I thought it might be interesting if you don’t actually know about my day to day job to hear a little bit more about editing a sewing magazine.
I have now been working in publishing for 10 years. For several years I edited legal publications for solicitors and barristers, and then I spent a few years as a publishing specialist reworking print titles into eBooks and online titles. Then in June 2015 I joined the Love Sewing team. I really enjoy being able to combine my two passions of publishing and sewing. The worst bit is probably the timelines you need to work to: Magazines are very demanding because there’s no let up or downtime with what you need to squeeze in to your working week.
The magazine is based in Stockport and is part of a publishing group that has 10 other craft magazines all under one roof. I sit in the Softcrafts team so I’m surrounded by sewists, quilters, knitters, and crocheters and creative designers in the art team; all wonderfully inspiring people. With 14 issues a year of 100 pages and two pattern gifts every time, it’s a busy schedule and I rely on my deputy editor to help me write/source content for every page, then edit, proof and approve the magazine. Every day is slightly different as my month generally falls into two halves – the two weeks when we produce an issue and the two weeks where I plan the upcoming editions. More often I’m having to do both tasks at the same time to keep ahead of the schedule.
When we work on an issue word documents are edited then ‘subbed’ by another team to double check spelling, punctuation and grammar and add instructions for the art team. Art lay out the pages and then we proofread to ensure all the text, imagery, and even the page numbers, are as they need to be. We use job bags that we pass between each other to mark the progress of the pages throughout each stage and create PDFs for each article or project using Adobe inDesign. When an issue is ready we send every page to the printer along with a cover. On issues where we include a bonus second magazine with the issue, that usually has to be finished by the same date as well which can add another 60 or so pages into the month… Safe to say celebratory press day pizza and wine is a regular occurrence in my house.
The rest of the time I’m generally planning around 3-6 months ahead; picking pattern gifts, arranging projects, lining up articles and interviews, plus searching for great new fabrics! There are also client meetings, production catchups, consumer shows and magazine reviews. I’m currently finishing summer issues, planning Christmas, getting ready for two shows, and also thinking ahead to early next year in case Sewing Bee has another early air date. Talking about Christmas now might sound crazy but it sort of works because I then get it done and put it out of my head long enough to get excited about real Christmas later in the year! Publishing is really like project management in a lot of ways – it’s scheduling, budgeting, organising yourself and others, and being disciplined in all these areas.
As I’ve been sewing a long time now I act as technical editor for the magazine as well, meaning I have to be able to suggest tips for construction, write about fabric handling methods and explain various techniques. We also work with industry experts to share their knowledge on couture techniques, fitting tutorials, and inspiring tips and tricks. Our resident columnists are Alison Smith MBE, Elisalex de Castro Peake, Claire-Louise Hardie, Stacey Chapman and Wendy Gardiner. Working with these ladies over email is wonderful and together we spark ideas for brilliant new pieces plus they’re great fun on the days when we finally get to catch up in person. Go on one of their amazing workshops, I dare you!
I commission a number of independent designers to create the projects inside the magazine and we work together to pin down the style and details in the garment before they make up the pattern and a sample garment. The paper pattern garments are made up by seamstresses so I have to pick the fabric and plan the covers and envelopes to make them bold and bright. Picking fabric is a huge part of my job so I’m always searching through shops online and obsessively looking for the best prints and colours to use in the magazine.
My favourite parts of the month are the regular photoshoots we have. With four magazines that have model photography we regularly have shoots and all try and put a few garments onto each shoot. I often run out the office, across the road with a pile of dresses in hand and spend an hour or so, creating the images you see in the mag with the studio team before running back to the office. Some days we spend longer shooting an entire morning with one model for several issues of Love Sewing and getting a few cover shots as well. Renata is our talented fashion photographer, Nina provides gorgeous hair and make up.
