Spring has sprung! And with it weddings, babies, and all things “new beginnings.” In celebration of this season of rebirth, for our 3rd project Angela and I chose to resurrect one of her old talents: bookmaking. (In fact it was the pursuit of elegant bindings for her books that led Angela to begin importing Italian ribbons in the first place!)

Though Angela, who studied and taught at Minnesota Center for Book Arts, is a pro, this keepsake book is easy enough for anyone to tackle. Success is in the supplies. Made with beautiful Rifle Paper Co. Gift Wrap and Studio Carta Cotton Ribbon, our keepsake book is perfect for storing momentos from spring’s (or any season’s) most treasured events.

Materials:

• Rifle Paper Co. Gift Wrap or other fine paper *
• Studio Carta Tight Weave Ribbons
• two 8×10 pieces of bookbinding archival board, available at specialty online stores such as: Talas or Hollanders
• acid-free booking binding glue
• small brush
• bone folder, also available at Talas or Hollanders
• Studio Carta Paper Scissors with Gold Handle
• Studio Carta Ribbon Scissors
• hammer
• ruler
• X-Acto or utility knife

* When considering the entire line of Rifle Paper Gift Wrap and Studio Carta Ribbon, the possibilities are endless. Just let the occasion be your guide. For example, if you’re making a book for the parents of a baby boy, perhaps you could use Rifle Paper Co.’s Blue Toile Gift Wrap with Studio Carta Tight Weave Ribbon in Chartreuse. Or for a wedding Rifle’s Spearmint Blossoms Gift Wrap would look smashing with a bit of Studio Carta Metallic Tight Weave in Natural with Gold Stripe. (See even more colorful combinations on Rifle Paper Co.’s site.)

For our book, Angela and I selected spring-time pairing of Rifle Paper Co.’s romantic wildflower gift wrap with Studio Carta Tight Weave Cotton Ribbon in Peach.

Step 1: If you have not already done so, cut your archival cardboard to the desired size. We chose 8×10. To create your outside cover, lay the cardboard onto your paper and, using this as a template, measure and mark your paper so that it is a couple centimeters, or about 1/2 inch, larger all around. Cut out your paper. Repeat for the other cover.

Step 2: Working quickly brush the glue onto the back of your paper. Then transfer your cardboard to the center and press down, working out any air bubbles with your hands or bone folder.

Step 3: Cut the corners of your paper, leaving about a millimeter between the edge and the cardboard.

Step 4: Fold the first side over. Then using your bone folder, press the corner paper in towards the next fold so it lays against the cardboard edge. Then fold the second side down. Repeat as you go around.

Step 5: When you are done, gently work out any air bubbles with your bone folder. Then lightly tap down on all your corners, so that your cover doesn’t have any sharp edges. Repeat this whole process with the next piece of cardboard.

Step 6: Once you have the outsides of each piece of cardboard covered, it’s time to cover the inside. First measure and cut two pieces of paper so that each is slightly smaller than the cardboard. Again, working quickly, glue the smaller paper so that it covers the inside of each piece of cardboard.

Step 7: On each cover, create 4 slits for your ribbons. First measure the width of your ribbon. Then starting about 1 1/2  inches or 4 centimeters from the top (short side), and about 1 inch or 2.5 centimeters from the edge (long side), make a mark, length-wise, that measures the width of your ribbon. Repeat at all four corners of each cover.

Step 8: Using a small chisel or utility knife, hammer or cut the four slits you just measured. Repeat on the other piece of cardboard.

Step 9: Lay the cardboard covers side by side leaving about 1/4 inch or one centimeter gap in between. Using these as a template, cut two long pieces of ribbon that measure 10 or so inches (25 centimeters) longer, on each side, than your opened book. Then, starting in the middle, thread each end of the ribbon from the outside, across the inside, and back out to the outside. Repeat on the bottom.

That’s it. Though there are many steps, Angela was able to make this book in about 20 minutes!

Angela uses her keepsake books to house treasured correspondence from loved ones.

Wedding bouquets are expensive. But they don’t have to be. Sometimes all you need to make a special arrangement are simple flowers and some outstanding ribbon.

With this idea in mind, Angela Liguori and I set out to make a simple posy as the second installment of our monthly DIYs. All it took was a bunch of tiny daisy-like clusters (white asters or feverfew), several yards of Studio Carta ribbon, and about ten minutes time. The cost? Under $20. The results? An inspired springtime bouquet, perfect for May Day, weddings, or any special occasion.

