sisterMAG 64 – 10 Years Jubilee by sisterMAG

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EDITORIAL DEAR READERS, A whole decade of sisterMAG – 10 years always seems a strangely long time in retrospect and on the other hand the weeks of the first issue seem strangely close for Toni and me. Back then, we were still working on the first issue as a team of two from Leipzig and Berlin - connected by Skype for over 14 hours. Who would have thought that a decade later we would again be doing a lot via video telephony ... That we have experienced a lot in the 10 years of sisterMAG seems almost an understatement. There have been countless photo shoots, a bit awkward at the beginning, later more and more professional up to big productions for beauty brands. What started as a magazine for women only, developed over the years into an agency - sisterMAG Studio - and into the online shop sisterMAG Patterns for our patterns. Our team has always changed and grown. Yes, even children were born during this time and the first sisterMAG babies have probably

inspired one or the other DIY in this issue as well. For this 64th issue, which is published exactly 10 years to the day after sisterMAG N°1, we have come up with a lot again and everything is under the overriding theme of the colours „black and white“. The fashion collection of our mum Evi has become especially big this time. There are lots of DIYs and ideas to make yourself. In addition, we not only look at the (non-)colours black and white and their role in cultural history. We also shed light on the history of black and white photography or explore series whose main role seems to be fashion. On Instagram, we have compiled many of our favourite features and projects of the last 10 years. So be sure to follow along in the coming weeks for lots of nostalgic insights.

Yours,

Toni, Thea & sisterMAG Team

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10 Coats in contrast

Our cover coats as sewing patterns

My sewing story

We talk to our cover model Eva (@evas_naehwerk) about her sewing history

Black & white

Colours without approval?

Black & White Photography The history of photography in Black and White

Open your eyes

Expressive Art in black & white

Patrick & Karl – Soulmates? Martina Klaric read the book of Patrick Hourcade

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TABLE OF CONTENT 10

YEAR

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134

The Portrait – Frances van Hasselt

Black & white collection

New sewing patterns from sisterMAG Patterns

Maker, designer and entrepreneur Frances van Hasselt creates beautiful mohair rugs that reflect all the uniqueness of their origins in the South African Karoo

Checkboard pattern productcollage

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Fashion plays a leading role in these series

DIY Babyromper »George«

A buttoned romper to sew yourself

88 10 years sisterMAG –

our Table of the Month

6 4

Watching for the fashion

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DIY Dungaree »Toni«

Versatile dungarees with long legs to sew yourself

We decorated our birthday table and interview the cake label CakesBerlin

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Checker board Recipes

Delicious creations from Carole Poirot with our favourite pattern Checkerboard!

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CONTRIBUTORS

TEX T Lea Becker @lea-becker.net

Martina Klaric @buchberuehrung

PROOF

TRA N S LATI ON

Ira Häussler

Amie McCracken

Christianah Ajayi

sisterMAG Team

Alex Kords Estelle Kamwa

Michael Neubauer

sisterMAG Team

P H O TO & VI DE O Carole Poirot @carole.poirot

STYLI N G Evi Neubauer

D I YS & I LLU S TRATI ON sisterMAG Team

@neu1bauer

Cristopher Santos @csantosphoto

Luis Hartmann

MODELS

HA I R & MA K E -U P

@luishrtmn

sisterMAG Team

Eva Sauerborn @evas_naehwerk

Marie-Louise Engel @marieengel_

Svala Wagner

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Tatiana Ashakova @esteemmakeover

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FEATURE SEWING PATTERNS

64-1 Short Moleskin Jacket

64-2 Wide-fitting trousers

64-3 Lapel blouse

64-4 Very wide Blouse

64-5 Oversized cocoon coat

64-6 Baby Dungaree

64-7 Double-breasted mini dress

64-8 Patent leather coat

64-9 Balloon Dress

64-10 Baby romper

61-11 Short smock with back closure and feathers

64-12 Short, straight, sleeveless dress

O U R COV E R MODEL

Eva Sauerborn OUTFIT Evi Neubauer PHOTOGRAPH Gabriela Morales HAIR & MAKEUP Tatiana Ashakova

Many thanks to the whole team who created our beautiful fashion line and our new cover. You can find our Cover outfit in our @sistermagpatterns Online Shop.

