Interview Questions for Textile Arts and Vestment Making

My experience in textile techniques encompasses a wide range, crucial for vestment creation. I’m proficient in weaving, both with traditional looms and more contemporary methods, allowing me to create custom fabrics with specific textures and weights ideal for liturgical garments. I’m also deeply skilled in embroidery, including various stitches like couching, satin stitch, and French knots, often incorporating metallic threads for added richness. Furthermore, I’m adept at appliqué, creating intricate designs by layering fabrics, and I’m experienced in dyeing techniques, from natural dyes for historical accuracy to modern synthetic dyes for vibrant colors. Finally, I possess a strong understanding of pattern cutting and draping, essential for achieving the precise fit and elegant lines required in vestments.

• Weaving: I’ve worked with silks, wools, and linens to create fabrics with specific drape and durability.
• Embroidery: I’ve recreated historical embroidery patterns and developed my own designs, incorporating symbolism relevant to the vestment’s purpose.
• Appliqué: I use this technique to incorporate intricate details and symbolic motifs, often layering fabrics with contrasting textures.

Fabric selection for liturgical garments is crucial; it impacts both the aesthetic and the garment’s longevity. Heavyweight fabrics are preferred for their durability and ability to withstand repeated use and cleaning. The choice depends on the specific vestment and the liturgical tradition. For example:

• Silk: Offers a luxurious drape and rich sheen, perfect for chasubles and dalmatics, but requires careful handling.
• Wool: Durable and warm, ideal for colder climates; often used for copes and chasubles.
• Linen: A breathable and strong natural fiber; suitable for stoles and albs, especially in warmer climates.
• Velvet: Adds texture and opulence, often used for decorative accents or entire vestments, but needs careful cleaning.

The fabric’s weight, drape, and ability to hold embroidery are key considerations. Synthetics are sometimes used for linings or less prominent elements, offering affordability and easy care, but natural fibres are often preferred for their beauty and breathability.

My understanding of historical vestment design and construction is grounded in extensive research. I study period illustrations, surviving examples, and historical texts to understand the evolution of design elements and construction techniques across different eras and liturgical traditions. For instance, I’ve examined the cut and construction of medieval chasubles, noting their distinctive features like the orphrey (decorative bands) and the use of specific stitching techniques. Similarly, I’ve studied the evolution of albs and stoles, tracing the changes in shape and ornamentation over centuries. This historical knowledge informs my contemporary designs, allowing me to incorporate traditional elements while adapting them to modern needs and aesthetics. Understanding historical techniques also enables me to restore or conserve antique vestments, ensuring the preservation of important liturgical artifacts. For example, repairing a damaged medieval cope requires an understanding of the materials and stitching used at the time, ensuring authenticity in the restoration.

Intricate embroidery and embellishment demand meticulous attention to detail and appropriate techniques. I begin by carefully transferring the design onto the fabric using tracing methods suitable for the fabric type. I then select threads and needles that complement the base fabric and the desired effect. For example, metallic threads require specialized needles to avoid breakage. I work in stages, securing each section of embroidery before moving on to the next. This prevents distortion and ensures evenness. The type of embroidery dictates the approach; for example, delicate lace requires a lighter touch than bold couching. I often use a hoop or frame to maintain fabric tension, crucial for preventing puckering and ensuring the embroidery’s longevity. If a design is particularly complex, I may create a sample section to test the technique and adjust as needed before embarking on the complete piece.

Creating a pattern for a chasuble or other complex vestment is a multi-step process. I begin by gathering reference images and historical examples, analyzing the garment’s shape and construction. Then, I create a basic pattern using draping techniques or flat pattern making, depending on the desired style and the fabric’s drape. This involves creating a toile (muslin mock-up) to test the fit and refine the shape before transferring it to the final fabric. Complex elements, such as the orphrey or the shape of the back, require precise measurements and careful adjustments to ensure the finished garment conforms to the liturgical requirements and looks aesthetically pleasing. For example, for a chasuble, I meticulously draft the pattern to create the correct curves and shaping at the shoulders and around the opening, resulting in a well-fitting and elegant garment.

