Ronke Luke-Boone - African Fabrics: Sewing Contemporary Fashion with Ethnic Flair

African Fabrics

Ronke Luke-Boone

2001 by Ronke Luke-Boone
All rights reserved.

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Published by

Krause Publications
700 East State Street
Iola, WI 54990-0001
Telephone (715) 445-2214
www.krause.com

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Library of Congress Catalog Number 00-107842
ISBN 0-87341-914-6
eISBN: 978-1-4402-1968-9

Some products in this book are registered trademarks of their respective companies:

ABC Wax

Armo

ebay

Folkwear

Fray Chek

Hibiscus

Ivory

Woolite

Unless otherwise noted, all photographs by Ronke Luke-Boone.

Foreword

I n our everyday world, fabric is often taken for granted because its almost as prevalent as the air we breathe. It touches us constantlyprotecting us, adorning us, and distinguishing us from one another. As a clothing maker and designer, however, my relationship with fabric is quite the opposite. In fact, I have an ongoing love affair with fabric. Its the essence of the garments I make and it supplies me with the inspiration for making them. I value fabric because of its exciting variations in color, texture, fiber, and design. And I marvel at its many forms, whether its the product of nature or the laboratory. Fabric can be strong or delicate, utilitarian or luxurious.

In my explorations as a wearables artist and maker of pieced clothing, I use a variety of fabrics in my work, but I especially enjoy using ethnic fabrics from around the world because they bring a richness and individuality to every garment. These wonderful textiles offer more than just surface beauty with their extraordinary patterns and textures. Theyre filled with a sense of history and craftsmanship that reflects the pride and skill of their makers and has often been passed down through generations. Each ethnic fabric seems to have a story and an identifying feature that tells us where it came from. But because fabric is resilient and versatile, these textiles can live perfectly well outside of their own stories, making the transition from ancient cultures to contemporary lifestyles while still maintaining their integrity as they find their way into our modern garments, quilts, and decorations for the home.

The designs of Ronke Luke-Boone are a perfect example of the bridging of tradition and today. Her designs reflect her growing up in West Africa where she was surrounded by the textiles of her culture and where she came to cherish their history, appreciate the craftsmanship in their creation, and recognize the stories they represent. But her designs also reveal her love of contemporary fashion. From the very first time I saw them, I was struck by the fresh way in which she takes a fabric like mudcloth, for example, and uses it in fashionable little dresses, stylish jackets, and show-stopping coats. She is a woman after my own heart whose love affair with fabric and fashion has encouraged her to explore the possibilities that traditional ethnic fabrics provide.

Ronke has worked with all of these wonderful African fabrics and has learned to sew with them, discovering along the way that hand-loomed fabrics often have minds of their own. She has developed ways to tame their quirks with streamlined sewing methods that lead to successful results. And best of all, she shares what she has learned through the classes she teaches and now in this delightful book. Sewing is often a process of trial and error, and Ronke has done much of the testing for us. This book is a technical resource for anyone wanting to sew with authentic African textiles, but its also a source for inspiration. It points us in new directions without letting go of the rich traditions.

Mary Ray
Associate Editor, Threads Magazine

Acknowledgments

Enthusiasm begets enthusiasm
Henry Wadsworth Longfellow, poet

T his book is a dream come true. I have taught workshops on designing contemporary fashion with ethnic fabrics for several years. Many who have taken my class love African textiles but have no idea what to do with them. It has been rewarding to share ideas with them and see their creativity flourish; however, I can only reach a few people through my workshops. With this book, I hope I can share my knowledge with and inspire you. Many people were critical in turning this dream into reality. First and foremost, I thank God; my courage to do much is anchored in my faith. I thank my parents, Elizabeth and Egerton, for inspiring me to sew as a child. Their decision to buy me endless yards of fabric to make party dresses, rather than buy them, was a stroke of genius. I also thank the men in my lifemy husband, David, and my brothers, Olu, Kwame, and Emilewho form my fashion critique board and patiently listen to every great new idea I have. David, I also thank you for allowing me the space to explore my ideas. Olu, I thank you for sharpening my artistic eye and modeling. Kwame, you showed me that I can dare to dream big. Emile, I thank you for anchoring me in reality.

I shall remain forever indebted to my friends Karen Dove, Lisa Scott, Karina El-Halabi, Sharon Autrey, Chris Haggerty, Paula Cain, and Mohammed Bah for being so willing to help. Karen, Lisa, and Karina modeled, Sharon, Karina, and Chris illustrated my fashions, and Paula and Mohammed helped with sewing. Chris, thanks for your help with the cover design.

My gratitude goes to all who provided photographs: Doran H. Ross, Nestor Hernandez, Louise Meyer, Joan Baxter, John Nash, Wayne Kiltz, and Bosompin Kusi.

I thank Kim Johnson, Duane Pergerson, John Rusnak, Nestor Hernandez, and Ken Hong for photography. Thank you, Duane, for stepping in to model. Thanks to the guys at McLean Photo for your encouragement and great service.

I also thank Brenda Winstead, Dominik Cardella, and Lisa Shepard for loaning their designs. Thanks also to Trina Bowen and Toni Hurd for modeling.

My thanks to the following businesses for their assistance and encouragement: A. Brunnschweiler & Company (ABC Wax), G Street Fabrics, Miya Gallery, Quilts N Stuff, Curran Square Fabrics, West Africa Imports, Kente Cloth Festival, Inc., and www.african-crafts.com.

I thank my mother, Elizabeth, my brother, Emile, Laura Harris-Chwastyk, Moira Shaw, and Kwabena Smith for seeing me through difficult stretches. Thanks also to Louise Meyer, Madeline Shepperson, and Vernard Gray for all the wonderful discussions.

I thank my publisher, Krause, for believing in this project. I also thank Seiche Sanders and my editor Amy Tincher-Durik who were wonderful to work with.

The sleepless nights and hunger pangs were worthwhile to make this dream a reality, for now I

Taste the joy that springs from labor