Purls of Wisdom

The Handwork Stories: Tim Pence

Posted by Mattie Solomon on Sun, Oct 28, 2018 @ 10:00 AM

In this series we have been sharing stories about the people and places where The Handwork Studio team members find inspiration for their craft. In order to expand our community we will explore the different ways that people got their start in sewing, knitting, and other needlework crafts. This series explores the art that goes behind this craft and understanding the sources of inspiration for different people, and this week will be introducing you to Tim Pence! 

The Creative Type

Headshot1There can be this assumption within handwork that one is taught these skills at a young age and has then stuck with that craft ever since. For some, however, needle arts can come later as a result of their passion for creativity and art. For regional camp manager Tim Pence, his connection to needle arts did not come until more recently. Before he found his passion for sewing in undergraduate school, he seemed to dip his toe into many different creative fields within the world of visual arts.

Tim’s creativity was discovered at a pretty young age as he and his brother became big fans of the He-Man cartoon and the Oz book series. “We took this to another level by creating elaborate storylines for our toys and improvising the outcomes,” and Tim said that ultimately, he loved being able to create a different world to play in.

Headshot2In his earliest memories, Tim fell in love with drawing and the kind of limitless places that it could take his imagination. He specifically really found a passion for drawing comics. When he was in third grade, Tim says that two of his friend in elementary and middle school would spend a lot of time creating comics. He and his friends “took this pretty seriously,” and in that time wrote and drew many different stories that seemed to spark a slightly embarrassed laugh from Tim even today.

Although Tim mentioned that these were maybe not the most groundbreaking pieces of work, he stated that it was a great way to get his ideas out when he was younger. This love of drawing and creating comics was just the beginning of Tim coming to understand not only what art means in a general sense, but what art means to him.

Cowboys and IndiansAs mentioned, Tim says that when he was doing needle work in college that was the time he felt really connected to needle arts. Now, as a MFA candidate in Theatre Set Design at Temple University, Tim feels as though he is finally being able to draw all of his influences into his work in lots of new and interesting ways. His program has been a great way to apply what he has learned to incorporate all of the senses into his work, and he feels as though he is able to reach a larger audience. “I think I have done a lot of exploring with different materials, processes, and mediums. Theatre design sort of gives me a context and a way to process all of it. I have been building up a vocabulary and now I have been finding a place to use that vocabulary,” said Tim.

sewn print on spongeWhen asking what has inspired his work, he said that one thing that he really looked to for inspiration was the music of Kate Bush, which he discovered in his early twenties. Even though he has never worked with music himself, he thought that her use of metaphor and the way she talked about her music was something that helped him “discover what art was.” It is interesting to see how music could inspire his work with visual art. Tim said, “I’m most transported by music as an art form, though I’m not a musician. It’s my goal to transport others in the same way, but through an immersive visual experience.” Along with her music, Tim said he is also inspired by relationships, nature, and the different materials he encounters.

Making art has become a huge part of Tim’s life, and something that has ultimately brought him to The Handwork Studio. While working towards his degree, he has loved being able to teach kids to hone in on their own creativity and introduce them to handwork. Allowing kids to access their own creativity is something that Tim sees as being very important. “It’s not something they would be learning in school to this degree. So, to be teaching them so many different things and watching them do things for themselves is really rewarding.” While teaching kids today how to grow in their creativity, he is also always looking for ways to improve and grow within his own craft.

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Click here for a look at our summer sewing camp options for your child. Also, be sure to check out our store and our new partnership with Simplicity Sewing Patterns

Tags: The Handwork Stories, sewmorelove

Alumni Profile Series: Emilie Patton

Posted by Cameron Lee on Sun, Oct 21, 2018 @ 10:00 AM

We’re happy to share the third installment in the Alumni Profile Series, which features profiles of the Handwork Studio graduates (and some current members) and gives you an inside look into their lives!

For a shorter biography of Emilie Patton, check out the alumni page of our website!

Emilie Patton headshot-1

Name: Emilie Marie Patton
Age: 21
Education: Tyler School of Art at Temple University in Philadelphia, PA, Final Year
Majors: Fibers and Material Studies

 

Who is Emilie Patton?

Emilie Patton (Emilie, not Emily, a mistake I made the first time we emailed) has a bright, bubbly personality and a friendliness about her that makes me look forward to speaking with her even more. Before we get into the meat of the interview, I realize that both Emilie and Julia Haines, a Handwork Studio alumnus I interviewed a few weeks before, both attend the Tyler School of Art at Temple University and are both majoring in Fibers and Material Studies. When I ask Emilie about it (without specifying Julia by name), she guesses who I’m talking about immediately, and tells me that in addition to being in the same, relatively small class at Tyler, they also danced together in high school. Small world! 