Durability and longevity are paramount. I use high-quality materials, selecting fabrics known for their strength and resistance to wear and tear. Seams are reinforced with additional stitching or interfacing, particularly in high-stress areas like the shoulders of a chasuble. I also pay close attention to finishing details; neat seams and well-secured hems are essential for preventing fraying and damage. The choice of lining can also influence durability, offering protection against wear and tear. Finally, I provide clients with clear care instructions, outlining appropriate cleaning and storage methods to maximize the life of the vestment. This might involve recommending professional cleaning for delicate fabrics or suggesting storage methods to prevent damage from light or moisture.

Color and symbolism are fundamental in vestment design. Colors carry specific liturgical meanings, varying across denominations. For example, purple often signifies penance or royalty, while white represents purity, and green symbolizes hope. Red might represent the Holy Spirit or the blood of Christ. Understanding these symbolic associations allows me to create vestments that communicate the intended meaning with precision. The client’s liturgical tradition and specific needs heavily influence the color palette. Beyond color, the design elements themselves can carry meaning. Intricate embroidery or appliqué could represent specific biblical scenes or symbolic motifs. For example, a chasuble depicting the vine and the branches symbolizes Christ’s connection to his followers. Collaborating closely with the client is vital; we discuss the intended use and context to ensure the symbolism reflects the desired message.

My experience with stitching techniques in vestment construction is extensive, encompassing a wide range of methods tailored to the specific fabric and design. I’m proficient in both hand-stitching and machine stitching, adapting my approach based on the project’s requirements.

• Hand Stitching: I regularly employ techniques like running stitch, backstitch, slip stitch, and blanket stitch for intricate details, repairs, and applications where a machine is unsuitable. For example, a delicate blind hem on a liturgical stole might require a slip stitch for invisibility. Similarly, decorative elements often necessitate techniques like blanket stitch or French knots.
• Machine Stitching: I am adept at using various machine stitches including straight stitch, zigzag stitch, satin stitch, and blind hem stitch. Straight stitch is the foundation for many vestment constructions, while zigzag is crucial for securing seams and preventing fraying on delicate fabrics. Satin stitch creates beautiful, dense decorative elements, and a blind hem is vital for creating professional-looking finishes. I’m skilled at adjusting stitch length and tension for optimal results on diverse materials, from heavy brocades to fine silk.
• Specialized Techniques: My expertise extends to specialized techniques like French seams (for a clean finish on lightweight fabrics), felled seams (for durable and invisible seams), and ladder stitching (for creating decorative elements).

Understanding the appropriate stitch for a given task is paramount. Choosing the wrong stitch can compromise the vestment’s durability, aesthetics, and overall integrity.

Approaching alterations or repairs on existing vestments requires a delicate balance of preservation and functionality. I meticulously assess the damage before proceeding, considering the fabric’s age, composition, and condition.

My approach typically involves these steps:

1. Assessment: Carefully examine the vestment to identify the extent of damage, including tears, stains, and weakened seams.
2. Material Selection: Choose repair materials that closely match the original fabric in terms of color, texture, and weight. This often involves sourcing archival-quality threads and fabrics.
3. Repair Technique: Select the most appropriate stitching technique to ensure the repair is both functional and aesthetically pleasing. Invisible mending is often preferred for less visible repairs. For more substantial repairs, I might use techniques such as patching or darning, carefully matching the stitch type and density of the original garment.
4. Cleaning (if necessary): Before and after repairs, gentle cleaning might be necessary, using methods appropriate for the vestment’s fabric. This often involves professional cleaning services specializing in textiles.

For example, repairing a small tear in a chasuble might involve using a fine needle and thread to invisibly stitch the tear together using a slip stitch. A more substantial tear might require a patch secured with careful hand-stitching, matched to the original fabric as closely as possible.

My proficiency with sewing machines and tools is a cornerstone of my expertise. I’m familiar with both industrial and domestic sewing machines and can operate them with precision and efficiency.

• Sewing Machines: I’m comfortable using various types of sewing machines, including straight stitch, zigzag stitch, and overlock machines. I understand how to adjust stitch settings, tension, and pressure for different fabrics. I also have experience working with specialized machines for tasks like embroidery and quilting, which are occasionally relevant for decorative details on vestments.
• Hand Tools: My tool kit includes a range of hand tools essential for vestment construction and repair, including various sizes of needles, seam rippers, scissors (both fabric shears and embroidery scissors), tailor’s chalk, measuring tapes, pins, and various types of thimbles.
• Specialty Tools: I also utilize specialized tools such as steam irons (for pressing), pressing ham (for creating crisp seams), and pattern weights (for accurate pattern placement).