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Music Notes Made from paper

Checkerboard Tablecloth

Children‘s Mask Panda & Zebra

Blouse

Zebra Box

INSPIRATION FOR MORE PROJECTS … @sister_mag @sistermagpatterns #sistermagdiy #sisterMAGhandmade

pinterest.com/sistermag

S U B S C R I B E O U R YO U T U B E C A N A L @ S I ST E R M AG

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COVER SHOOT

Two outfits in the colours of our issue: black and white. Two coats that couldn‘t be more different. One made of shiny material – really cool, holds its shape stiffly and features details like a strip of metal press studs and belt buckle across the chest. The other - the complete opposite - made from fluffy faux fur takes on the trend of oversized, fluffy coats and the wearer immediately feels like she‘s wrapped in an oversized duvet. We think: we need both!

COATS IN CONTRAST Photos: Gabriela Morales

Model: Eva Sauerborn

Hair & Makeup: Tatiana Ashakova

Clothes & Styling: Evi Neubauer

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This modern patent leather coat is for advanced sewers. The coat is equipped with sleeves and is fitted with a press stud placket. A decorative belt buckle is attached to the collar which also functions as a fastener.

S H I N Y C OAT

64-8 Patent leather coat with cut sleeves and press stud placket *** COAT

54-2 Trousers with high waistband, side zipper and 3 welted pockets ** PANTS

COS

SWEATER SHOES

Buffalo

EARSTUDS

Chroma Earstuds in Rosa von

Swarovski

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Instagram accounts are full of big, fluffy coats. But the prices for these „Max Mara style“ trendy coats are not low. With cheap imitation coats, you immediately have a guilty conscience: Where and under what conditions were they produced? Harmful to the environment, long transport routes, sweatshop wages … that‘s why we have prepared a pattern, admittedly not a super easy one, to make the dream of a cuddly coat come true for anyone who wants to. We tried it out in different materials and our final favourite? Fleece, known from children‘s clothing, because this fabric is soft, warm and quite inexpensive!

F U R RY C OAT

64-5 Oversized Cocoon Coat *** COAT

54-2 Trousers with high waistband, side zipper and 3 welted pockets ** PANTS

SWEATER SHOES

COS

Paolo Mattei

Chroma Earstuds in Rosé from Swarovski EARSTUDS

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A new issue can only mean one thing: time for a new, personal sewing story! This time with the model of our cover and fashion feature, who we met through our sisterMAG Patterns Community: Eva. We had no idea that she hadn’t spent much time in front of the camera before this and got great photos! She loves making garments for herself and her daughter and has many ideas of how to further improve her sewing skills. We’re excited!

tried a lot of stuff but properly started sewing when I took a class with a former tailor 13 years ago where I learned a lot of technical things.

One

When were you first introduced to sewing? Do you come from a family of seamstresses?

Three

Why did you start sewing? After that sewing class, I got addicted and have been making clothes for myself and my daughter ever since. Last winter, I even started knitting, which I had never been interested in. Unlike sewing, these projects really take their time which is nice too.

I did grow up in a family with an affinity for sewing: my grandma and aunt were men’s tailors, my grandpa an upholsterer and my mum sewed and knitted clothing for herself and us kids when I was younger. She passed her creativity on to me, and it was her sewing machine that I used for my first attempts at sewing when I was a child.

Four What was the first piece you

Two

sewed yourself?

When did you start sewing? Are you self-taught or did you attend lessons?

The first real piece of clothing was a festive dress made from taffeta. But I have to say that I never really finished it – I would have only needed to add the seams but somehow it just wasn’t the right dress for me and ultimately ended up in my daughter’s fancy dress / costume trunk.

As a teenager I mostly upcycled clothes like old jeans into bags or skirts. My first bigger project was for my art finals in high school where I designed and made a costume for the character Puck in Shakespeare’s A Midsummer Night’s Dream. So I 19

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Five What sewing task is next on your to-do list?

I really want to make a pair of jeans. I have been wanting to do that for so long. And I also want to dive deeper into alterations and adapting patterns. It’s not always necessary to buy new patterns when you can simply change the ones you have. There’s so much I want to learn.

Six Where do you find inspiration for your sewing projects?

Mainly on Instagram, but also at the fabric store. When I see beautiful fabric, I often immediately know what I want to make and then start searching for the right pattern.

Seven

Eight

What are your favourite accounts on social media? There are so many great sewing accounts on Instagram! I especially like sewing bloggers from France because they have such different styles.

