a former Gifted & Talented finally returns to her roots (2024)

Previously, I have been an active participant in several creative information communities on both small and large scales, online and off. I have also relied on the wealth of information available in other communities without actively contributing. I have developed favorites sources and learned the vocabularies and trends that evolve in various groups. But I did these things largely intuitively. I never really stopped to consider if the patterns that arose from different methods of communication or organization could be “of value” because, to me, the information was either necessary or just fun.

Indeed, it is fascinating to see how different groups manage information in similar and different ways, to observe trends in how information is shared in different formats or on different platforms. And at the end of the day, it is still important to recognize that information is really nothing without the people behind it. Even most online content still originates in the real, physical world. Exploring the research on various information communities really grounded and personalized the theories and frameworks we have discussed in this program so far.

With regards to the writing process, I actually surprised myself by how much I enjoyed delving into the branching rabbit holes of research and composing my thoughts and findings into longer format pieces. I feel that I sometimes struggle with formulating concise thoughts and get lost in the weeds of my own process, but developing outlines and remembering my audience helped to structure my writing. The pacing provided by the class was invaluable, especially since I haven’t done much writing since undergrad. Being exposed to so much published research from so many sources and on such a wide scope of subjects helped me to feel more confident writing abstracts and organizing my ideas according to the norms of this field. I’m thankful that this class gave me so much time to make use of the King Library’s resources, and I’m excited to carry these skills through the rest of my experiences in the program.

Thanks so much to my peers and professors for your feedback over the last few months; it’s been a pleasure learning from all of you and finding the parallels between so many information communities.

Even as most crafts are firmly grounded in the physical world, hobbyist arts and crafters have utilized technology to expand the limits of their practice. The internet and social media are invaluable tools for this information community as they search for tools and materials, information, inspiration, and community engagement. It is easier than to learn from more experienced crafters thanks to video tutorials platforms like YouTube, Creativebug, and Skillshare. Technology has also expanded the kinds of physical objects crafters can produce. Graphic and modeling applications now allow tech-savvy crafters to design and 3D print highly detailed replicas and sculptures from a wide variety of materials. High tech embroidery machines and countertop laser cutters have even helped some hobbyists turn their passions and dreams into small business realties.

Very often, search engines and specialty websites (This to That suggests the best glue for various material combinations and Sewing Pattern Review archives reviews on sewing patterns by hobbyist sewist/seamstresses, as examples) help hobbyist arts and crafters quickly and easily find practical information. But perhaps more notable, the interactivity of Web 2.0 offers so much to be gained through the personal connections that technology permits. If you can think of a niche crafting domain, from making costumes to hand-binding books and everything in between, there is probably a vibrant community on podcast platforms, Reddit, Instagram, Facebook, X/Twitter, YouTube, Discord, Twitch, or any number of independent blogs, apps, and other sites. Through these virtual platforms, crafters proudly show off their creations to audiences of other enthusiasts, share the sometimes emotional journeys in their crafting processes, and even meet long-lasting friends from their local community or around the world. From personal experience, I am forever grateful for the dream-worthy projects I have completed and the blissful memories I have made because of online crafting buddies-turned-cherished friends.

https://www.reddit.com/r/crafts

https://www.youtube.com/@SarahSpaceman

All across the globe, crafting and the arts are deeply rooted in local communities. Often ingrained in historic economies and cottage industries, crafts from the world over still hold cultural value today. From Faroese knitting to Japanese origami, American quilting to Arabic calligraphy (Frost, 2020), all varieties of handmade and craft practices present a wealth of information that can be shared and appreciated in both local and global contexts.

UNESCO defines traditional craftsmanship as “perhaps the most tangible manifestation of intangible cultural heritage” (2003). All varieties of craft domains draw upon different materials, techniques, and stylistic preferences and can be influenced by different societal, religious, environmental, and aesthetic values depending on where in the world they occur. However, it must also be acknowledged that many of the “world’s indigenous arts and crafts are in danger of being marginalized and abandoned” (Ingram, 2020), due in part to modern economic pressures or a decrease in intergenerational exchange. UNESCO suggests that community centers, which may include libraries, can play a vital role in supporting continued engagement with traditional crafts. In order to raise interest and awareness, libraries and other community centers can collect and document information relating to a practice and provide space for community members to engage with the information in both formal and informal means. Perhaps most importantly, they can “be used as places for transmitting traditional knowledge and skills and thus contribute to intergenerational dialogue” (UNESCO, 2022). Galleries, workshops, presentations, casual craft circles, and even field trips are all efforts that libraries can organize to continue breathing life into traditional crafts and the people who do or want to practice them.