The ability to select and efficiently use the right tools for a specific task is crucial in creating high-quality vestments. For instance, using the wrong type of needle can break the needle or damage the fabric.

Managing multiple vestment projects simultaneously requires a structured approach to time management and prioritization. I utilize a project management system that combines scheduling with detailed task breakdowns.

My system usually involves:

• Detailed Project Breakdown: Each vestment project is broken down into smaller, manageable tasks, with deadlines assigned to each.
• Prioritization Matrix: A prioritization matrix helps me focus on urgent and important tasks first, considering factors like deadlines, client expectations, and fabric availability.
• Scheduling and Time Blocking: I allocate specific time blocks for each project, ensuring sufficient time is allocated for complex tasks. This helps maintain focus and prevents task overload.
• Regular Check-ins: Regular check-ins ensure that all projects are progressing smoothly and deadlines are met. I may also adjust the schedule based on the complexity of each task.

For example, if I have several projects in progress, I might dedicate mornings to tasks requiring high concentration, such as intricate embroidery, and afternoons to less demanding tasks, like basic stitching or pattern cutting. This approach allows for balanced workload management and ensures timely delivery of all projects.

Textile conservation and preservation are of utmost importance when working with vestments, particularly older or historically significant pieces. My understanding encompasses the principles of minimizing further damage and ensuring longevity.

Key aspects include:

• Environmental Controls: Maintaining stable temperature and humidity levels to prevent deterioration caused by fluctuations. Extreme temperatures and humidity can weaken fibers and encourage mold growth.
• Proper Handling and Storage: Using acid-free tissue paper and appropriate storage containers to protect vestments from light, dust, and pests. Acidic materials can damage textile fibers over time.
• Cleaning and Repair: Utilizing appropriate cleaning and repair methods, employing archival-quality materials whenever possible, to avoid further damage. This frequently involves working with professional conservators for delicate items.
• Pest Control: Implementing measures to prevent pest infestations, such as regular inspections and the use of approved pest control methods, to prevent damage to fabric.

For instance, a valuable antique chasuble might require specialized cleaning by a conservator using vacuuming and carefully targeted spot cleaning, rather than immersing the entire garment. Storage would involve placing it in an acid-free box within a climate-controlled environment.

Maintaining accuracy and precision is crucial in vestment making. It’s not just about aesthetics; it directly impacts the functionality and longevity of the garment.

My strategies include:

• Precise Pattern Making: Using accurate measurements and precise pattern drafting techniques to ensure the garment fits correctly and looks professional.
• Careful Cutting: Using sharp shears and paying close attention to grain lines and pattern placement to minimize fabric waste and prevent distortions.
• Accurate Stitching: Maintaining consistent stitch length and tension, utilizing appropriate seam finishes, and paying attention to details like precise seam allowances.
• Regular Quality Checks: Performing regular quality checks at various stages of construction to identify and correct any errors before they become major issues. This includes checking for fabric alignment, seam accuracy, and overall fit.
• Use of Measuring Tools: Consistent reliance on rulers, measuring tapes, and other tools to ensure consistent measurements throughout the process.

For example, using a tailor’s square to accurately mark out right angles or measuring twice before cutting ensures the final garment meets the highest standards of precision.

I am familiar with several software programs for designing and drafting patterns, each with its strengths depending on the project’s complexity and my needs.

• Adobe Illustrator: I use Illustrator for creating intricate designs and technical drawings, and for manipulating vector-based patterns for greater precision.
• Pattern-making Software (e.g., Optitex): For more complex projects, I leverage dedicated pattern-making software, allowing for 3D modeling and adjustments, ideal for achieving a precise fit and efficient fabric usage.
• CAD Software (e.g., Lectra): For large-scale production or complex liturgical garments, I often utilize CAD software to create precise patterns and generate cutting files for industrial cutting machines.

My experience using these programs allows me to create professional-looking patterns and ensure accurate scaling and fitting across a wide range of vestment designs.