Here’s Emilie Patton in a flash: The last thing she watched before our interview was a series on Netflix called Haven, which she describes as a police show, but also a milder version of Supernatural. She laughs as she tells me she’s on season three and only started it two weeks ago. If Emilie could be an animal, she would be a rabbit, because “they have such nice eyes, eat grass all day, and hop around.” I ask what she wants to be when she grows up, and Emilie tells me that she plans to be “a working artist.” She pauses. “Well, a successful working artist,” she adds with a laugh.

 

Early Involvement in Handwork and The Handwork Studio

Emilie first truly got involved in the handwork world when she started taking classes at the Handwork Studio in 6th grade. She took a sewing class with her friends and made pajama bottoms, and from then on she just “really liked going there.” Emilie attended a Handwork Studio class every summer, and sometimes she would attend classes at night during the school year as well. I wonder if she expressed any interest in handwork before she started going to the Handwork Studio classes, or if her parents just decided to enroll her, and she makes it clear that she “was really interested in it. My great grandmother was a seamstress, and I’ve always wanted to learn how to sew because I learned hand sewing from a family friend when I was around 6. My mom doesn’t know how to sew, and my grandmother who lived an hour and a half away couldn’t teach me because I wasn’t there, so going to this was the best option that I had to learn to do this skill that I really wanted to learn.”

Emilie fondly remembers when she took the Fashion Bootcamp at the Handwork Studio when she entered high school. She tells me that it was a nice environment, a really fun class to take and that she and her friends had a good time making garments together. “It was a good highlight of my childhood.”


Emilie’s Journey

Emilie patton outfitsUnlike Julia, who decided to apply to Tyler very shortly before the deadline, Emilie was aware that she wanted to go to art school earlier, but she also struggled with choosing between art and another path. Emilie was originally going to attend school for pharmacy (her dad’s a pharmacist, and her mom’s an ICU nurse), but then she took art classes in high school and realized that she could apply the skills she loved, like sewing, to 3D art, amongst other things, and “it kind of took off from there.” At the end of her sophomore year of high school she told her parents that she didn’t want to go to school for anything related to health care, but art instead.

Emilie is from Havertown, PA, a place she describes as a “small town,” so everyone knew her parents and knew that Emilie originally wanted to go into a medical field. When she decided to embark on her art school journey, not everyone was thrilled. “Some of my high school teachers told me that I wouldn’t find a job,” she admits, but a beloved high school art teacher helped her get to where she is now. “You’ve got to find those people who believe in you and stay with them.” Emilie pushed through the confusion and criticism and took AP art her junior year of high school, an experience that solidified her love for art and convinced her that she was making the right decision by planning to go to art school. “Junior year is when I was like, no I want to do this. I do not want to be a pharmacist for the rest of my life; I want to be an artist. I think taking an art class and seeing I could apply those skills, helped.”

When I ask Emilie if she has had any job or internship experience related to handwork, she hesitates. “This is not like a ‘true job,’” she says, “But I used to teach kids in my neighborhood how to sew. Like on my own, with my friends. I would make bags and bring them to class, and a lot of people asked me where I got them, and I told them I made them by sewing. And in middle school a lot of people wanted me to teach them. I did that freshman year too, in my dorm.” I tell her that even if she doesn’t consider that a “true job,” it’s still really cool. I would love to learn handwork, and if I had a peer who could teach me how to do it, that would be so much easier. Rather than try to teach myself, or go to a class. “I taught myself how to knit,” Emilie laughs, "And it’s a lot easier to learn from someone else.”


Emilie’s Art

Emilie Patton (front)We cycle back around to talk about the Tyler School of Art, and what Emilie’s life has been like attending school there. What kinds of classes does she take; does she concentrate on something specific in her major; does she mostly take studio classes?

“I focus more on garment construction,” she tells me, “And on the ideas of processes. I really like to weave my own fabric. The idea of making something completely from scratch really intrigues me, and I usually focus my work on garments and exploring the body through clothing. A lot of the classes I take are - I took a garment construction class last year and a weaving class, and that’s kind of where it started - but I like taking classes that are more hands-on in physical processes. Silk screening, natural dyes, everything’s kind of from the ground up. That just really intrigues me.” Emilie typically takes three studio classes a semester, and one non-studio, so much of her time is focused on actually making art.