Craft practices, even as approached by casual or serious hobbyists, tend to be deeply personal, but they can also connect the individual practitioner to a wider cultural community. These creative outlets can act as bridges that lead individuals toward learning about or appreciating communities from other parts of the world. During the COVID-19 pandemic, several libraries hosted ikebana workshops, allowing participants to experience a “culturally meaningful” practice by learning the artistic style of Japanese flower arranging. One such virtual event through the Washington King County Library System put a large local Asian-American population in conversation with a Sogetsu-certified ikebana teacher and allowed them to learn the new skill despite not being able to travel or gather (Marcotte, 2023). Teen artist-in-residence Celia Hamilton used the studio at Indiana’s Carmel Clay Public Library to explore missing aspects of her own cultural identity. Living with her non-Chinese adoptive family, Hamilton “wanted to identify further with her Chinese heritage,” and the library’s studio resources allowed her to do just that as she researched, designed, crafted, and modeled her own traditional garments inspired by the moon goddess, Chang’e (Smith, 2023).

Very few artists and crafters practice in complete isolation. As they seek out information, inspiration, and experience, crafters can turn to libraries to support creative communities and help connect them to artists and traditions from around the world.

References

Frost, E. (2020, May 7). 7 soothing crafts from around the world to learn at home. Lonely Planet. https://www.lonelyplanet.com/articles/craft-experiences-from-around-the-world

Ingram, W. (2022). Custodians of culture in the global market: Working with Indonesia’s indigenous weavers. In Joubert, L. (eds). Craft Shaping Society: Technical And Vocational Education And Training: Issues, Concerns And Prospects, 35. Springer. https://doi-org.libaccess.sjlibrary.org/10.1007/978-981-16-9472-1_3

Marcotte, A. (2023, May 1). Flower power: Traditional Japanese art of floral arranging helps library patrons go with the flow. American Libraries. https://americanlibrariesmagazine.org/2023/05/01/flower-power/

Smith, S. (2023, November 1). True colors: Libraries spark creativity with teen artist-in-residence programs. American Libraries. https://americanlibrariesmagazine.org/2023/11/01/true-colors/

UNESCO. (2003). Traditional craftsmanship. https://ich.unesco.org/en/traditional-craftsmanship-00057

UNESCO. (2022). Basic texts of the 2003 convention for the safeguarding of the intangible cultural heritage 2022 edition. https://ich.unesco.org/doc/src/2003_Convention_Basic_Texts-_2022_version-EN_.pdf

Yueh, M. (2023). Certified ikebana instructor Huimei Lai (seated) provides feedback to a student during a February class for older adults at Scripps Miramar Ranch Library in San Diego. [Photograph]. American Libraries. https://americanlibrariesmagazine.org/wp-content/uploads/2023/04/trends-ikebana.jpg

Learning and Programming Opportunities for Hobbyist Arts and Crafters

The modern learner has access to a dizzying array of tools and resources with which to make sense of and personalize their learning experiences. Many modern approaches to learning and teaching have pushed beyond simply understanding information and focus instead on how individual learners can create opportunities to apply their literacies in real-world contexts (Booth, 2010). Constructivist learning theories also center the active role of the learner in a “community-based atmosphere” (Booth, 2010), acknowledging the social nature of how information is sought out, shared, and created.

Hobbyists who engage their domain as a form of serious leisure can appreciate these developments as they willingly seek out dynamic information over the course of a single project and their “career” (Hartel, 2003). Arts and crafts hobbyists, in particular, make sense of information from a wide variety of sources, including books, online forums, video tutorials, other crafters, and more, and express their learning by translating ideas into physical objects. Libraries have and should continue to support this information community as they take a truly hands-on approach to learning.