Sourcing high-quality fabrics is paramount in vestment making. It directly impacts the longevity, drape, and overall aesthetic of the final piece. My process involves a multi-pronged approach:

• Direct Mill Relationships: I cultivate relationships with reputable mills specializing in liturgical fabrics. This gives me access to a wider selection of materials, often including exclusive weaves and colors, and ensures consistent quality control. I’ve worked with a mill in Italy for years, known for their exquisite silk brocades.
• Fabric Shows and Trade Events: Attending industry events provides exposure to the latest innovations and allows me to personally inspect the textures, weight, and colorfastness of fabrics. I recently discovered a stunning hand-woven linen at a show in Lyon.
• Online Research and Trusted Suppliers: While online sourcing is convenient, I prioritize established suppliers with proven track records and detailed fabric descriptions. Careful attention to reviews and detailed product information is crucial.
• Sample Testing: Before committing to a large order, I always request samples to assess drape, durability, and how the fabric will react to embellishment techniques. I even test for colorfastness by submerging a small piece in water to ensure it won’t bleed.

This meticulous sourcing process ensures that I use only the finest materials, reflecting the importance and reverence associated with liturgical vestments.

Trims and embellishments are integral to the artistry of vestment creation, adding layers of detail and symbolism. My experience spans a broad range of materials and techniques:

• Orfroies: I’ve worked extensively with orfroies (richly embroidered bands), often incorporating gold and silver threads, to add regal accents to chasubles and copes. The intricate detail requires both skill and patience.
• Appliqué and Embroidery: I frequently use appliqué, adding symbolic motifs like crosses or floral designs. Hand-embroidery adds a personalized touch, using techniques like couching, stem stitch, and French knots to create intricate patterns. I’ve even incorporated some modern techniques like machine embroidery for repetitive designs to save time.
• Lace and Fringe: Delicate laces and fringes add texture and elegance, enhancing the overall look. The choice of lace depends on the style of vestment and the desired level of formality. For example, Alençon lace would be fitting for a high-mass chasuble, while a simpler cotton lace might be appropriate for a less formal vestment.
• Beading and Stones: I’ve incorporated semi-precious stones and beads for adding subtle yet impactful details, often to complement a liturgical theme. For example, using amethyst for Lent.

The selection of trims and embellishments is carefully considered, ensuring they harmoniously complement the fabric and the overall liturgical context of the vestment.

Achieving the proper fit and drape of a vestment is crucial for both functionality and aesthetics. It’s an art that combines precision tailoring with an understanding of the fabric’s inherent properties.

• Detailed Measurements: Accurate measurements are paramount. I take multiple measurements from the client, ensuring a comfortable and precise fit. This includes not only the standard body measurements but also the height and posture to ensure proper drape.
• Muslin Mock-ups: Before cutting into the final fabric, I create a muslin mock-up—a test garment made from inexpensive fabric—to refine the pattern and ensure a perfect fit. This allows for adjustments to be made before the expensive final fabric is used.
• Fabric Drape and Weight: The choice of fabric significantly influences the drape. Heavier fabrics, like brocade, require different pattern adjustments compared to lighter fabrics like linen. Understanding the inherent properties of each fabric is crucial for creating the desired fall.
• Seams and Construction: Seams are carefully constructed to ensure a smooth, clean finish, avoiding unnecessary bulk. The techniques used in construction heavily impact drape—French seams, for example, provide a refined, flat finish.

By paying close attention to these details, I create vestments that not only fit perfectly but also exhibit an elegant and graceful drape.

The liturgical significance of vestment styles is deeply rooted in tradition and symbolism. Each vestment’s color, shape, and embellishments carry specific meaning.

• Chasuble: Represents Christ’s sacrifice and the mantle of love he bestowed. Its shape varies by liturgical tradition.
• Stole: Symbolizes authority and pastoral ministry, with its length and color varying depending on the liturgical rank and occasion.
• Albe: Represents purity and innocence, often made of plain white linen.
• Cope: Used for processions and represents the pastoral care of the people.
• Colors: Each color holds profound meaning. White signifies purity and joy, purple signifies penitence, green signifies hope, red signifies the Holy Spirit and martyrdom, and black symbolizes mourning.

Understanding this rich symbolism is essential in designing and creating vestments that accurately reflect their theological context. I always research the specific liturgical needs of my clients before starting a project.

Client consultations are the cornerstone of my vestment-making process. I believe in a collaborative approach that ensures the final product aligns perfectly with the client’s vision and liturgical needs.

