe-spanning history of sewing, embroidery, and the people who have used a needle and thread to make their voices heard In 1970s Argentina, mothers marched in headscarves embroidered with the names of their “disappeared” children. In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, protest, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the age-old, universal, and underexplored beauty and power of sewing. Threads of Life is an evocative and moving book about the need we have to tell our story.
This week on The Maris Review, Naima Coster joins Maris Kreizman to discuss her new book, What’s Mine and Yours, out now from Grand Central Publishing. * On handling multiple narrative thread…
Aside from being one of the most time consuming of the needle arts, embroidery is also (arguably) the most personal way for a textiles-based artist to express themselves.The artist holds the cloth "sketching" surface in their hands, pushes the needle through to create each illustrative stitch, and often literally bleeds for their art.That's what makes embroidery art so special, but self-taught embroidery artist Michelle Kingdom truly elevates the artform by stitching wonder and mystery into each piece sh...
‘History is written by the victors.’ Winston Churchill
Next year I will be teaching at Studio Preniac in France for the first time. For those of you who live much further away here is your chance to join me in a beautiful location. Here is the description and contact Studio Preniac to book HERE. The course is more than half full already even though it is a year away so get on with it if you fancy it! Mandy Pattullo: 12th - 19th September 2020: Textile Collage with Many Pattullo. Again, one of the UK’s most popular textile artists and tutors, Mandy Pattullo will bring a series of her most popular courses to Studio Preniac in September 2020 which combine her love of vintage fabrics with observations of the natural world. You will start the week with an introduction to the basic techniques of textile collage before starting a more structured approach with a focus on building up a bird portrait on to a fragment of antique quilt. . We then turn a bit botanical using the seed heads that are around the Preniac as an inspiration for a Seed Heads piece. You will learn to layer up and appliqué backgrounds for your compositions and will use embroidery stitches imaginatively to describe the structure and silhouette of these remains of the summer. Mandy will do many demonstrations through out the week and bring inspirational samples, clear instructions and templates for those who can not draw (!) but she will also remain flexible And if you choose to just remain with one style of working rather than having a go at everything that is fine with her. You can see more of Mandy's work, just follow the link below: See Mandy's Website. This will be Mandy's first to Studio Préniac. Course Cost Ensuite - £1,295 Private bedroom sharing bathroom with one other - £1,195 Sharing a twin ensuite bedroom - £1,095 Non Participating Partner - £ 795 Gites £100 Extra for Single Supplement
Los Angeles-based embroidery artist Michelle Kingdom (previously) expresses unspoken emotions in scenes composed of women surrounded by plants or animals. Kingdom often depicts a solo protagonist, or multiple characters engaging in ritualistic activities. Her imaginative scenarios often blur the role of nature as part of the story, or simply use it as a decorative element. Kingdom uses long stitches of thread in layered tonal colors to create texture and volume. More
A debut poetry collection in which non-binary poet and drag performer Wo Chan recounts stories from their queer childhood and adolescence. Togetherness sends out sparks from its electric surface, radiating energy and verve from within its deep and steady emotional core: stories of the poet's immigrant childhood spent in their family's Chinese restaurant, culminating in a deportation battle against the State. These narrative threads weave together monologue, soaring lyric descants, and document, taking the positions of apostrophe, biography, and soulful plaint to stage a vibrant and daring performance in which drag is formalism and formalism is drag--at once campy and sincere, queer, tender, and winking. Product DetailsISBN-13: 9781643621449 Media Type: Paperback Publisher: Nightboat Books Publication Date: 09-20-2022 Pages: 88 Product Dimensions: 8.80h x 5.80w x 0.40dAbout the Author Wo Chan who performs as The Illustrious Pearl is a poet and drag artist. They are a winner of the 2020 Nightboat Poetry Prize and the author of TOGETHERNESS (2022). Wo has received fellowships from MacDowell, New York Foundation of the Arts, Kundiman, The Asian American Writers Workshop, Poets House, and Lambda Literary. Their poems appear in POETRY, WUSSY, Mass Review, No Tokens, and The Margins. As a member of the Brooklyn-based drag/burlesque collective Switch N' Play, Wo has performed at The Whitney Museum of American Art, MoMA PS1, National Sawdust, New York Live Arts and elsewhere. They are a regular at Sasha Velour's Nightgowns and have starred in short films and music videos, featured in documentaries, and performed at cabarets and clubs across the US. They are currently the Communications Manager of Lambda Literary and the Editor of the Lambda Literary Review. They live in Brooklyn, NY. Find them at @theillustriouspearl.
Explore ruth rae’s 4,747 photos on Flickr!
Los Angeles-based embroidery artist Michelle Kingdom (previously) expresses unspoken emotions in scenes composed of women surrounded by plants or animals. Kingdom often depicts a solo protagonist, or multiple characters engaging in ritualistic activities. Her imaginative scenarios often blur the role of nature as part of the story, or simply use it as a decorative element. Kingdom uses long stitches of thread in layered tonal colors to create texture and volume. More
Tracing the history of the jerkin through the handwriting of localities and traditions.
Swathed in a spectral dance of inky blacks, Valdez On Acid A2 reveals a visual poetry that is as enrapturing as it is elusive. The surface shimmers with an impregnated luster of sooty carbon that envelops the viewer in its enigmatic allure, punctuated by the subtlest hints of amber and ultramarine. These vibrant nodes elevate the canvas from mere black abstract art to a work teeming with the rich, dark intensity of the night sky just before dawn.As a narrative thread in the majestic constellation of its series, Valdez On Acid A2 beckons the art patron to explore its connection with B2, C2, D2, and E2, forging a mesmerizing path across the grid. Harmonious yet bold, this sequence encourages a seamless transition from one masterpiece to the next, enhancing the luxurious art that contributes to a grander visual tale. In the larger context of a gallery wall, the individuality of Valdez On Acid A2 merges beautifully within the collective, fostering an uninterrupted contemplation.Envisioning this sleek segment of the visual art spectrum in a minimalist or contemporary decor setting inspires an air of sophistication. The neutral palette of the Scale promises to complement earth-toned walls, creating an atmosphere ripe for introspection, a place where the mind can wander amid the artwork's textural complexity and artistic innovation. Positioned thoughtfully, this Scale invites transformative engagements with space that resonate with the vibrancy of fine art prints, attracting those in pursuit of room transformation with an artisan-crafted touch.
This is Harriet Popham's narrative dress celebrating the relationship between her mother and father in letters and photographs, transfered, embroidered and embelished simply stunning work.
Tracing the history of the jerkin through the handwriting of localities and traditions.