In my experience, artists go through a period when they come into their style and discover their artistic voice, and this period can last anywhere from a few months to a few decades because style is always evolving. I ask Emilie to tell me about her artistic passion, how and when she developed her style, and whether her interest in building structures from the ground up was something she always wanted to do, or whether it came into play later. “It came into play later,” she responds. “Way, way later. I’ve always liked the idea of the processes of things, but more recently, last semester, it took hold. I was in Rome for four months for a semester abroad, and there were no fibers classes over there, so I was taking whatever I could that was craft centered. I took bookbinding, paper making, and a sketchbook class. I really struggled. I had the worst block ever, it was awful. It wasn’t until the very end until one of my professors told me ‘Just don’t think’ and it clicked. So I started making things, not as a concept, but that the way of doing things is in itself an art.”

Emilie told me at the beginning of the interview that she wants to be a working artist. I wonder if she has any idea what she wants that to look like.

“My goal in life is to own my own brand in a sense. I’m really interested in functionality. I want to do work based on making something functional in someone’s life, not just extremely contemporary, which I don’t have an exact knack for. I’m jealous of people who have that knack. I would love to own a store where I could transform my work into things people can use every day in their lives, and become almost a household name, in a way. That’s always been something I’ve wanted to do.”


Trials and Successes

When I get to the part of the interview where I typically ask what the interviewee is the proudest of, or for an accomplishment of theirs they’d like to share, I’m pleasantly surprised when Emilie wants to give me two. Both pertain to garments she’s made, at two different times in her life. Emilia Patton (back)-1

“Senior year I made my prom dress, and it was one of my favorite dresses I’ve ever made. It doesn’t fit me anymore, but it was just something I didn’t think I’d be able to make structurally. I made the pattern myself, and I never did that before, and it was something I was really proud of.” She had to sew herself into it, she laughs, but it was worth it. “The second one was designing a three-piece collection of 11 pieces total for a class I took last year. I made a killer pair of pants that were completely pleated around the bottom that took me five days to make. I worked on them for like 12 hours a day, and when I was done I was so happy, and they looked so good on my model, and I was like ‘Yes! Finally!’”

When I ask Emilie the opposite - to tell me something she wishes she could change about the past few years - I’m surprised by how similar her answer is to the one Julia Haines gave me. “I wish I had a better sense of my artwork a couple of years ago. Going through that struggle of finding your own style is really hard. Because you doubt yourself a lot.”

Close to the end of the interview, Emilie tells me another story about her time at the Handwork Studio. “This is my second year working at the Handwork Studio, and I had the opportunity to help teach the Fashion Bootcamp last year, and I’ll be doing it this year as well if there are enough campers. And it’s really inspiring to see these girls who are like 13 and 14 make a two-piece collection from scratch, from fabric they get to choose, and they get to design everything, and they find patterns and alter patterns. It’s so inspiring seeing that as someone who does this almost as their career. Seeing it start so young kind of reignites the fire and makes me think 'Yes, this is what I want to do! This is great!' It’s so great having these kids get this environment that, a lot of times, they don’t get at school or anywhere else, and people saying, 'You can do this, we believe in you.' And then they do amazing things. It’s crazy. A girl made a dress based on the night sky, and I helped her dye it, and she put all these stars on it, and it was beautiful. Like that came out of your mind. You made that. It’s such a nice feeling that you can help these girls get there.”

I want to end with some advice Emilie offered for any kids at the Handwork Studio who may be inspired to follow the same path as her, or just to pursue their passions: “Stick with it, because there’s going to be times when you wanna give up, and you think your work isn’t good enough or it’s too hard or stressful. People will try to tell you that you’re in school for something you don’t need but stick with it, because you want to do something you’re going to enjoy for the rest of your life. If it’s something you’re passionate about, keep it.”


Photo 1: Portrait of Emilie Patton
Photo 2: Emilie's designs
Photo 3: Emilie wearing her designs, front
Photo 4: Emilie wearing her designs, back

Tags: Alumni Profile Series, Alumni, The Handwork Studio, Handwork, Emilie Patton

The Handwork Stories: Ana Castro

Posted by Mattie Solomon on Sun, Oct 14, 2018 @ 10:00 AM

In this series we have been sharing stories about the people and places where The Handwork Studio team members find inspiration for their craft. In order to expand our community we will explore the different ways that people got their start in sewing, knitting, and other needlework crafts. This series explores the art that goes behind this craft and understanding the sources of inspiration for different people, and this week will be introducing you to Ana Castro!