• Initial Consultation: This involves a detailed discussion about the client’s requirements, including the type of vestment, liturgical context, preferred colors, fabrics, and any specific symbolic elements they wish to incorporate.
• Design Sketches and Mood Boards: I create sketches and mood boards to visualize the design, incorporating the client’s feedback at every stage. This helps them understand the process and visualize the final result.
• Fabric Selection: I present a selection of fabrics that align with the client’s preferences and budget, discussing the drape, durability, and suitability for embellishments.
• Regular Updates: I keep clients informed throughout the process, providing progress updates and addressing any concerns or modifications promptly.

Through transparent communication and a focus on collaboration, I strive to exceed client expectations and create truly meaningful liturgical vestments.

Meeting deadlines and client expectations requires meticulous planning and efficient project management.

• Detailed Project Timeline: I create a detailed timeline for each project, outlining key milestones and deadlines. This timeline is shared with the client, providing transparency and accountability.
• Prioritization and Task Management: I use a task management system to prioritize tasks and ensure efficient allocation of time and resources.
• Contingency Planning: Unexpected delays can occur. I build in contingency time into my timelines to address potential issues.
• Communication: Open communication with clients is vital. I inform them immediately of any potential delays and work collaboratively to find solutions.

My commitment to organized planning and proactive communication ensures that I consistently meet deadlines and deliver exceptional results.

During a recent project, I encountered a challenging issue with a particularly delicate silk brocade. The fabric was prone to fraying, making it difficult to sew the intricate seams of a chasuble without damaging the material.

My initial approach, using a standard sewing machine, resulted in fraying and uneven seams. To solve this, I implemented the following steps:

• Switched to Hand-sewing: I carefully hand-sewed the critical seams, using a fine needle and thread. This provided greater control and prevented further fraying.
• Used Stabilizing Techniques: I applied a lightweight fusible interfacing to the inside of the seams to reinforce them and provide stability.
• Used Pinking Shears: I used pinking shears to cut the fabric edges, minimizing fraying.
• Tested on a Sample: Before applying these techniques to the main garment, I tested them on a sample piece to ensure effectiveness.

This solution not only prevented further fabric damage but also resulted in incredibly clean and precise seams. The client was delighted with the result, highlighting the importance of adaptability and problem-solving in vestment making.

Adapting techniques to different fabrics is crucial in textile arts. It’s like choosing the right tool for the job – a delicate silk calls for different treatment than a sturdy linen. The key lies in understanding the fabric’s properties: its drape, weight, weave structure, and fiber content.

• Weave Structure: A tightly woven fabric like twill will require sharper needles and potentially different stitching techniques compared to a loose weave like cheesecloth. For example, a delicate silk brocade demands a fine needle and gentle hand to avoid snagging the threads, while a heavy wool felt may need a thicker needle and stronger stitching to hold its shape.

• Fiber Content: Natural fibers like linen and cotton react differently to heat and moisture than synthetics like polyester or rayon. This influences pressing methods and potential shrinkage during washing. For example, linen can be prone to wrinkling, requiring careful ironing using steam and a low temperature. Synthetics, on the other hand, may melt under high heat.

• Fabric Weight: The weight dictates the choice of interfacing, lining, and construction methods. A lightweight chiffon requires a light interfacing and delicate hand-sewing techniques, while a heavy velvet may require more robust construction methods to support its weight and maintain its structure. This might even necessitate the use of specialized sewing machines capable of handling thicker materials.

By carefully assessing these factors and adjusting my techniques accordingly – needle size, stitch length, seam allowances, pressing methods – I ensure the final garment is both structurally sound and aesthetically pleasing, irrespective of the fabric.

Dyeing is an art in itself, profoundly impacting the look and feel of vestments. Different methods suit various fabrics and desired effects. For example, natural dyes offer a unique softness and subtlety, while synthetic dyes provide a broader range of colors with greater vibrancy and lightfastness.

• Natural Dyes: These come from plant, animal, or mineral sources and produce muted, often earthy tones. Methods include immersion dyeing, resist dyeing (like tie-dye), and mordanting (using a chemical to fix the dye to the fabric). They lend themselves well to creating a timeless, almost sacred quality in vestments, evoking feelings of tradition and reverence.

• Synthetic Dyes: These offer a vast spectrum of colors, greater consistency, and often better lightfastness than natural dyes. Techniques include vat dyeing (for deeper colours), reactive dyeing (for cellulosic fibers), and disperse dyeing (for polyester). This approach allows for greater design flexibility for vestments that require vividness and lasting color.

