Perhaps it was the 1970’s Feminist Movement that led Nancy Newman to her philosophy of
“Saving the planet one purse at a time!”
During that period, Nancy says her awareness of the underrated value associated with “women’s work” (anything to do with textiles – needlepoint, sewing, knitting) increased her attention towards the expertise in fabric craftsmanship. She did not have to stretch very far to begin to understand the techniques and skills involved in creating textiles – one grandmother was a tailor and the other a quilter.
Today my interest has expanded to global textile traditions. If in my small way, I can draw attention to the beauty and skill of traditional methods, perhaps they won’t be lost forever to quick and cheap industrially made textiles. I’m all about slow fashion, where you can feel the hand that made it.
How did you discover these amazing textiles (Mali mud cloth, vintage fabrics, distressed leather) that you work with today?
I have been studying textiles and their traditions all my life, so it’s hard to say when it started. My library includes many books on tribal and historical textiles, and I am within driving distance of the Textile Museum of Canada, in Toronto, which has an extensive collection, frequent talks and shows of spectacular work from around the world.
You participated in the Sheridan College of Art and Design Textile Studio. Can you share some details on that program?
The course I took is now an accredited university degree. When I studied from 1997-2000, it was a three-year intensive studio program with courses in craft history, 2 and 3D design, and business. In the Textile Studio, we focused on dye chemistry, colour theory, screen printing and photography with workshops in most textile methods. We had some amazing guest speakers, including Dorothy Caldwell and a family of paper makers from Japan. It was an amazing opportunity that opened my eyes to a whole new way of thinking and seeing. In my third year, I focused on making paper by hand and using that fibre to create sculptural pieces.
When did you start making handbags and purses?
Post-graduation (2000), I began weaving in my studio creating silk shawls, scarves and delicate fabric, which I turned into jackets. Around 2006 my shift to purses began with small pouches and evening bags. Initially, I used decorator fabrics, but now my full line of handbags are fabricated only with textiles that are woven or printed and dyed by hand. Recently, I have been designing and painting my own fabrics.
How do you source the textiles for your handbags?
A lot of people ask me if I travel to all these countries to find the textiles. Unfortunately, not, although several friends have brought back textiles from their travels. It has taken me several years to find the best sources for the Kantha quilts and Thai fabrics that I use, but because they are all vintage and cannot be reordered like industrial materials. I am always searching for new material sources.
How long does it “typically” take to make a handbag including the design phase, fabric selection and sewing?
It often takes two or three tries before I am satisfied with a design (I use all the rejects as my own purses), and it varies from design to design. The bucket bags take about a day to put together. I use vintage fabrics, and I only have a small amount of each, so the textile itself often “tells” me what it needs to be. The pieces usually sit in my stash for at least six months before a vision of where to incorporate it becomes apparent.
Can you walk us through the steps involved in the production of a handbag?
As an example, the bucket bag starts with the textile itself, which has to be washed and patched, if necessary, interfaced, serged and often edge stitched.
I play around with the leathers in stock to see which looks best with the textile, using the live edge of the leather where possible. Once these two materials are glued and stitched together, I do the design for the conchos (Southwestern Native American decorative elements) and rivets. It is important to get the placement right before I punch the holes and hammer them into the leather.
The bag is stitched together on my durable leather sewing machine, the sides and bottom are glued down and top-stitched for security. Sturdy artist’s canvas forms the liner, and the bottom flaps are sewn to the bag, so it stays firmly in place. The top is reinforced, and another piece of material is chosen as the closure.
The leather strap requires cutting, beveling, edge dyeing, hole punching a buckle and finally riveting it to the bag.
The final piece is a talisman of handmade beads – Nancy’s good luck charm for her customers who appreciate textile art and sustainable fashion.