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Which is your favourite fabric / material? I love woven fabrics like viscose, cotton and linen. They’re so much better to handle than elastic fabrics where a seam can easily end up distorted. 20

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You would like to tell us your story and how you started

@evas_naehwerk

your handicraft? Write us an eMail at mail@sister-mag.com

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G A M r e ist

s n r e t t a P

@lapetite.blondie

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@maisondomino

@sowsewmegs

@christina__hollmann

We went on a search in our sewing community and found product testers who tried out various garments from our pattern shop range and interpreted them in their own way. See the beautiful results here!

@annikas_needles_and_pins

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@handmadeundso

@intostitches

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@laura_and_the_stitches

@frau.a.w

@crafted_by_ml

@itssew_rachel

@naeh_wat_schoen

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BLACK& WHITE Colours without approval? 01

TEXT

Dr. Michael Neubauer

Something is colourful or black and white. The printer asks: black and white or coloured? At first, people only knew black and white films or photographs; soon they coloured them and ultimately photographed in colour. And today? If you’re cool, you design the motif in black and white. So we distinguish very precisely between these two representations. They are not variations of one thing but fundamentally different in their physical properties.

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We only can see colours in light. If the colour spectrum bundled in the light from red to orange, yellow, green, blue, indigo to violet hits an object, parts of the spectrum are absorbed, the rest is reflected. Depending on the composition of the reflected part, we see a colourful, lighter or darker, or monochrome image. Black, on the other hand, appears to us when the light is completely absorbed and no spectral colours are reflected. Logically, we see the white impression when all colours are reflected because the additive uniform mixture of all colour spectra results in white. This is why daylight, for example, appears to us as white. So colours on one side – solo or as a mixture. Black and white as the extremes on the other side. This is why we call black and white, together with grey, »non-colours«. The negative-sounding designation »non-colours« was unable to harm the appeal of black and white. Be it in art, photography, architecture,

(1) Jocks, Hein-Norbert, KUNSTFORUM international, Bd. 267, „Wunschlos verliebt in Schwarz“).

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fashion or as a symbol: The noncolours black, grey and white have been en vogue at all times. Born in 1919, the painter Pierre Soulage, who was part of the » Nouvelle Ecole de Paris«, enchanted with his paintings modulated, smooth-coated, trowelled, rolled or layered in black the light spreading and reflecting in it. Thus he claimed:

»It is the light coming from the colour that I call black…« (1) Black and white films like Casablanca (1942) by Michael Curtiz or La dolce vita (1960) by Federico Fellini still belong to the unshakeable cult objects of this metier today. Thanks to the biggest contrast possible, black and white result in a variety of combination options in fashion – in the fabric itself or in the arrangement of top and bottom. Timelessly, the little black dress has accompanied women.

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»This simple dress will become a kind of uniform for all women with taste.« (2)

But it was not only Cristobal Balenciaga and Coco Chanel who recognised the effect of black in fashion. Much earlier, people adorned themselves with it – not least to express something. Black was not only the colour of choice for the clergy, also European civil law scholars wore it in the 13th century as a sign of their virtue and purity. The black and white combination during the Spanish rule of Charles V. in 16th century Europe, known as Spanish court fashion, became a bestseller. The corset and skirt of the ladies as well as men’s bloomers were sewn from precious dark and black fabrics that were loosened up by lighter under fabrics. Important and uniform was a white neck brace.

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The production of black fabrics with vegetable and animal dyes was complicated and expensive until the advent of synthetic colours in the middle of the 19th century. They were a luxury product. A woman’s best dress until the end of the 19th century was therefore usually a black one. For the same reason, people in Switzerland got married in black. But black also gained a formative influence in men’s wardrobe of the 19th century in suits, coats, tailcoats, hats and top hats. Black embodied power, wealth, respectability, influence, self-respect and elegance in male society and, on the other hand, was the expression of humble and repentant Protestant austerity.(3) In the present, we also associate symbolic statements like sophistication and formality but also mourning and misfortune with black. In Africa, black symbolizes age, maturity and stands for masculinity. With the neutral white, we associate something positive, light. The white flag signals surrender and peace. For a long time, white was connected with medicine,

(2) Coco Chanel (3) Nationalmuseum Schweiz [LINK]

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doctors and light hospital rooms, with cleanliness and hygiene. While we Europeans find white in its positive effect on us in wedding costumes, in Asia it stands for death and mourning. People traditionally wear white during funerals there.(4) In modern interior design, white often stands for a minimalistic aesthetic. In art, this minimalism goes even further with the »white cube theory«, a gallery aesthetic that is characterised by a square or elongated shape, white walls and a light source, usually from the ceiling. All of us have probably been in galleries that are designed according to the principle of the »white cube«.