Artful Thinking

AnaAndLinusWhen asking studio administrator Ana Castro about the moment she caught the crafting bug, she paused for a moment, and attempted to trace herself back to that singular moment. After lingering over the thought, she responded, “Well, I never wanted to be anything other than an artist,” which truly speaks to the meaningful way in which Ana has viewed the journey of her craft throughout her entire life. Some people can pinpoint an exact moment when they were taught a certain craft, or maybe trace it back to a certain person, but for Ana, it seems that creativity has been at the forefront of her life from the very beginning.

Ana has always been surrounded by creativity, and a lot of her inspiration today comes from her Costa Rican background. The colors and textiles that come from that area really inspire a lot of her work, and she loves to infuse the styles of their traditional interior design into the pieces she creates. Along with her Costa Rican background, Ana also finds a lot of inspiration, especially when it comes to her color palate, from the style of the 90’s and the different toys she had when she was growing up. So, while one side of her pulls her towards the image of the traditional Central America home, another brings her towards her childhood in the states.

Growing up, Ana said she spent a lot of time by herself, therefore finding imaginative ways to express herself. “I’m an introvert, and you know a lot of people wouldn’t realize that when they meet me,” said Ana. A lot of her work is then inspired by the kinds of activities she did when she was younger, while discovering who she was. Most of her work is inspired by the body, and by movement and dance specifically. She says that a lot of her pieces mimic this sort of fluffy and plump feeling. Although never fully realizing it, Ana sees now how her childhood has found its way naturally into her work today.

AnaDressingLoomAnother part of who inspired Ana’s creativity growing up were her parents. Both of her parents are chefs, and she said that seeing them be creative helped foster creativity within herself. “They were so resourceful, and everything had to be made a certain way,” mentioned Ana, and it was the ways in which they always thought outside of the box which allowed her to think that her career as an artist could be what it is today.

Ana got her degree in crafts from University of the Arts in Philadelphia in 2014, where she fell in love with the entire creation process. During a critique for one of her earlier pieces, she realized that the work she creates has more meaning than just its materials. “I found that everything has a connotation whether you want it to or not. That was an inspiring moment and I chose to pursue that kind of craft after that point.” Then after University, Ana was drawn to the vision of The Handwork Studio, saying “I thought it was really lovely that they were expanding the audience [for needle arts] and that they were fostering a community.”

AnaArtworkNow, Ana embraces the meditative practice of her craft and loves being able to pass on these fiber arts techniques to kids today. “The projects they make become a part of their life in a much different way than store bought toys. We give kids the autonomy to pick every single part of their piece out, and that way they will value it so much more highly,” she said. By giving kids the opportunity to make these crafts a part of their life, Ana believes that more and more kids will be able to find ways of expressing themselves in the creative ways she did growing up.

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Click here for a look at our summer sewing camp options for your child. Also, be sure to check out our store and our new partnership with Simplicity Sewing Patterns

Tags: The Handwork Stories, sewmorelove

Alumni Profile Series: Sharon Baranov

Posted by Cameron Lee on Sun, Oct 07, 2018 @ 10:00 AM

Welcome to the second installment in the Alumni Profile Series, which features profiles of the Handwork Studio graduates (and some current members) and gives you an inside look into their lives. Happy reading!

For a shorter biography of Sharon Baranov, check out the alumni page of our website!

Sharon headshot-1

Name: Sharon Baranov
Age: 18
Education: First year at the University of Pennsylvania
Major: Mechanical Engineering

 

Who is Sharon Baranov?

Sharon Baranov photoset 2Before I even speak with Sharon Baranov for the first time, I am eager to meet her. Laura Kelly, the founder and owner of the Handwork Studio (THS), told me that Sharon’s love of fashion took her on a unique path: to mechanical engineering. I was intrigued from the start, and anxious to get the chance to hear her story. When the video call connects and we introduce ourselves, I am immediately put at ease by Sharon’s calm demeanor and friendly face.

She laughs as she tells me that the last thing she watched was an episode of The Vampire Diaries on Netflix, and when I ask her what animal she would be if she had the choice, Sharon decides on a cheetah because of their speed. Sharon tells me that in addition to engineering she paints, sews, and does fashion design. Her favorite type of art is probably making clothes, but the week before our interview she took a still life painting class (where she tried oil paints for the first time) and loved it.

When she grows up, Sharon most likely wants to do something in mechanical engineering, but she also wants to relate her engineering back to fashion, because she finds that “they’re kind of intermixed a little bit because they’re both about making things.”

