The Dutch Couture Academy, with Saskia ter Welle | Episode 78

Summary

Summary of Threads Magazine Podcast: "Sewing With Threads" - Episode 78

Title: The Dutch Couture Academy, with Saskia ter Welle
Host/Author: Threads Magazine
Release Date: June 5, 2024

---

Introduction

In Episode 78 of the Threads Magazine Podcast, titled "The Dutch Couture Academy, with Saskia ter Welle", the hosts Carol Frazier and Janine Clegg engage in an insightful conversation with Saskia Trevella, the founder and director of the Dutch Couture Academy. This episode delves into Saskia’s journey in the world of haute couture embroidery, her teaching philosophy, and the unique offerings of the upcoming "Travel with Threads Netherlands Tour".

---

Guest Overview: Saskia Trevella

Saskia Trevella is a revered figure in the couture embroidery landscape. Based in Duisburg, a quaint town in the Netherlands, Saskia has transformed her lifelong passion for sewing into a thriving professional venture. With a rich background in haute couture embroidery, she trained at prestigious institutions like École Lesage in Paris and mastered the TR Pattern construction, a Japanese pattern-cutting technique. Saskia has showcased her couture collections internationally, including in Amsterdam, Bangkok, Paris, and London. Beyond her design work, she mentors aspiring designers worldwide, helping them channel their creativity into viable careers.

---

Saskia’s Background and Education

Saskia's journey into couture embroidery began in her youth:

Saskia (00:02:21):
"I started with sewing and embroidery from a very young age... I became a professional in sewing and pattern making while raising my four children."

After her children left home, Saskia fully committed to haute couture embroidery, studying at École Lesage. Her dedication led her to introduce and popularize these French techniques in the Netherlands, elevating the local fashion landscape.

---

Teaching Philosophy and Student Demographics

Saskia emphasizes inclusivity and motivation in her teaching approach. She believes that passion and dedication are paramount, regardless of a student’s background or prior qualifications.

Saskia (00:11:14):
"Everyone is welcome, everyone who is interested. Because I think if people are interested, they can learn anything."

Her student base primarily consists of fashion professionals seeking to enhance their skills, but she also attracts artists from various disciplines looking to incorporate embroidery into their work. Students typically range from ages 35 to 55, including those contemplating career shifts towards more creative endeavors.

---

Embroidery Techniques and TR Pattern Cutting

A significant portion of the discussion revolves around TR Pattern Cutting, a transformative technique that Saskia teaches:

Saskia (00:22:32):
"TR pattern technique is that you start with a simple basic pattern and you transform it by the actions that you take... inspired by origami techniques."

This method encourages designers to think beyond traditional two-dimensional patterns, fostering a deeper understanding of garment construction and enhancing creativity. Saskia credits Japanese designer Shingo Sato for pioneering these techniques, which emphasize hands-on learning and iterative improvement.

---

Saskia’s Collections and Collaborations

Saskia has presented her own couture collections internationally, often drawing inspiration from personal experiences and cultural elements:

• "Come Fly with Me" at Amsterdam Fashion Week (2017): Inspired by her husband's aviation business and their travels across Europe and Africa.

• Carnation Flower Collection: Launched post-COVID, symbolizing happiness, strength, and hope, this collection featured vibrant colors and creative designs.

• Collaboration with a Dutch Painter in Paris: Currently preparing a collection inspired by cloud paintings from both France and the Netherlands.

Additionally, Saskia has participated in fashion weeks in Bangkok, creating collections centered around Thai silks. These events foster a collaborative atmosphere among international designers, emphasizing creativity over competition.

Saskia (00:20:12):
"They create their own vision on fashion and it is like one big family and is very inspirational for all the designers."

---

The Netherlands Tour Workshop Details

Threads Magazine has organized an exclusive Netherlands Tour scheduled for October 5th through 14th, 2024, limited to 20 participants. The highlight of this tour is a three-day workshop led by Saskia Trevella.

Workshop Breakdown:

1. Day One: Draping Basics
   Focus on enhancing existing sewing techniques through draping, offering new perspectives on fabric manipulation and pattern adaptation.

2. Day Two: Silk Flower Creation
   Instruction on making intricate silk flowers, suitable for corsages, hat embellishments, wristbands, and more. This technique aligns with current fashion trends emphasizing floral designs.