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In these examples, we still see the great differences in the cultural perception of these two important colours. Black and white unfold their symbolic power into the immediate present. When the 75th Golden Globe Awards ceremony took place in January 2018, many actresses announced that they would dress all in black as a sign against sexual harassment and in solidarity with the victims. The uniform colour black would show: We women stick together.

The symbolism of colours is immense in very many areas of our lives, taking into account the different ways of thinking, feelings of life, geographical characteristics and time periods. In this context, the »non-colours« black and white are in no way inferior in their significance to the bright colours that are analysed more often in classic women’s magazines.

(4) Designer [LINK]

Action

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BLACK& WHITE

Photography Text: Dr. Michael Neubauer

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Taking pictures has never been as easy as today! Everybody pulls out their cell phone, and the selfie, the dinner or the holiday hit is captured for eternity. If you are one step further, you then alienate the motif, play with the colours or conjure up a cloudy sky that was never there. Everything goes, nothing is impossible. And yet there is something nagging at our colourful photo dreams: »Black and white« is on the rise again, is cool … and is something special – especially when you photograph manually. And anyway, the most famous icons of photographic art took black and white pictures at all times. Be it the Americans Man Ray (1890 - 1976) and Ansel Adams (1902 - 1984), the Swiss Robert Frank (1924 - 2019) or the German-Australian Helmut Newton (1920 - 2004) and many more. They showed what expressive power can exist in a black and white picture. They composed shapes and motifs, juggled with shadows, light and contrast and created emotions that still excite us today. That was and is art until today.

As long as there have been people, we have been tempted to portray our actions, our surroundings, ourselves. We visually capture the result of a success, the captivating outfit, the dignity of old age, the beauty of the nature we discover, as a memory, for posterity … not to be forgotten. Only thanks to prehistoric cave paintings, the veduta and landscape painting, a wide variety of painted portraits, we know how people lived ages ago, what cities looked like, what fashion prevailed, how this or that celebrity looked. It is all too understandable that, in addition to painting, people looked for other forms of representation. And there have always been creative ones. There are four names to remember: Aristotle (384 v. Chr. - 322 v.Chr.) and his team described as early as 350 years before Christ the possibility of depicting an object on the back wall of a darkroom if there was a 29

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small opening opposite to this back wall. The object presented itself upside down. The camera obscura was born. In 1826, the Frenchman Nicéphore Niepce succeeded in recording his surroundings on a tin plate coated with asphalt. This technique, known as heliography, is the first photographic one ever. It produced the first photographic image still preserved today. However, the heliographic exposure time had to be extremely long. This was taken up by the French painter Louis Jacques Daguerre in 1839. He applied a lightsensitive silver iodide layer onto a copper plate that was exposed in a pinhole chamber. The result was an unstable silver image, again upside down, that had to be developed immediately with mercury vapours. The daguerreotype, proper photography, was unstoppable. Also because, in 1841, the Englishman

William Henry Fox Talbot succeeded in reproducing images by making prints from a negative. The mercantile side of photography took its course.

At the end WILLIAM FOX TALBOT (1800-1877) of the 19th century, roll film appeared that made it possible to take several pictures and, above all, to change the film when it was light. Several formats of film rolls and special films were created. The classic film roll with an image width of 60 millimetres was later replaced by 35mm. This is still the standard today. There were different lengths of all roll films, e. g. those with 24 or 36 exposures. Who doesn’t remember the black and white pictures with the elaborate serrated borders that decorated every family album and that loosely curled towards the picture? sister-mag.com

Photography BLACK& WHITE

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It started with »black and white«. When people used to talk about »photos«, they meant black and white pictures. But soon, the question was obvious: »Why are there no coloured ones?« The companies „Kodak“ and „Agfa“ clarified this. In 1936, they invented colour film as a threelayer film. However, colour photography only became widely accepted after World War II. Varieties like the Polaroid instant camera supplemented the repertoire. Rapid technical-optical developments for recording technologies followed, especially in the 1950s and 1960s. In 1973, the first fully electronic camera Rolleiflex SLX was presented by the German company Rollei from Norderstedt. Digitalisation had a revolutionary effect on photography at the end of the 20th century. Film no longer served as photo memory but images digitalised in a sensor could be retrieved in seconds and were available at any time … even black and white ones! So digital has taken nothing from us – on the contrary! When you take pictures in RAW status and set the camera’s shooting mode to B&W, you can already assess the conditions for B&W, and RAW guarantees that all colours are preserved. You stay flexible. Black-and-white photography is attractive, an art form in itself, of course, but even the amateur photographer will not want to miss it. The play between light and shadow, the strong contrast 31