Sharon painting 1

 

Early Involvement in Handwork and The Handwork Studio

Sharon started sewing at a remarkably young age. Her mom bought her sewing kits from Joann Fabric that she really enjoyed and she attended a knitting class at another camp and had a great time, so her mom signed her up for classes at the Handwork Studio. She tells me that she was 5 or 6 years old when she started attending the Handwork Studio, and I’m taken aback. I played sports for close to a decade, and I didn’t even start that young. I figure that someone else in Sharon’s family must have been interested in handwork if she got involved that early, but she shakes her head. “No one else in my family really did sewing. My two older sisters had learned to knit so when I first started knitting one of my sisters (who is about ten years older than me) was starting to help me, but she didn’t know a lot. She couldn’t really cast on or anything, so then my mom sent me to the Handwork Studio.”

Sharon has been a part of the Handwork Studio family for virtually her entire life. When I ask her about her journey with the Handwork Studio, she tells me that she started taking hand sewing lessons after camp, and then she did doll making, and then once she was old enough she started machine sewing. (She had a private teacher that taught her how to machine sew before she began to machine sew at the Handwork Studio because she wasn’t yet old enough to be in the class. If anything evidences Sharon’s dedication to the craft, this is it!) “Once I was old enough to do [machine sewing] at the Handwork Studio I took a class every week and a bunch of my friends did it with me because my mom told their parents about it so I would take the doll making class on Monday kind of by myself or with one other friend and for machine sewing it would be me and like six of my friends. We would go for the Friday class. And after that they kind of...I guess by the time we went to middle school they had stopped and I kept going, and by then I stopped taking classes and did volunteering in classrooms. And then once I turned fourteen, I started working at the Handwork Studio.” Sharon blazer

I relate to Sharon’s experience with her friends dropping out of handwork classes. The older I got in my sport, the fewer girls there were. It’s telling of Sharon’s dedication and love for handwork that she stayed committed even when those around her found other things to do. Even after Sharon aged out of the Handwork Studio, she remained involved, working at the Narberth studio through summers and school years.

I can’t imagine that the Handwork Studio has been anything less than formative for Sharon because of her lifelong relationship with it, and she agrees wholeheartedly. “It definitely had a lasting impact on me because it kind of got me going in sewing, and I had really great teachers, and they were really fun. Especially because I had a lot of friends that went with me and I made friends that kept me going. Taking sewing classes by yourself - which I also did with a private sewing teacher - can sometimes not be as motivating because you’re by yourself. With a bunch of friends you’re all picking your projects together, and it just makes the experience really fun. Eventually, as I got older...they still kept me on volunteering because I was too old for the classes. I never had a break when it was like “Oh I’m too old for the classes but too young to work.” They just kept me going with it.”

Sharon immediately launches into a story when I ask if she has a favorite anecdote or experience that she wants to share. She tells me about this “huge fat bunny that one of the teachers had knitted a while ago” that sat in the studio that all the kids loved to play with. “One summer,” she recalls, “I decided that I wanted to make it. So they just let me do my own thing, and every time I had the chance, I would work on knitting this bunny. They weren’t very strict that I had to do every project and they let me do my own thing. It was really exciting because I finished the bunny and it was a huge bunny.” She forms a circle with her arms, indicating how large the project was, and laughs. “It was really cute.”

 

Sharon’s  Journey

Sharon prom dress 1-749459-editedI start to ask Sharon what her life has been like after leaving the Handwork Studio, then laugh as I tell her that the question doesn’t make much sense because she never really left. Instead, I ask her to talk about the most significant way handwork plays a role in her life, outside of working at the Handwork Studio of course. She tells me that the Handwork Studio taught her “about the fun you can have with sewing,” so now she focuses more on doing projects that make her happy. “I just finished making my prom dress in April, and I just do little fun projects. I don’t make it something that is difficult for me; I just do what I like. That’s what they taught me.” I nod as I take notes, then stop in shock when I realize what she just said. She made her prom dress?

“It was really hard,” she admits, “because I decided to make the pattern for it myself, so that was really difficult, but once I got the pattern it kind of went a lot smoother and I was able to finish it.” I could never even dream about doing something like that, and I make sure to ask her more about it later. For now, I ask her about any handwork-related job or internship experience she may have had. She thinks for a moment before telling me about her 3-week internship for a tailor that she completed as her senior project, alongside making her prom dress. She worked at a store called SewRob near where she lives and got to see more of the business side of sewing. I’m always interested in the business side of the art world, and what logistically goes into making a company like that function, so I ask her about it. Did she focus on administrative tasks? Fashion related work?