3. Day Three: Mannequin Embellishment with Lace
   Participants will work on a half-scale mannequin, cutting and sewing lace pieces onto tulle to create unique decorative elements suitable for wedding dresses and evening wear.

Saskia (00:31:59):
"We are going to create our own vision on the mannequin with lace. And this will give you a beautiful base for wedding dresses, for evening wear..."

Preparation Tips:

• Bring reading glasses with good magnification for detailed work.
• Stay well-rested to fully engage in the intensive workshops.
• Maintain an open mind to embrace new techniques and experiences.

---

Conclusion

Episode 78 of the Threads Magazine Podcast offers a comprehensive look into the world of haute couture embroidery through the lens of Saskia Trevella’s expertise. From her humble beginnings to her international collaborations and innovative teaching methods, Saskia exemplifies the fusion of tradition and modernity in sewing. The upcoming Netherlands Tour presents a unique opportunity for sewing enthusiasts to learn from a master craftsman, explore new techniques, and immerse themselves in a vibrant creative community.

Listeners are encouraged to reserve their spots for the tour by visiting tours.threadsmagazine.com and to learn more about Saskia and her academy through the show notes at threadsmagazine.com.

---

Notable Quotes with Timestamps:

• Carol Frazier (00:02:04):
  "Welcome Saskia."

• Saskia Trevella (00:05:35):
  "I need to get the word out."

• Janine Clegg (00:12:49):
  "If people are interested, they can learn anything."

• Saskia Trevella (00:22:32):
  "TR pattern technique is that you start with a simple basic pattern and you transform it by the actions that you take."

• Saskia Trevella (00:26:46):
  "He explains everything. This is the specific online training for the TR Masters and TR Supermasters training that he gives."

• Saskia Trevella (00:31:59):
  "We are going to create our own vision on the mannequin with lace."

---

This episode is a must-listen for sewing enthusiasts eager to elevate their craft, explore innovative techniques, and connect with a global community of passionate designers.

Transcript

[Carol Frazier]

Carol, we must tell everyone about the trip we're planning and inviting you, our Threads audience, to take with us. October 5th through the 14th of 2024. We've put together an exclusive tour to the Netherlands to visit textile ateliers, museums and fabric shops.

[Janine Clegg]

And as the main event, we've arranged a three day workshop with Saskia Trevella of the Dutch Couture Academy. She'll give Threads travelers in depth instruction in draping on a half scale form along with couture embellishment techniques. The trip is packed with activities that are sure to inspire you.

[Carol Frazier]

To find out more about the Travel with Threads Netherlands Tour, go to tours.threadsmagazine.com the group is limited to 20 participants, so reserve your place now.

[Janine Clegg]

Welcome to Sewing with Threads monthly podcast with the staff of Threads Magazine. I'm your host Carol Frazier and I'm joined today by my colleague Janine Clegg and our special guest, Saskia Tervella. Saskia is speaking with us from Duisburg, a small town in the Netherlands where she is the founder and director of the Dutch Couture Academy. She learned how to sew at a very young age and became professional while she was raising her four children and then turned sewing into a full time business after her children left the house. It was at that moment that she fully immersed herself in different couture techniques. Among other areas, she has specialized in haute couture embroidery which she studied at Ecole Lesage in Paris and TR Pattern construction, which is a Japanese pattern cutting technique. She has shown her own couture collections in Amsterdam, Bangkok, Paris and London. She teaches a range of unique embellishment and design techniques at her academy with a team of international guest lecturers. On top of this, Saskia is a sought after mentor for students, apprentices and designers from around the world who wish to turn their creativity into a career. Welcome Saskia.

[Saskia Trevella]

Hi Carol. Thank you. Thanks for inviting me here.

[Janine Clegg]

Well, we're delighted to have you here with us and we have a lot of things that we can talk to you about, but let's start out by finding out about your training and your education in fashion and couture embroidery and embellishment. How did you start out with that?