• Indigo Dyeing: This ancient technique is frequently chosen for vestments. It involves vat dyeing using indigo plants, producing the characteristic deep blue colour which is both visually striking and historically significant in many religious traditions. The complex process adds a layer of meaning to the final garment.

The choice of dyeing method depends on the desired aesthetic, the fabric’s composition, and the intended longevity of the vestments. For example, a liturgical chasuble might benefit from the richness and historical significance of natural dyes or the vibrant color retention of synthetic dyes, depending on the desired effect and budget.

Vestment making presents unique challenges, from the intricate designs and precise tailoring to the delicate nature of the fabrics.

• Complex patterns and fitting: Many vestments involve complex patterns and require precise fitting to ensure a proper drape and silhouette. I overcome this by utilizing various pattern-making techniques, creating mock-ups, and meticulous fitting sessions.

• Fabric handling: Working with delicate fabrics like silk or brocade requires extra care to avoid snags or damage. I overcome this through the use of specialized needles, delicate hand-stitching techniques, and careful planning of my sewing process.

• Embroidery and embellishment: Intricate embroidery and embellishments are often integral to vestments, demanding skill and patience. I use appropriate embroidery techniques, carefully selecting threads, and creating detailed designs beforehand to ensure accuracy and consistency.

• Maintaining historical accuracy: When making historically accurate vestments, detailed research is crucial. I meticulously study historical examples, pattern books and relevant literature to ensure accuracy in construction techniques and ornamentation.

Problem-solving is key. For instance, if a fabric is too delicate to handle directly on a sewing machine, I resort to hand-stitching critical seams. If a pattern doesn’t fit perfectly, I adjust it incrementally using fitting techniques developed over years of experience.

Health and safety are paramount in the textile industry. I adhere strictly to regulations concerning the use of chemicals, proper ventilation, and safe handling of machinery. This involves:

• Chemical Safety: When using dyes, I ensure proper ventilation, wear protective gear (gloves, masks, eye protection), and follow the manufacturer’s safety guidelines meticulously. I store chemicals appropriately and dispose of them responsibly.

• Machine Safety: I am thoroughly trained in the safe operation and maintenance of sewing machines and other equipment. I regularly check for any potential hazards and ensure machines are properly guarded.

• Ergonomics: I maintain good posture and take breaks to avoid repetitive strain injuries. This is particularly crucial when performing detailed hand-stitching or embroidery.

Furthermore, I am always aware of fire safety regulations, especially when working with flammable materials. Regular safety inspections and training are essential in preventing accidents and ensuring a healthy work environment.

Staying updated in this dynamic field requires constant learning and engagement. My strategies include:

• Professional Development: I attend workshops, conferences, and seminars focused on textile arts and vestment making. This allows me to network with other professionals and learn about new techniques and innovations.

• Publications and Journals: I regularly read specialized publications and journals dedicated to textile arts and design. This provides valuable insights into current trends and research.

• Online Resources: I actively use online platforms such as specialized websites, blogs, and social media groups to follow leading textile artists and designers. Online tutorials and courses have also proven invaluable.

• Museum Visits and Historical Research: Examining historical garments and studying techniques in museums and archives remains an essential part of my learning process, allowing me to draw inspiration and to ground my practice in traditional knowledge.

This continuous learning ensures my work remains innovative, relevant, and informed by the latest developments in the field.

My strengths lie in my meticulous attention to detail, my creative problem-solving skills, and my deep understanding of historical techniques. I am adept at translating complex designs into beautifully crafted garments. My experience in working with a wide variety of fabrics, coupled with my knowledge of different dyeing methods, ensures versatility in my work. I am confident in my ability to meet tight deadlines while maintaining a high level of quality.

One area for improvement is time management, particularly when tackling very intricate projects. While my dedication ensures high-quality work, sometimes focusing on a few highly-detailed projects might impede the progress of others. I’m actively working on improving my project planning and prioritizing techniques to address this. I also aim to further expand my knowledge of contemporary embroidery techniques to diversify my skillset.

In five years, I envision myself as a highly recognized textile artist and vestment maker, possibly running my own studio or workshop. I hope to be actively involved in teaching and mentoring aspiring textile artists, sharing my knowledge and experience with the next generation. I’d also like to collaborate on larger-scale projects, such as creating vestments for significant religious ceremonies or theatrical productions. Ultimately, I strive to contribute to the preservation and advancement of the art of vestment making, blending traditional techniques with contemporary innovation to create stunning and meaningful pieces.