High tech makerspaces in public, school, and other libraries make accessible resources that can be used to craft solutions to all kinds of everyday problems or test creative prototypes. Library members may be able to reserve 3D printers, tools, sewing machines, craft supplies, and more (Willingham, et al., 2015). In addition to physical books, some libraries also provide access to online platforms like Creativebug and Skillshare that members can use to watch informative and inspirational crafting tutorials at the library or at home.

But libraries can also importantly serve as gathering spaces for local crafting communities. “Sit and Stitch” programs are common at libraries across the country and encourage knitters, sewers/seamstresses, crocheters, and embroiderers “to gather together to create, gab and exchange ideas” (San Diego Public Library). The Wyoming Free Library Sewing Club even organized its third annual fashion show where members modeled handmade garments and accessories that they made at the library (Brigid, 2016). Lee and Ocapeck (2022) identified a strong desire for social interaction in their interviews with craft hobbyists: one participant described her ideal library program as “a space where other people are creating things because then if you didn’t know how to do something, the library is right there for you to look it up.”

When libraries host workshops or provide tools and spaces related to arts and crafts, they tangibly contribute to the realization of creative classrooms (Stephens, 2014). In creating such a space, libraries enable members of their community to step outside of their usual roles and habits to learn through play, exploration, and creation. In emphasizing the importance of finding a balance between knowing, making, and playing, Brown reminds us that it is okay to not always or immediately be an expert at something. In fact, by regularly playing or tinkering with different information, tools, or materials, and in different contexts, we are better able to quell anxieties around expertise and encourage lifelong habits of learning and curiosity (Connected Learning Alliance, 2012). Participating in making programs, people try unfamiliar tools, learn new skills, adapt current knowledge to different domains, communicate, and cooperate with others to solve problems (Lee & Ocepek, 2022). Librarians, too, can step beyond their traditional role of information facilitator and instead create new ideas alongside patrons.

References

Booth, C. (2010, September 1). Reflective teaching, effective learning: Instructional literacy for library educators. American Library Association Editions.

Brigid, E. (2016, November 21). Wyoming Free Library Sewing Club members model their work at fashion show. TCA Regional News.

Connected Learning Alliance. (2012, September 18). The global one room schoolhouse: John Seely Brown (Highlights from JSB’s Keynote at DML2012) [Video]. YouTube. https://www.youtube.com/watch?v=fiGabUBQEnM

Hartel, J. (2003). The serious leisure frontier in library and information science: Hobby domains. Knowledge Organization, 30(3/4). 228-238.

Lee, L., & Ocepek, M. G. (2022). Perceiving libraries in a making context: Voices of arts and crafts hobbyists. In Information for a better world: Shaping the global future, 228–242. Springer International Publishing. https://doi.org/10.1007/978-3-030-96960-8_16

Lippincott, J. (2015, February 26). The future for teaching and learning. American Libraries.

San Diego Public Library. (2022). Sit, Stitch and Knit [Event description]. https://sandiego.librarymarket.com/event/sit-stitch-and-knit

Stephens, M. (2014, May 15). Library as Classroom. Library journal, 139(9), 36.

Willingham, T., de Boer, J., & Kroski, E. (2015). Makerspaces in libraries (1st ed., Vol. 4). Rowman & Littlefield Publishers.

Through “Getting Creative in Everyday Life: Investigating Arts and Crafts Hobbyists’ Information Behavior,” Lee, et al. (2019) look beyond the more often-studied community of makers who create art as a profession to explore the information behaviors of creative hobbyists more specifically. Because hobbyists engage in making and information seeking behaviors by choice as an enjoyable form of serious leisure activity, their behaviors and needs may differ from their professional counterparts.