[Saskia Trevella]

Now, I started with sewing and embroidery from a very young age. It was my natural field of interest and I developed it. And as a teenager I have sewn all my clothes myself. But during the years that I raised my children, I became a professional in sewing and pattern making and everything related. And gradually I grew more interested in the couture world because it works with beautiful materials. I love quality, I love beautiful design, I love attention to detail. And that all came together in couture. So I started to specialize in the techniques that make unique garments look precious, beautiful in different ways. Not only the fit and the way it is sewn, but also the embellishments that make it perfect for evening wear and special occasions. Yes. And it was like, only when my children left the house that I decided to do a real specialization in haute couture embroidery at Ecole Sage. And that made everything be seen in a different perspective. So this was a technique that is so unique and so French that although there were some people in the Netherlands practicing this type of art, they were not talking about it, not sharing their knowledge, not visible even in the fashion landscape. And I immediately, when I started, I knew, oh, I can bring this to the Netherlands. That would be cool, you know, like, really cool. So I started. I first went there to Paris to study a small introduction course to get a taste of it. And I fell in love with it completely. And to be able to go back and pay for the tuition and the stay and the travel, I decided to start teaching. So I already had my studio for, like 10 years. It was like a side thing, small, very small enough, nothing big. But I thought, okay, if I start teaching, I can earn the money to go back. And I didn't know by that time that this would not only greatly improve my learning curve. I learned so fast, so many details and so many things related to the embroidery, but it also started my business, really, in a huge way, because it was so specific, you know, so new. So people got excited easily.

[Carol Frazier]

Saskia, when you first started teaching, did you. Was there a demand for it? Did you have a lot of people interested in taking your class? And did they have a specific thing in mind if you did have a demand?

[Saskia Trevella]

There was a demand, but I created it as well, you know, so what I did realize, it was after my 45th birthday that I started doing this. So I realized, okay, if I'm going to sit in the attic, I had a beautiful attic space in town above the local offices. It was beautiful in an old building because it's an historical town. It's really nice. I had a beautiful studio. But I thought, okay, if I'm going to sit in this dark attic room, which is beautiful, but small and dark, and nobody sees what you're doing, that will not bring any good. Not to me, not to the world. So I need to get the word out. So it was like the start of the Internet. And I embraced the possibilities of the Internet. And imagine me like mom of four. I was at home. I knew how to write an email and I knew how to post something on Facebook and that was it. I didn't know anything. So really from that moment that I started to talk about ecolesage and what I learned there, I just that it was like telling people what I was doing, why, why I liked it and what was important and why it was important to me. I studied French in university before I became a mother. So going to Paris for Ecole sessions was like a dream really. But I embraced the possibilities of Internet. And while specializing in embroidery, at the same time, I started specializing in the use of the Internet. And that made all the difference. Imagine me still in that dark studio in the attic, but writing my blog and teaching my first class to four students. Making a big impact. Yes, it did. It's four students only for two days. And I just told them the things that I recently got to know while being in Paris for a short introduction course. But it was new, nobody knew it. So I had to prepare this course as well. I had to get the materials, the tools, the design. You cannot copy paste the design of Lesanges and do it yourself. So I had to think about all those details before I could teach. Now you probably know if you can read something and you know it with your head, you can do it and you know it with your hands. But when you teach it, it's a completely other level. You need to know it to a deeper level than if you just do it yourself. Then your hands start knowing what you need to know. But if you have to verbalize this, it's different. So my learning curve went steep up. It was really, really amazing. And then some magic started to happen. It is like me and my first try to write a blog. And then we have in the Netherlands a beautiful textile museum. And this museum is very modern, very state of the art, new technologies involved. So they bring together the history of textile in the Netherlands with the new technology and the possibilities and they bring in designers to co create in the museum. And it is very vibrant community. And they had a huge exhibition on a Dutch fashion designer, Jan Tamin, who is known for his richly embroidered dresses. And they asked him to provide an educational program in this exhibition for the people that come to the museum. That is like the last 10 years, that is a big trend in the Netherlands. How to involve people in the exhibition, how to get them, give them a feeling for what is happening there. And they Decided they wanted to imitate a real couture embroidery atelier within the exhibition. And they designed one of the spaces as this atelier. And they invited me to do the educational program for this exhibition.

[Carol Frazier]

Wow, what an honor. That's great.

[Saskia Trevella]

It was an honor. And it was still me in the attic writing my blog. And they came to my small studio in the attic and we talked about it. And I was confident that I could do it. I had never done it before. It needed to be a complete program with small workshops for young and old people, just one hour, and give them a taste of embroidery. But also for fashion students, longer workshops and things like that, and some masterclasses. And they started to promote it on their website and through their newsletter. And that was just enough for me to grow further in my business and get to know people that are the people that really love this type of craftsmanship.