Materials:

• Any small daisy-like cluster flower. Angela and I wanted feverfew which will be abundant in my garden next month. (Note: if you pick the flowers from your own garden, the cost is even less!) Until then, white asters from the florist possessed a similar demure charm.
• 1 yard each of Studio Carta Italian cotton ribbon, including loose weave in peach, metallic loose weave in peach and gold and calligraphy ribbon featuring the fine lettering of Maybelle Imasa Stukuls. (Here’s a peak at a calligraphy course I took from her at Angela’s last year.)
• floral shears, ribbon scissors and pins (optional)

Step 1: Remove the lower leaves and blooms from each stem. Then gather your flowers into a bunch and trim the ends to an equal length, about 7 inches from the base of the flowers.

Step 2: Tie your first yard of peach ribbon around the stems, near, but not right up against, the base of your flowers. Don’t worry if you don’t have equal lengths of ribbon on each side of the bouquet. It actually looks better if they are slightly askew. Also you want your bunch to be secure, but you also don’t want to tie the ribbon so tight that your flowers squish together. Then tie your second, metallic peach ribbon right over the first.

Step 3: Gently thread the calligraphy ribbon under the first two. Pull one end through so that it hangs about the same length as the stems, leaving the other end long. Secure with a small pin pushed towards the center of the bouquet.

That’s it! It couldn’t be easier to achieve this simply elegant posy, perfect for May Day or Mother’s Day. We also think they would be especially charming grouped together as bridesmaids or a flower girl bouquets. Add a dash more of Maybelle’s calligraphy ribbon to a smaller cluster, and you could even make striking, matching, boutonnieres for your groomsmen.

If you missed our inaugural DIY collaborative, be sure to visit Quail Eggs and Peacocks. Up next for June: a handmade wedding album or baby book.

For years Marnie’s knits have been the best kept secret in Orleans, MA. So happy to share them with the rest of the world on Remodelista today. Here are some more “behind the scenes” shots from our day of gathering weathered marine twine for Marnie’s “salty knits”. For more see Pot Holders Knit from Ocean-Tossed Twine.

An unexpected gift arrived from England just in time for Valentine’s Day,
One of Alessandra’s exquisite hot pads.
I put it in a quiet corner where I could admire its simple loveliness.
A persimmon clementine seemed the perfect complement.
Eventually, I will move it to a more functional place,
The kitchen, no doubt.
But for now it’s on a pedestal.
A personal object.
A connection.
Art.

faded denim WWII laundry bag

Indigo is always good for fall, I think. Today I’ve been admiring these denim military bags from A Beautiful Revolution.

stenciled denim WWII laundry bag

denim WWII laundry bag

denim WWII laundry bag with yellow print

Not denim, but still fabulous…

vintage tartan bag

1940’s canvas duffle

Don’t you just love the small things in life?

Myself, I seem to be having a pot holder moment.

The latest hot pads to catch my eye: these patchwork beauties by Alessandra Taccia of La Casita. Unfortunately, they are sold out now, but Alessandra is always stitching up more original goods. Which is why it’s so fun to revisit her shop.

There is something quite alluring about the humble potholder. Often staying in the background, these useful kitchen textiles quietly preform their feats of daring, quite content to let those brash table linens take all the glory. Which is why it’s so special when one of these little workers takes the time to dress up a bit, like Cinderella going to the ball. But nothing too fancy or above their station. These proletariats are proud of their utilitarian nature. Just an extra stitch to give them some texture, or a beautiful weave that complements their tactile duties. And perhaps the boldest of these demure mitts may even don a dashing loop, as if to say, “Excuse me, but have you noticed that I might just be pretty enough to be kept out of the drawer?”

Above: Canvas potholder as mini work of art. Designer Edie Kahula Pereira of Specialty Dry Goods hand embroiders her simple, yet textured potholders from 100% natural, recycled US goods.

Above and below: Specialty Dry Goods pot holders in denim.

Above: Another maker of an understatedly lovely pot holder is Japanese designer Miyako Tsuchiya. Hand sewn from a tactile cotton, linen blend these mitts are available through Everyday Needs.

Above: Specialty Dry Goods pot holders are also available at General Store and through Alder & Co.

Sophie’s chien stitched on paper

Earlier this week I had the opportunity to hang out in the Boston studio of artist Sophie Truong, where, over tea and homemade clafoutis, we discussed her evolution from international business major to working artist.

Raised just outside of Paris, Sophie Truong came to America as a young woman and eventually found herself employed as a product developer for the Museum of Fine Arts, Boston. Despite her proximity to the world of art, Sophie’s own transition to artist came about almost by accident. “A friend who was taking painting classes at the Museum School showed me what she was learning one afternoon, and it was an instant transformation.”

Sophie immediately started taking classes of her own, experimenting with painting and paper arts. Then “little by little I started incorporating fiber into my work,” she explained. “I’ve always loved antique textiles and was really drawn to handwork, mending, and embroidery. I started experimenting with mixed media and realized how a tactile process was much more satisfying to me. Stitching is very meditative, and I think it partially helped me stay sane when I was still working my day job. As time went by, it became clear that I wanted to give more time and space in my life to art making and less to my job.” Finally, a wave of layoffs at the Museum gave Sophie the push she needed to devote herself to art full time. Today, surrounded by her own fiber creations, Sophie is working on a new adventure, Stitch and Tickle: sumptuous leather totes and wallets, all hand sewn by Sophie in her Boston studio.