This paper comprises the research efforts of five authors. At the time of writing, Lo Lee was a LIS doctoral student at the School of Information Sciences at University of Illinois Urbana-Champaign who assisted graduate research by identifying research gaps and recruiting participants. Melissa Ocepek is an assistant professor at the School of Information Sciences at University of Illinois Urbana-Champaign whose research focuses on everyday information behavior and leisure studies. She has published over 50 pieces that largely address how information intersects with culture. Stephann Makri is a Senior Lecturer in Human-Computer Interaction at City University London; he specializes in information behaviors in digital information environments. From the University of Melbourne, George Buchanan and Dana McKay both have professional experience in UX/UI and returned to the academic world to further study Computing and Information Systems. Their work largely centers on qualitative metrics for computer-human interactions and information behaviors.

Noting a gap in published research on the information behaviors of arts and crafts hobbyists, Lee, et al. investigated information sources used by self-identified arts and crafts hobbyists and explored how these groups navigated information that inspired their creative practices. To structure their research, the paper identified seven types of information sources: human sources, printed media, networked sources, broadcast media, organizational sources, other sources, and domain specific sources (Savolainen, R., 2008, & Ocepek, M., 2016). The group recruited 20 hobbyist crafters and conducted observations and reflective interviews with each. 10 crafters engaged a digital site, Pinterest.com, and 10 engaged a brick-and-mortar craft supply store. The researchers performed pre-interviews that highlighted the crafters’ backgrounds and current needs before asking the participants to verbalize their thoughts while exploring either site. Two post-interviews per participant allowed for debriefing and data validation.

By analyzing the results of the observations and interviews, the researchers found that human sources of information were, counter to previous information behavior literature, less prevalent, while domain-specific sources appeared to be the most utilized source of information. These findings acknowledged that the information needs of arts and crafts hobbyists do not always have exact answers and are more often motivated by “the explorative nature of seeking inspiration.” Additionally, participants exhibited tendencies to self-curate information they encountered across sources that could then be organized and accessed at a later time.

While I must acknowledge the value of the findings in this study, it may also be possible that the study’s design led to bias in the results. By asking participants to explore information in one of only two sites, the researchers may have unintentionally caused participants’ to overlook previously accessed information and led them to underreport other types of information sources. Additionally, in the scope of this study, the open-ended search for information appears to be framed as an individual process rather than as an act that invokes the exchanging of ideas within a community. Individuals who self-identify as crafters and engage their hobby seriously often strongly rely on their relevant creative communities to inspire their projects, learn about materials, and troubleshoot processes.

By examining the thematic findings of this study, I might infer that the specific type of information source or site may be less significant than the act of simply accessing any information source. Hobbyists arts and crafters collect and self-curate information from a wide variety of sources. Because crafting hobbies are usually “information heavy processes” and inspiration may “exist everywhere” (Lee, L, et all., 2019), crafters who engage their hobby seriously appear to benefit most from information encounters (Erdelez, S., 2005) as they go about their everyday lives. I look forward to applying theories of information encounters in further analyzing the community of arts and crafts hobbyists.

References

City University London. (n.d.). Dr Stephann Makri. https://www.city.ac.uk/about/people/academics/stephann-makri

Erdelez, S. (2005, January 31). Information encountering: It’s more than just bumping into information. Bulletin of the American Society for Information Science and Technology, 25(3). https://https://doi.org/10.1002/bult.118

Lee, L., Ocepek, M. G., Makri, S., Buchanan, G., & McKay, D. (2019). Getting creative in everyday life: Investigating arts and crafts hobbyists’ information behavior. Proceedings of the Association for Information Science and Technology, 56(1), pp. 703-705. https://doi.org/10.1002/pra2.141

McKay, D. (n.d.). DANA MCKAY: CV. https://sites.google.com/view/dana-mckay/cv

University of Illinois. (n.d.). Melissa Ocepek. University of Illinois Urbana-Champaign School of Information Sciences. https://ischool.illinois.edu/people/melissa-ocepek

The University of Melbourne. (n.d.). Dr George Buchanan.https://findanexpert.unimelb.edu.au/profile/793596-george-buchanan

The information community of sewists, or people who sew garments for leisure, has a broad range of information needs that inform everything from subjective stylistic decision making to utilizing objective mechanical processes. The modern sewist also has an equally diverse range of options for finding information that satisfies their needs. Sometimes sewists pursue information systematically within the many channels of their social world, and at other times they chance upon useful information encounters. This report will explore some of the information needs and behaviors of this creative hobby group.