[Janine Clegg]

Yeah, well, so you have students coming to you from around the world and also from within the Netherlands. What are their professional backgrounds that they are wanting to learn this type of embroidery?

[Saskia Trevella]

Great question. It is a surprise to me, but like 80% of my students are fashion professionals wanting to upscale, learn something specific, something special to make them stand out from the rest of their peers. But for me, like, I have been trained in a later stage of my life and I would have loved to go to art school, for example, full time. But that was not one of the possibilities as I thought it was with my family, with four children. So I was always looking for ways to be trained in a way that was able, that I could combine with my family. So when I teach, I have one rule. Everyone is welcome, everyone who is interested. Because I think if people are interested, they can learn anything. If you have an intricate desire to really know something, you can learn it. So I don't want to be very specific at the door and say, oh, no, you cannot come, you have not the right qualifications. And yes, you can come. Because motivation is key in everything and specifically in craftsmanship. You need to realize that if you really want to grasp a technique, you need to put in quite some time. Quite some time. Yeah.

[Janine Clegg]

I think that there's a talk in higher level sewing and embellishment and embroidery of gatekeeping and how some people are not allowed in because they don't fit the. As you say, they don't have the qualifications. But I agree with you. I mean, we know that many people who are absolutely amazing in all of these areas are started out more or less self taught and then, you know, educated themselves as they could Going to various classes or workshops or schools. And if they. Again, if they have the motivation and they have a sort of natural bent for it and the willingness to put in all that time and all that practice, they'll be fine with it. It doesn't. You don't have to have a certain type of background.

[Saskia Trevella]

Exactly, Exactly. And when it comes to the embroidery, we start from zero. Why? Because people that are very skilled in embroidery already and start to work on a frame, a large frame, and they start to work with different techniques and materials mixed up, they get confused totally. So they need to relearn a lot of things. So for me, it doesn't matter if someone is completely new to embroidery or a seasoned embroidery, both are welcome. And what I see as a big trend right now is that more and more artists in general are joining the course, the programs, because they want to add something with more texture to their art, whether it is photography, painting, or anything else. They see the beauty in the glamorous field, beads and sequins added to a textile surface. And there are so many possibilities and backgrounds. So within one class, people have completely different backgrounds, different ages as well. So most of them are between 35 and 55, generally. And some are in art or in fashion working. Others are trained in art or fashion and got a job to pay the bills at a bank or something very different. And they wonder at a later stage in their life, do I want to continue this type of work until I retire, or would there be a chance for me to divert a bit and try if I can do something creative still? And then they come here and discover a new world of possibilities.

[Janine Clegg]

You mentioned to me that you often have apprentices who are coming from other programs. Is that correct? And I'm just wondering what kind of programs they are in that they are also apprenticing with you. Is it a fashion degree, fashion design degree, or something like that?

[Saskia Trevella]

Most of the time, yes, it is. And then in the Netherlands, we have different programs for fashion. We have art school, fashion design. I get students from that. We have a tailoring program. So more the practical skills of sewing and pattern making, I get students from that. And we also have like a creative textile professional education, people that make bags or hats or textile designs, and they all can come here. Yeah, but every year I also have random people as interns here. For example, right now I have a lady of my age and she has had fashion education. She works already 20 years in a completely different field, and she wants to reconsider her possibilities in fashion. And she's here just one day a week to get inspired to see how things could work and where she would feel a connection for herself and in what she could do.

[Carol Frazier]

Saskia, you must inspire a lot of your students with some of your own collections. Can you talk a little bit about those, where you've shown them and what were the main themes for those collections?