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Photography

BLACK& WHITE

between both components emphasise the composition. Colours are not distracting, black and white emphasises the real motif – even in poor light conditions. Unfortunately, this is also the case when you make yourself available to a speed camera as a motif while driving at high speed! This black and white picture is not considered »art« but is still expensive.

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If you are interested in black and white photography, we recommend these exhibitions:

Leipzig

Elisabeth Moritz, Rügen 1940: Die Großmutter und die Kinder auf Rügen, 2019

Black and white photography often connects with analogue technology. From 18 January to 3 April 2022, you can see modern black-andwhite works, among others, in the exhibition »ANALOG TOTAL« in the GRASSI M u s e u m for Applied Art. In addition, the exhibition »FOTOBÜCHER. Kunst zum Blättern« (»PHOTO BOOKS. Art to flip through«) presents a variety of black and white image examples – also until 3 April 2022.

Hamburg

From 11 February to 1 May 2022, works of the winners of the prestigious young talent award GUTE AUSSICHTEN - JUNGE DEUTSCHE FOTOGRAFIE (GOOD PROSPECTS – YOUNG GERMAN PHOTOGRAPHY) with many examples of black and white photography are shown in the PHOXXI.Haus der Fotografie at Deichtorhallen. Sophie Allerding, Leuchtende Augen, 2020, www.guteaussichten.org

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Berlin

From 21 January 2022, the nüüd.berlin gallery shows the exhibition »#SpiritOfStBerlin« with photographs of the Berlin photo artist Martin A. Völker. ART@BERLIN writes: »The photo exhibition in the nüüd.berlin gallery shows the city of Berlin oscillation between the melancholy of everyday life and the departure into the dreamlike« – and all in black and white! When it then gets very quiet, the artist Jürgen Klauke has laid down his thoughts about the »FORMALISIERUNG DER LANGEWEILE« (»FORMALISATION OF BOREDOM«) on photo paper in the Galerie Guido W. Baudach. ART@ BERLIN says: »The triptych, exhibited as a rare vintage print on baryta paper, has a conceptual as well as an almost sculptural impression. It is shown in an almost exemplary way how Jürgen Klauke [takes a stand] to existential questions at the end of the 1970s / the beginning of the 1980s.«

Not to forget the Museum of Photography. On 31 October 2020, Helmut Newton would have turned 100. That’s why the museum shows the big and worthwhile retrospective »HELMUT NEWTON. LEGACY«, especially in black and white, until 22 May 2022. In addition, you can enjoy works of Ruth Walz in »Theaterfotografie« (»Theatre photography«) and a photographic review of the theatre of the 1920s until 13 February.

Helmut Newton Fashion Melbourne, 1955 © Helmut Newton Foundation

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Potsdam

Peter Henry Emerson Seerosenpflücken, 1886 Platindruck 19,5 x 29 cm Staatsgalerie Stuttgart, Graphische Sammlung, erworben 1989, Sammlung Rolf Mayer © Photo: bpk / Staatsgalerie Stuttgart / Peter Henry Emerson

From 12 February to 8 Mai 2022, the Museum Barberini presents the exhibition »EINE NEUE KUNST. PHOTOGRAPHIE UND IMPRESSIONISMUS« (»A NEW ART. PHOTOGRAPHY AND IMPRESSIONISM«). The museum writes: »From the beginning, photography pursued an artistic ambition by experimenting with composition and perspective as well as with different techniques. Its relationship to painting was characterised by both competition and influence until World War I. The exhibition explores these interactions and illuminates the development of the medium from the 1850s to an autonomous art form around 1900.« Very interesting, with examples in earlier technology and, of course, in black and white!