The community of sewists is best analyzed from the perspective of Serious Leisure. As defined by Stebbins (2009), serious leisure is “the systematic pursuit of an amateur, hobbyist, or volunteer core activity that people find so substantial, interesting, and fulfilling that, in the typical case, they launch themselves on a (leisure) career centered on acquiring and expressing a combination of its special skills, knowledge, and expertise.” With their typically progressive levels of expertise, interest, and time dedicated to sewing for leisure, an individual sewist’s path over time can indeed be viewed as a career and evolves through the stages of “beginning, development, establishment, maintenance, and decline” (Hartel, 2003). As a sewist progresses through their hobby career and gains familiarity with their tools and community, some of their information needs change while others simply take different forms with each unique project the sewist tackles.

A brand new sewist may seek out the physical user guide that came included with their sewing machine in order to learn how to properly thread the machine and wind a bobbin. Demonstrating the “principle of least effort” in information behavior (Bates, 2010), another new sewist may simply search Youtube on a nearby device for videos that illustrate the process and get them sewing faster. Early in the hobby career, a sewist does not yet know what they don’t know, and they may find it difficult to articulate their information needs. Noting this knowledge gap, garment sewing brands and more experienced individuals in the community have made beginner-friendly guides easily and freely accessible. Peppermint, an authoritative magazine, pattern distributor, and event organizer within the sewist community, acknowledges that “learning to sew is scary” and encourages new sewists to “Get Started in Style”by listing instructional courses, patternmakers’ websites, and Youtube channels that can advance the beginner’s information search process and introduce new resources.

Later in the hobby career, a more established sewist may have needs that go beyond acquiring technical information and focus more on subjective information that informs the design of a particular garment or enables them to communicate with others in the community. Eckert and Stacey (2000) quote knitwear designers and highlight the opinion that a “good designer is inspired by everything.’ Just like their fashion industry counterparts, home sewists take up the role of designer and, both consciously and unconsciously, acknowledge that sources of inspiration are everywhere around them in everyday life. Sources of inspiration, ranging from fashion magazine cutouts to a tiled storefront seen on vacation, become information encounters that the sewist stores away, physically, digitally, or in memory, for later use. In order to connect with other sewists and share their hobby creations or knowledge, today’s sewists often turn to social media. Platforms like Youtube, Instagram, and blogging sites emphasize visual content, and tagging systems enable sewists to find inspiration, share their handmade garments, reflect on techniques, recommend patterns or tools, and plan events with others.

Although most study of leisure sewists is conducted informally by brands and content creators who operate within the social world of the sewing community, similar information behaviors and needs exhibited by fashion students in formal education settings have been qualitatively analyzed. In a classroom study of textile students, Lahti collected diary reports that highlighted how the open-ended nature of sewing and design leads to progressive inquiry or sense-making as new information is sought out or unconsciously acquired. Chiu (2008) summarized one of the most important resources for design students in the studio was the knowledge shared by other students. These findings are echoed by the informal sewist community.

References

Bates, Marcia J. (2010) Information Behavior In Encyclopedia of Library and Information Sciences, 3rd Ed. https://pages.gseis.ucla.edu/faculty/bates/articles/information-behavior.html

Chiu, S.-H. (2008, June 3). Students’ knowledge sources and knowledge sharing in the design studio—an exploratory study. International Journal of Technology and Design Education, 20, pp. 27–42. https://doi.org/10.1007/s10798-008-9061-9

Eckert, C., & Stacey, M. (2000, September). Sources of inspiration: a language of design. Design Studies, 21(5). pp. 523-538. https://doi.org/10.1016/S0142-694X(00)00022-3

Hartel, J. (2003). The serious leisure frontier in library and information science: hobby domains. Knowledge Organization, 30(3/4), 228–238. https://www.nomos-elibrary.de/10.5771/0943-7444-2003-3-4-228.pdf

Lahti, H. (2012). Learning sewing techniques through an inquiry. Procedia – Social and Behavioral Sciences, 45. pp. 178-188.