[Saskia Trevella]

Sure. Thank you for asking. Yes, randomly, actually, I started creating my own collections and I love it. Initially, when specializing in embroidery, I started to present my embroideries to fashion designers in the Netherlands. And they were saying to me, okay, I love your work, but I have no clients that can afford this type of embroidery. And if so, it's very small amount of people. And then I will have my interns do it for me or my mother in law or something like that. So I will not invest in this specialty right now. So that made me think, okay, if I cannot present this to the Dutch designers around me, then I make my own collections. Because that was my initial education. I already did do that for many years, so why not do it myself? And so I started in 2017. In the month I turned 50, I had my first fashion show that was really very nice to do at Amsterdam Fashion Week. And it was a collection with the title Come Fly with me. My husband is a private pilot and has a business around aviation. And so we fly around Europe quite a lot and nowadays in Africa as well, and we see a lot of things. And this collection was inspired by our travels in Europe and Africa and. Yeah, and then I had another collection, for example, after Covid around the carnation flower. That has a lot of special meanings, but it expresses a feeling of happiness, strength and hope. And I thought that was very appropriate after these challenging years. And for the first time, I used a lot of colors in these collections and different ideas. And if you give someone a carnation flower, it is also to give someone courage to do something. And that was a beautiful idea for me in that period. Right now I'm preparing a new small collection. I'm working together with a Dutch painter who lives and works in Paris. And this week, actually, she's coming to visit my studio. And she made a collection of paintings of clouds both in France and in the Netherlands. And now I'm working on a collection that expresses my connection to France in a different way. And yeah, really exciting.

[Janine Clegg]

I know you also showed a collection in Bangkok on Thai silks. Can you talk a little bit about.

[Saskia Trevella]

Yes, yes. Yeah. That's a very special fashion week. I've been invited twice As a representative designer from the Netherlands to create a collection completely made of tie silk. And tie silk is a hand woven fabric. It is part of their cultural heritage. And it's incredible, beautiful. It's amazing to work with. And the beauty of this fashion week is that they, Thailand, they bring together all those designers from around the globe and they all create with the same fabrics. They create their own vision on fashion and it is like one big family and is very inspirational for all the designers. And as they are in different countries, there are no competitors. It's just one party of seeing the creativity in each other and sharing the love for craftsmanship, for fashion, for beautiful fabrics. And yeah, that's an amazing opportunity actually to work together in fashion.

[Janine Clegg]

I hadn't even thought about the idea of not being in competition with each other and how much fun that must be and how inspiring.

[Saskia Trevella]

Yes, it is.

[Janine Clegg]

Normally we think of designers as either working as sort of solo heroes or design competition TV shows like Project Runway, where everybody's trying to beat the other one and win. So working together and being collaborators or at least supporting each other is rather wonderful, I would think.

[Saskia Trevella]

It is. It is. And it gives me friends around the world, really people. I can write a message, ask questions that will visit me and I will visit them. It is exceptional. Yeah, yeah. Really nice.

[Janine Clegg]

I have a question about. We mentioned TR pattern cutting. And this is something that I've had a sort of a fascination with for a while. Transformational reconstruction. And I'm wondering, would you, would you explain it a little bit for our listeners?

[Saskia Trevella]

Sure, of course. So if you make garments, you work either with ready made patterns. Yes. Or if you are more advanced, you start drawing your own patterns, which is two dimensional. It's on paper, you take measurements and you make following certain rules, you make your own patterns. And you have to imagine how will it look like on the body because you can't see it. It is flat on the paper. So the only thing to see how it looks like would be to after you have drawn your pattern, you would sew it together as a sample garment and then try it on to see how it fits. Now, there is another way to create patterns, and that is on the body or on the mannequin with fabric, and that is called draping or moulage. Now, actually, what's this TR pattern technique is that you start with a simple basic pattern and you transform it by the actions that you take. And they are very diverse. There are many ways to make alterations to this basic garment and you transform it into designed Sculptural design, actually. And a lot of things are inspired by origami techniques, which you know from the folded paper. But still, if you have folded paper, it's flat paper, and you fold it, it's beautiful. And they make creatures. But what would happen if you would take this folding of paper that looks very crisp and clean, and you want to drape it around a female body with all its curves, like shoulders, hoops, waistline, hips? It's so diverse. And how to make something that still looks like the crisp origami technique, that is quite a difficult task. It's a challenge. And there is one specific designer, Japanese designer, that I have learned this from, and that is Shingo Sato. It's a Japanese designer, and he developed his own techniques, and he's very well known around the world. And he started teaching on Facebook in a specific way. And right now it's developing a little bit more. It's different, but in the time that I followed his training, it was in 2014, like 10 years ago, he would show videos online where he, step by step, shows how a specific technique would be done. You follow what he's doing, and you make your own version. You make pictures, and you send him the pictures, and then he says, okay or not okay. And if it's not okay, he doesn't tell you what's not okay. You just need to repeat the process until he is happy with it. And that seems to be a Japanese way of education. I don't know, but we are used to an explanation. We think in Europe, at least in the Netherlands, we deserve an explanation. Why is it not good? What is lacking? Please tell me. And if not, then you need to be willing to look at yourself and what you're doing very, very careful, and see what you can improve. And that's a tough process, really very challenging. And especially if there is a time restraint, and if you do not pass, you cannot complete this education. And that's the way I was taught this specific technique, and I love it, really. And right now, Fingo Sato is one of our guest lecturers here in. At Dutch Couture Academy. Yeah. He's a wonderful person. And he also teaches life. So not only online. Yeah.