“I saw what he was doing with the tailoring and the pinning, but I didn’t work as much with the actual sewing of stuff because it’s still his business and he had to let his workers do their own thing,” she explains. “But I basically checked if everyone finished the work right. I would take a pair of pants and press the hem and make sure there weren’t any threads hanging off, and then I would check it off. I also watched him pin different dresses. A bride came in, and I was able to see that.”

 

Sharon’s Art

Despite pursuing a career in something outside handwork, Sharon makes it clear that sewing will always be her hobby. She chose not to embark on a fashion career because she likes being able to make clothes for herself, and she likes the freedom of making patterns for things she wants. “That’s how I got into engineering,” she says. “I was thinking that I really like making things and fitting them together and seeing how they work.” When I ask her to elaborate, she tells me the story of how she moved from fashion to engineering. Sharon photoset 1

“I went to Parsons for a three-week summer program, and I did fashion illustration there which was a lot about putting the design and the colors together and stuff like that. And I liked it and thought it was really fun but it wasn’t really what I was going for. I was thinking a lot more about the patterns and how you can construct different clothes, and that’s really what I like to do. I don’t do as much fashion illustration at home; I just like to put things together and make the actual clothing. I know there are jobs like that in the fashion world but right after Parsons I had physics in school (my junior year) so we started doing projects like building a catapult or a bridge. I saw that I liked those two and how making those things connected to making the patterns in my sewing. I was thinking that if I get a degree in mechanical engineering and learn a lot about how things go together and how you make things then if I don’t like doing anything other than doing that with clothing then I can always go back and use what I’ve learned from my degree in mechanical engineering and apply it to clothing.”

 

Trials and Successes

When I ask Sharon what she’s done over the last few years that she’s the proudest of, I’m thrilled to hear her say her prom dress. She goes into detail about the process and design.

“Basically it’s this corset pattern, and it’s not like anything I’ve made a pattern for before so at the beginning I was really struggling. I did pattern draping on a mannequin, and it took me six tries and so many months to do it and finally I just was like ‘This is close enough’ and started cutting out fabric and making it into the dress. And as it came together it felt really good because I got so many compliments from people who were like ‘Oh my god, how’d you do this’ and it felt really good to see a final product. And that's really what I like about sewing. You get through the whole process which can be really challenging sometimes, but then you get a product in the end that you’re really proud of.” Sharon prom dress 2

I tell Sharon that that’s something that really interests me about handwork. As a visual artist who normally sticks to drawing and painting, I don’t really know what it’s like to use your artistic skills to make something intrinsically functional and to be able to wear your creation. Sharon agrees, saying that “You’re really close to your clothes. A lot of people express themselves through their clothing or just like nice clothing, so I feel like when you can make it for yourself, it’s just really nice. And it feels really close, even more sometimes than a painting.”

I pose the opposite question: What is something Sharon wishes she could change about the last few years? She pauses for a second, then tells me that she wishes that she’d kept sewing more after she decided not to pursue fashion as a career. Before she attended the Parsons program, Sharon had sewing teacher that had her make something new every week, and even though it was challenging, she wishes she had kept up with that schedule. Sharon essentially took a six-month break from sewing and only really got back into it to make a dress for her winter formal, her junior year. “It was a little bit of a sore topic, but I wish I had kept going because there are so many things I could have made during that time…then I did my junior formal dress, and it was like, okay, I really miss this.” She’s coming into the realization that she needs to find a way to keep sewing in her life (which is why she took this summer off from work - to make art), and I understand that struggle. It’s always a balance to keep space and time for your art alongside everything else school throws at you.

I reach my last question for Sharon. Does she have anything else to share about the Handwork Studio?

“It was a really good experience and made sure that I’ll always have something that I like to do and that I’ll always make time for. It helped me approach the arts. My mom is very into sports and stuff, and she’s never done any art, and my older sister was into painting, but I’m the first one to get into sewing. So it really helped me find ‘my thing.’”


Photo 1: Portrait of Sharon Baranov
Photo 2: Sharon wearing three of her designs
Photo 3: Painting of Sharon and her sisters
Photo 4: Jacket designed by Sharon 
Photo 5: Sharon in her prom dress, front 
Photo 6: Sharon wearing three of her designs
Photo 7: Sharon in her prom dress, back

Tags: Alumni Profile Series, Alumni, The Handwork Stories, Handwork, Profile, Sharon Baranov