Peppermint. (2023, February 13). Want to Learn to Sew? Here’s How to Get Started in Style. https://peppermintmag.com/learn-to-sew-resources/

Stebbins, R.A. (2009). Leisure and its relationship to library and information science: bridging the gap. Library Trends, 57(4), 618–631.

Sewist. Sewer. Seamstress. Tailor. Dressmaker (Tendal, 2023). Sewcialist. There are many names for the individuals who choose to make clothing for themselves and sometimes others, but all of those individuals make up the garment sewing community. Garment sewing has a long and colorful history, and it has expanded from professional trades to also include home crafters who take up needle and thread as a hobby. Home sewists have as many motivations for sewing their own clothing as there are sewing techniques or types of fabric. Some embark on the creative journey as a form of self-expression, while others hope to save money by buying less ready-to-wear clothing. Some just want their clothes to fit better than off-the-rack options, and some want to know their clothing is made with ethical labor or sustainable materials. A new sewist might be looking for inspiration to finally use the sewing machine they inherited from a relative. Whatever the reason they sew clothing, sewists engage in a craft that is steeped in tradition, trends, and technical knowledge, and this deep rabbit hole of information is what brings individual sewists together to form an information community.

From the perspective of Christen and Levinson (2003), the garment sewing information community is largely one of affinity, drawn together by a common interest in producing and wearing handmade garments. On smaller scales and in certain niches, this hobby community can also be considered instrumental as sewists work toward specific goals, such as combating climate change by reducing fast fashion waste or using more sustainable fabrics.

1. 1. 1. Emphasis on collaboration among diverse information providers
      2. Capacity to form around people’s needs to access and use information
      3. Capacity to exploit the information-sharing qualities of emerging technologies
      4. Ability to transcend barriers to information sharing
      5. Capacity to foster social connectedness

Anyone new to sewing can tell you that it is difficult, if not impossible, to learn the craft alone. Luckily, the contemporary hobby garment sewing community is one that is vibrant and diverse. Information and inspiration for sewing clothes has long been shared among individuals in the community. Mothers have taught daughters. Students have learned in HomeEc classes. The “Big 4” sewing pattern companies sell products to sewists of all ages, backgrounds, and skill levels. Indie sewing pattern companies and small businesses create patterns, sew-a-longs, hacks, motivational collages, and even meme-worthy pins for sewists. Individual sewists post their creations and favorite techniques on Instagram and use hashtags to engage with like-minded creatives. They ask questions and review patterns, seek information and provide it.

No matter where a sewist is and who they already know in the community, if anyone, community members can always find a way to access, share, and use information. Sewing is a hands-on skill that requires specialized tools and terminology. With such detailed information, it only makes sense that sewists might learn best in any variety of formats. Information can be collected in static bundles to be sought out as convenient: books, patterns, reviews, written tutorials on blogs, Youtube videos that can be followed step-by-step. Sewists also have access to in-person resources like classes at libraries or craft shops for more personalized interactions. And of course, social media’s ease of use makes it a go-to resource for connecting with other sewists and brands at any time or place.

Some may have thought that garment sewing was a dying art, but a quick Instagram search shows that #sewistsofinstagram has over 1.3 million posts. Social media, among other 21st century technologies, has ushered in a new wave of sewists who are enthusiastic about learning more and sharing their ideas with others in the community. PDF patterns can be sent instantly. TikTok gets young sewists excited to sew and share their first garment. Even when sewists may feel physically isolated from others in the community, a video call or virtual class allows them to sew “alongside” their fellows. As proof, Bernadette Banner’s Skillshare course on Hand Sewing Basics has registered over 15,000 students since it was launched approximately one year ago, and that is but one example in a vast sea of home sewing information.

Technology alone has broken down many barriers for sewists who hunger for information, but financial and language barriers are largely unimpactful to this community. A wealth of garment sewing information can be found online or in library books for no cost, and many sewists even share information in Instagram and TikTik about how to find physical resources like fabric or sewing machines on the cheap. Due also to the visual nature of these platforms and the content itself, an English-speaking sewist can learn how to sew an invisible zipper into a skirt by watching a tutorial video in French or Japanese.