As you might know I have a reader over to the studio every month and love spoiling them with their own private photography session. Everyone arrives saying they aren’t that confident in front of the camera but by the end of the afternoon we have oodles of gorgeous shots showing off their make and their gorgeous personality. We started this around issue 38 and now the issue 70 reader is coming over next week. We’ve had sewing celebrities, ladies who have brought their bestie for moral support, women who don’t normally wear make up, even a big group of ladies all in one go. It’s always a great afternoon and always over too soon.
Everyone’s route into publishing is different. I have a Degree in English Literature, and a Masters in Creative Writing. To get my first publishing job I also had to pass a series of tests – grammar, spelling and punctuation, plus typing and how to style a document. To get the Love Sewing Editor role I had to talk through the titles I’d managed to date, plus show I had the planning skills to put together an example features list. I was also expected to have a strong knowledge of the industry by describing the key sewing titles, pattern companies, experts, websites and bloggers. Plus I obviously had to talk about what makes a good-looking fabric, garment and magazine! (The key area of difference between book and magazine publishing is the sheer quantity of pictures.) I’m now the Managing Editor of Quilt Now magazine where I work alongside the Editor Bethany, as well as keeping control of Love Sewing.
If you liked this post you might like to read some interviews I’ve done in the past!
A few months ago, a group of 5th-year architecture students at the University Of Southern California (USC) were given an unusual challenge: select two materials to design and construct… a Mao jacket.
The assignment from Associate Professor Lee Olvera was clear and brief: “Select two materials maximum. Experiment with joinery, creating a skin or ‘fabric’, testing all potential material properties. After two weeks of speculating about how the materials will perform, select your materials. Once committed, you may not switch. Print out the studio-selected pattern for a Mao jacket, chosen for its conformity and lack of detail. Construct a wearable jacket. You have five weeks, start to finish.”
It took about 10 hours for Nick Tedesco to hand-sew a square foot of his jacket – formed of 12,244 pencil erasers, sewn one by one in a colorful chevron pattern.
Some surprises were happy ones. Tamar Partamian, who laboriously wove the strands from seven cassette tapes, found that the resulting fabric was much silkier and shinier than expected.
Corey Koczarski started with Rockite, a substance used for patching cracks in concrete. He cast Rockite in silicon molds, experimenting with thicknesses and profile to come up a shape that could be reproduced 4,948 times and linked together.
At the exhibition, the designers happily spent hours explaining their projects to onlookers. Several tried on their jackets, proving they could be worn. Calvin Lee, whose lightweight garment of crocheted electronics wire had the most tailoring details (four working pockets with flaps, a pointed collar and buttons), said he was considering wearing his jacket to graduation.
Now doesn’t sewing with fabric and thread seem a whole lot less intimidating?
Read an interesting interview with the challenge creator, Associate Professor Lee Olvera here.
(All images from University of South California Flickr Page and videos from the USC YouTube channel)
Today I’d like to share some wonderful art pieces that I think you’ll enjoy.
They are all stitch related in some way and I find them extraordinary, witty and beautiful. I hope you do too!
Daniel Kornrumpf mimics brush strokes through thread, so so clever!
Jose Romussi is an artist who embroiders over the top of (predominantly black and white) fashion magazines, advertisements and old photos with stunning effects.
This chuckle-inducing craftivism project by mollyeeeee.com brings together Lionel Ritchie lyrics, abandoned furniture and Embroidery to create Lionel Stitchie! Plus she encourages anyone interested in buying her work to instead donate money to cancer research.
Mister Finch is a textile artist who uses scraps of thread, fabric and paper which are stitched and pulled together into captivating creatures and plant life.
Finally I shared these beauties two years ago but can’t resist including them again.
Karen Nicol’s animal portraits amaze me.
Words cannot properly explain what she does given the variety of techniques used. Her Monkey portraits are my favourites. You must check her out and her new pieces including this amazing bull.
And finally the fabulous Lionheart Project of crochet lions that has travelled the country (sorry the Website appears to be down at present – hopefully because adding more dates for 2014).
What did you think? Do these works inspire you like they do me?