[Janine Clegg]

Does he still teach that same way when he's. When he's at your studio?

[Saskia Trevella]

No, no, no, not at the studio. He's very approachable and very. He explains everything. So this is the specific online training for the TR Masters and TR Supermasters training that he gives. Yeah. But it has changed my view on what is possible in fashion. I will never look the same as patterns. I will never look the same at draping and moulage. His approach is so fresh and so practical and full of insight that you develop your understanding of garments, you develop it to a new level, and I love it. Really? Yeah.

[Janine Clegg]

I think that's what it was that interested me with this whole approach, because it feels like most of us understand what a pattern looks like and what it should turn into, because we've sewn with commercial patterns. And the range of clothing that you can make with commercial patterns is. I mean, it's actually rather limited when you think about it. I mean, there are a couple kinds of sleeves and, you know, you can do a lot of different things, but his. His designs are so, so different. And how can you even imagine making that in two dimensions or even three dimensions? And then going from three to two or from two to three seemed like a real puzzle that would be fascinating to. To learn more about. And I can see how when you're doing your master or your super master's training, that he wouldn't want to tell you that you would need to figure it out in order to really deepen your understanding of how it all works.

[Saskia Trevella]

Yes. Yes. Yeah. And I think that is one of the things in this whole training in craftsmanship, in fashion. Many people love this challenge, that it is a little bit hard to learn, a little bit hard to master, because it gives you a new level of focus on something and a goal to work to towards. And that in itself can be a great learning experience and very rewarding for yourself. You know, it has been hard. So once you master the skill, then you feel very happy about that.

[Janine Clegg]

Yes. And I am speaking from the upper reaches of some of the age brackets of your students, and I know that at a certain time in your life, sometimes you feel like, well, I've learned things and there's not really going to be another opportunity for me to really challenge myself and really feel great about what I have achieved. And every time you find something like that, it's. You increase your self esteem and you feel confident in a lot of ways, not just in the thing that you've done, but it helps you develop as a person too. It's worthwhile doing that for that purpose alone, even.

[Saskia Trevella]

Exactly. Exactly. Yeah. And my students, especially in embroidery, they say, I don't need any yoga lessons anymore because this is so mindful. This is so you are working on the millimeters of things and you are focusing. Do I get this stitch right or not? And this, this focus Gives no room to any other thought in your mind. And that is very freeing as well.

[Janine Clegg]

Yeah, I know you do tambour embroidery. Embroidery embellished with beading and sequins. Do you do other types of embroidery as well? Do you teach other kinds? A sort that's what I would consider more standard, where you're sewing kind of on the top of the fabric and not with a hook?

[Saskia Trevella]

That's a great question as well, because many people think that haute couture embroidery is equal to tambour embroidery. What I teach is called what I call embroidery d'art, which is the French term for art embroidery. And it is a combination of both needle and thread, traditional embroidery and tambour embroidery and all kinds of other types of embroidery. For example, silk ribbon embroidery can be part of it as well. There are goldwork embroidery can be part of it. I think actually if you use the term broderie d'art, you bring together everything that is used in Parisian embroideries for haute couture and anything is possible there. You develop some skills in specific techniques and you have all the materials in the world to use and you just apply the techniques that are giving you the result that you want in the end of a specific design.

[Janine Clegg]

Thank you for explaining that. I really wasn't sure what the terminology covered. And that is very exciting to have to have all of those techniques at your fingertips so that you can do whatever you really want to do when you're, you know, when you get a design going in your head.