Sophie’s work is marked by an enticing mixture of raw, visceral energy, and delicate femininity. Threads fly, unruly and unbound off of paper and fibre. Unpolished, the tracks of creation are important. They lend a dynamic, ephemeral, and tactile quality to Sophie’s pieces that draws you in. Similarly Sophie’s bags display the artist’s playfulness and fascination with the material. The leathers are supple, sensual. The colors are deep and rich. The detailing, though minimal, is always spot on: passion pink against cloud gray, mustard velvet with chestnut brown.

Inhabited by Sophie’s creations as well as the artist herself (who is as hearty, warm, and dynamic as her pieces), Truong’s studio is nothing short of inspiring. And I, for one, am very glad that she made the switch to stitch.

Sophie working in her studio at Boston Center for the Arts

a box of thread scraps

a tote the color of red wine

small clutches with striking contrast stitching

The vintage doll in the window was a gift from a friend.

Some of Sophie’s work – a series made with tea bags and a more recent installation of wire and fabric balloons – float over the artist’s work table.

Framed by driftwood collected from New England beaches, a mixed media piece with wax and thread  hangs on the wall.

a driftwood heart

The detailing on Sophie’s tote bags is exquisite.

more bags in an array of rich colors and a rainbow of thread

“Less is More” thread stitched on teabags

Sophie’s work space is surrounded by her own pieces as well as tools of the trade.

making a bag

Sophie in her South End studio

a collection of vintage brushes

Sophie’s balloons seen from the floor

smaller wallets or card cases

white stitch on handmade paper

leather clutches with velvet ties

sewing station

sample thread

red stitch on tea bags

“What Goes Around…”

I’ve come to realize that I have a thing for stitch. Whether sewn or merely implied with a painted line, there is something about a cloth or canvas traversed with thread. Like tracks in the snow, these pricks and tucks are echoes from another time. Traces of a different story, weaving their way across a pristine landscape, they add textured, dimension, and a bit of mystery. Present but vague, these ghosts are not to be ignored. Their identity revealed after only the most carefully scrutiny.

Perhaps this fascination with the subtleties of stitch, explains the allure of the small and intimate collection of copirates. Another find from Ms. Beau, my source for everything French and fabulous, copirates is a collaboration between artists Myriam Balaÿ Devidal and Lydia Rump, who share influences and experiences in fashion, theater, and textile design. Featuring handmade items by the artists themselves, or by their friends and fellow creators, copirates is an unusually personal selection of sewn and other goods – storied gems, adding character to the person and home.

Lucky me! I just spent two delightful days with Angela Liguori, photographing her studio as well as a bookmaking project for Remodelista. (You may remember Angela from Martha Stewart’s article last November or from my recent post.) Originally from Rome, Angela is an extremely inspired and talented designer and bookmaker, who also imports gorgeous cotton ribbon from Italy. Being in her shop, surrounded by vivid color, textures and sundry treasures, was a bit like being a kid in a candy store. No matter where you turned there was some exquisite detail to tempt your eye. In fact, the shoots took a bit longer than usual, mostly because Angela and I kept pausing to share favorite finds and designs, to restyle a corner yet again, to discuss our families and children, to refuel with a cappuccino or a spot of tea, or to pine away after the warmer weather in Rome. All in all, it was a very Italian experience and tons of fun. Not to mention that Studio Carta is an absolute photographer’s dream.

Studio Carta

a sneak peak at Angela’s accordion book project, going up on Remodelista next week

the floor-to-ceiling selection of ribbons, stationery and notions at Studio Carta

tools of the trade on Angela’s worktable

caffè and a piece from Angela’s annual calendar

Angela working on our book project for Remodelista

Next to ribbons galore, an antique chair, a found table, Bookhou’s alphabet, and a pendant by George Nelson.

Inspired by her mother, who was a seamstress, Angela imports measuring tapes from Italy. Notions also figure heavily in Angela’s design work. Wrapped around the wooden spool last year’s calendar, which Angela produces annually in collaboration with her friend, Roman graphic designer Silvana Amato.

Vintage stamps, which Angela frequently uses in her work, sit alongside an antique press from 1928 (coincidentally the same year that Angela’s father was born), which Angela purchased at the Museum of Printing in Andover, MA.

cotton thread and twine

On Angela’s worktable, this year’s calendars await assembly.

Studio Carta ribbons come in the most wonderful hues, as well as varying widths and weaves.

Angela also sells packs of her vintage stamps from all over the world.

An artist revealed… in her collection of books

See more at Remodelista.