Lastly, the sewist community is one that takes great pride in bringing its members together, whether in-person for events like Frocktails, online for informal instruction, or through the simple pride all sewists feel from saying, “thanks, I made it!” when receiving compliments on the street (McKenzie, 2022).

I must admit, as a sewist myself, I was pleased to find a surprisingly large amount of research and theses on sewing resources and people who sew for leisure in my preliminary search. I look forward to continuing my research into this creative information community, always following the thread of information that weaves garment sewists together.

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References

Banner, B. Hand sewing basics: Work wonders with fabric, needle & thread [MOOC]. Skillshare. https://www.skillshare.com/en/classes/Hand-Sewing-Basics-Work-Wonders-with-Fabric-Needle-Thread/467604165

Christensen, K., & Levinson, D. (2003). Encyclopedia of Community: From the Village to the Virtual World. SAGE Publications, Inc. https://doi.org/10.4135/9781412952583

Fisher, K.E. & Fulton, C. (2022). Information communities. In S. Hirsch (Ed.) Information services today: an introduction (pp. 41-52). Rowan & Littlefield.

Johnson, B. [@ambitious_bjohn]. [Blog photo] Scrap fabric Ilford Jacket. Friday Pattern Co. https://fridaypatterncompany.com/blogs/blog/scrap-fabric-ilford-jacket-by-brian-johnson-ambitious_bjohn

Mckenzie, N. (2022, August 8). Are You a Sewcial Butterfly? Here’s How to Find a Sewing Community. Peppermint. https://peppermintmag.com/how-to-find-a-sewing-community/

Tendal, T. (2023) Seamster, sewer and sewist: The titles for those who sew from 1470 To 2022 [Unpublished bachelor thesis]. Linnæus University.

WearableArtJennyDame. Thanks I made it enamel pin [product listing]. Etsy. https://www.etsy.com/listing/1119753539/thanks-i-made-it-enamel-pin

One of the oldest constants in my life has been and continues to be my involvement in the “cosplay community.” While cosplay has grown in mainstream awareness and acceptance over the years, I have been cosplaying and making my own costumes based on characters from books, animated shows, and video games since 2008 when I was but a child in middle school.

Over the years, I have taught myself to sew, make patterns that fit, use the right glue, get a smooth finish with paint, style wigs, use thermoplastics, and so much more. I have made oversized witch hats, gravity defying skirts, and even seemingly simple uniforms. While I can effectively say that I am “self taught,” the fact is that I couldn’t have done very much of this without the pooled knowledge of the cosplay crafting information community, and over the years, I have seen that community migrate between numerous platforms and styles for sharing this wealth of creative information. The information grounds range from digital social platforms to physical meetups and conventions. They bring together friends and strangers, crafters new and old, followings big and small.

In the late 2000s and early 2010s, a concentration of cosplay information existed on the centralized social media platform cosplay.com. Here, forums would catalog entire lists of user-created tutorials organized by fandom or character, and these posts often linked to individual blogs that showcased detailed text- and image-based step-by-step walkthroughs on how a fan had created a particular costume piece or an entire look. Creators highlighted their works-in-progress (WIPs) on sites like Facebook, Tumblr, and Deviantart, and the use of hashtags and suggested pages made it easier to find fellow fans and artists or particular topics like “Final Fantasy cosplay.”

Fast-forward to the present day, and these communities have exploded both in the number of participants and posts on social media platforms like Instagram, Twitter (or should I say X), and TikTok. While long-form tutorials are no longer the norm for sharing creative cosplay knowledge, new snapshots and videos of creators’ processes are posted every day around the world. On Instagram, #cosplaytutorial has over 40,000 posts, #foamarmor has over 126,000 posts, and #wigstyling has over 792,000 posts, with more more being added constantly.

I find it inspiring and energizing to see so many people crafting for fun in my online feeds. I even make it a point to take photos and videos of my own crafting process to share in Instagram story highlights so that I and others can look back on the process, and I am always happy to share more details when other fans reach out in my private messages to ask how I made a particular costume piece. We share our successes and our frustrations during the creation process; we cheer each other on and offer a fresh set of eyes when unexpected problems arise. We post about our favorite creators and not-so-secret techniques. We recommend sewing machines and Etsy Fabric sellers.