[Saskia Trevella]

Yeah.

[Janine Clegg]

Well, our listeners may or may not be aware that Threads is planning a tour to the Netherlands in October, which will center around a three day workshop with Saskia. And we were going to ask you just now, Saskia, what you have in store for Threads travelers.

[Saskia Trevella]

Yeah. I'm so looking forward to meeting you.

[Carol Frazier]

Actually, we are too.

[Saskia Trevella]

So we have a three day program in mind with a focus on three different techniques that can enhance any garment project that you are working on right now. So one day we will center around the basics of draping as an addition to what you already know and do. So if you are working with traditional patterns, ready made patterns, then this workshop will give you new ideas how you can work starting from scratch and create something, maybe adapt a pattern that you already have. You will get some insight into what you can do with fabric and a basic shape. A second day, we will make silk flowers, which is a beautiful technique that will give you the possibility to make your own corsages, your own decorations, embellishments for hats, for wristbands also for flowers within embroidery projects or within quilting projects, or for your interior. It is very diverse, applicable technique and it works with silks and it's beautiful and it's very specific. And I think this will help anyone who sews or embroiders to create new things that are not reachable yet. But once you know these tricks, then you are totally capable of realizing that for yourself. And then the third day, we will work on a half scale manaka with a tool base. And this tool base will be prepared for you. And what we are going to do, we are going to cut lace in pieces. So the general couture way of working with lace would be that you cover your seams with overlapping lace and cut it in and it will fall. It will have a natural flow in it. Really beautiful. But what we are going to do, we are going to create a new type of lace with pieces of lace. So we will, like an artist, paint with the lace on the tulle. So the tulle will hold everything together. And we will create our own vision on the manaka with lace. And we will hand sew it to the tulle. And this will give you a beautiful base for wedding dresses, for evening wear, for if you are mother of the bride, it will give you all you need to know to create a unique dress or top to go with pants or whatever you like.

[Carol Frazier]

Yeah, that sounds wonderful. I can't wait. I have to ask you, how should we prepare for the class?

[Saskia Trevella]

Be well rested.

[Janine Clegg]

Bring our glasses. The glasses with the good magnification.

[Saskia Trevella]

Bring your glasses. Do you know there is a special tool if you are having trouble watching things, that there is a special clip that you can put on your glasses that magnifies even more. That can be very useful if you have difficulty seeing things closely. But we are not going really deep into embroidery, so it doesn't matter that much, probably. Yeah, I think you should just be open to new experiences and I'm sure you will enjoy.

[Janine Clegg]

Yeah, it really sounds great. It sounds like the sorts of things that you might play around with on your own. And the silk flowers in particular. Boy, this season there are flowers all over the place on the runways and it's a great time to learn how to do that. I have tried making flowers. Well, I've used artificial flower petals and things in the past and they never make you happy. You know, the colors are kind of garish and you don't get to choose the shape or anything. So this should be really a lot of fun.

[Saskia Trevella]

It is, it is.

[Janine Clegg]

And to feel like you're part of a tradition of this sort of couture artisanry. This is something that we don't really have much in the United States. I'm trying to think if we do, there might be somebody who makes flowers, but mostly we don't. And so this is new for, I think, for most of us who grew up in the States and learned to sew here. Well, I'm very excited about this trip. I've loved talking to you, Saskia. We all are.

[Carol Frazier]

We are both very excited about this. All the sessions sound wonderful. Thank you for putting that together and.

[Janine Clegg]

Thank you very much for talking to us. We're running out of time, so we're going to sign off now and we, we hope our listeners are also have had their interest piqued and will take a look on our website. Look for SaskiAutchCoutureAcademy NL did I do. Is that correct?

[Saskia Trevella]

Com? Yeah.

[Janine Clegg]

Is it com coutureacademy.com okay, read our show notes please, which will be [e-mail] and we'll have more information there with links to the Dutch Couture Academy and to the registration and information page for this trip. And just to find out more about Saskia as well. So thank you very much for joining us.

[Saskia Trevella]

Thanks for inviting me. It was a pleasure meeting you here.

[Carol Frazier]

Yes, thank you, Saskia. And thank you all for listening. Please remember to send your comments, questions and suggestions to threadsmagazine.com and please like comment and subscribe wherever you are listening. Until next time, keep on sewing with threads.