Now that time is so valuable, some creators have found success in monetizing their knowledge and share more detailed tutorials or patterns on Patreon and Ko-Fi for a small monthly donation. Others put great effort into documenting their process in specialized e-books or Youtube videos. Very likely, your local library has purchased a book or two that highlights cosplay-focused sewing or prop-making skills. They might even host a cosplay program, such as when I was invited to showcase my costumes for the Escondido Library alongside members of the 501st Legion, a worldwide organization that connects screen-accurate Star Wars costume enthusiasts.

Given that communities can be defined as “human systems given form by conversations that build relatedness” as described by Block in our lecture, it only seems fitting that I touch on the fact that I have made enduring friendships through the simple act of sharing my cosplay process online and engaging with others who did the same. Admittedly, many of the friends I have today are people that I messaged years ago after finding their tutorial on Tumblr. Now we make use of Discord and Google’s document sharing platforms to plan trips and photoshoots. We fly to conventions where we can finally see one another’s costumes in person. We video chat while we craft costumes together, apart in our separate homes.

I honestly cannot imagine who I would be if I hadn’t stumbled into the cosplay crafting community. I am constantly learning new skills or new ways to tackle projects, and I take great pleasure in getting to share my own creative practice. The community’s affinity for creating and learning is a powerful one that is motivating for veteran crafters and newcomers alike.

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References
Block, P. (2008). Community: The structure of belonging. San Francisco, CA: Berrett-Koehler Publishers.

Hello, hi, heya.

I am excited to be pursuing formal education once again after graduating with my B.A. back in 2017. I studied film and theatre, mostly working on production and costume design behind the scenes, but my varied interests always led me to taking a course or two outside of my major area each semester. Although I loved the work I was doing for my studies, I also recognized that I did not want to live the gig, contract, and full-time creative labor life after graduating. As such, I picked up a customer service job for a couple years, then applied to my local library and eventually got hired in the circulation department.

Despite being an avid reader all my life, I never made much use of libraries until I landed that first job. Upon starting, I experienced less of a nostalgic homecoming and more of an eye-opener, seeing for the first time programs and story times and technology resources that I only vaguely knew existed. I quickly came to love the environment, learned the routines of our regulars, and got excited seeing new books trickle through the sorter for the first time. My mom used to tell me that I should be a teacher, but I could never see myself at the front of a classroom or following standardized assignments. Working in the library allowed me an opportunity to connect with individuals who each came in with a unique ask, and they trusted me to puzzle it out with them or at least point them in the right direction. I enjoyed being in an environment that encouraged curiosity and one that was removed from the pressures of needing to buy something just to take part. It housed tradition and new ideas. It documented history and worked toward concepts of progress.

Having worked in that library from 2018 through 2021, I saw some of what that world could offer before, during, and after the core of the pandemic. With the world upside, however, I shifted to indulge a passion and worked as a professional baker for a year of ups and downs. Having recently moved again with my partner, I am now pivoting to resume the joys and struggles of life as a student with the goal of being able to take on more responsibilities and impactful work with libraries, with just the right amount of creative freedom. I have a hope that I will be able to showcase my interests in photography, films, fashion, and sewing with others who may be looking for community in their local library.

More about me: a speedrun

• I shoot 35mm film on the camera that my mother used when she was in college
• My top 3 favorite films, in no order, are: Spirited Away, Black Swan, and Minority Report
• I have traveled to 19 states and 11 countries, and I hope to expand those numbers soon
• Both of my cats were adopted from a cat cafe! If you’re around Vista, CA, check out Cat & Craft for a cozy spot to study, sip drinks, or even cuddle up with a furry friend
• My wardrobe currently contains at least 13 handmade garments
• I have won several awards for handmade costumes
• I am halfway through my goal of visiting all 6 major Disney parks
• The last novel I read wasQueen of Nothing by Holly Black
• My current favorite novel isThe Witch’s Heartby Genevieve Gornichec