Gustave Le Gray Große Welle, Sète, 1857 Albuminpapier 34 x 41 cm Céline, Aeneas, Heiner Bastian © Céline, Aeneas, Heiner Bastian

Jacques Henri Lartigue Arlette Prevost, Anna la Pradvina genannt, Avenue du Bois de Boulogne, 15.1.1911, 1911 Silbergelatinepapier 21,1 x 29,2 cm Sammlung Dietmar Siegert ©Ministère de la Culture (France), MAP-AAJHL; Sammlung Dietmar Siegert, Photo: Christian Schmieder

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O P E N YOUR YOUR OPEN EYES

C U LT U R E & A R T sister-mag.com

EYES! EYES!

T E X T: C A RO L I N K R A L A P P

We have clicked through numerous image galleries on Instagram and discovered special artistic positions that should not be missing in our black and white edition! The following artists clearly show that art does not always have to come in bright colors to catch the eye. Have fun looking at them!

E X P R E S S I V E A RT I N B L A C K & W H I T E

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STEPHANIE BORDA S BRO OKLYN BOUDOIR @brooklynboudoir New York photographer Stephanie Bordas, who owns the luxury portrait studio Brooklyn Boudoir, manages to capture very special and intimate moments with the camera lens. One gets the feeling of being very close to the protagonists. In her portraits, „less is more“ - no exaggerated hairstyles, no intrusive makeup, and no oldfashioned filters either. Her photos are genuine, unadulterated and express the true self of the models. The photographer loves to get in touch with different women, listen to their stories and capture them in her photos. The artist also takes on and celebrates the theme of motherhood.

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IOANNIS LA S SITHIO TAKIS

@ioannis_lassithiotakis

The reduced use of shapes and colors are the distinguishing feature of the Greek artist Ioannis Lassithiotakis. The black and clear forms seem to float in the white and empty pictorial space. In his work, differently strong lines meet differently pronounced color fields. In the process, new combinations are constantly created in his paintings that seem never-ending. If you‘re hungry for more, you can find many colorful variations on the artist‘s Instagram profile, in addition to other black-and-white artworks.

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BRENT WADDEN @_bbww_ From photography, we move on with Canadian artist Brent Wadden to the medium of abstract weaving, where different shapes and colors collide and develop an exciting visual language in the overall image. Brent Wadden‘s art evokes memories of the work of Anni and Josef Albers. The unpredictable graphic lines that do not seem to follow any clear systems lead to a certain confusion when viewed, which at the same time triggers a special interest in breaking down the artist‘s weaving method of working. Patterns and rhythms are of central importance here.

ed Use hapes Colors

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JANINE KÜHN @janine_kuehn Janine Kühn‘s art is the perfect fusion of fine art and portrait photography. Her special penchant for detail is unmistakable. Nothing seems to be left to chance here, but visually perfectly staged. In her images, the artist pays special attention to the unexpected in everyday life. Her works have an experimental character, which at the same time gives them depth and their own visual language. They trace the strange, the obscure, without losing expressiveness and aesthetics. Here it is worth taking a very close look.

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patrick

KARL Soulmates? »Dear Karl, this is it. You’re gone forever. Many will miss you but you’ve left no one cold.« As a successful fashion designer, as unique genius, loyal friend, loving daydreamer and sharp business partner, Karl Lagerfeld will always — as Patrick Hourcade sums up at the end of his new book — remain in our memories.

In 1976, Patrick Hourcade and Karl Lagerfeld met. An unforgettable friendship began between two artists that Hourcade now retraces with never-before-seen documents. Martina Klarić read Karl: No regrets. sister-mag.com

The book Karl: No regrets is the first time that artist Patrick Hourcade publicly honours his friendship to fashion icon Karl Lagerfeld with neverbefore-seen documents. He allows us to take a peek at the glamourous world of a person whose lived flamboyance was an honouring to life itself..

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Patrick

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Hourcade was with fashion

love of aesthetics and culture that they

muse Anna Piaggi when he met Karl

shared and used as guiding north star

Lagerfeld in a restaurant in 1976. Piaggi

for each of their artistic works. Many

had told Hourcade about Lagerfeld’s

personal photographs, anecdotes and

witty and intelligent personality. A

memories in Hourcade’s book prove

promising lunch in every way…

this. The two artists enjoyed getting lost in the culture of the 18th century

Lagerfeld ordered a salad with cervelat sausage and led the conversation, as per usual. He was swooning over a castle, an architectural wonder, that he had recently bought, when Hourcade suddenly drew attention to himself: he cited books about houses and gardens of the 18th century that he had read when studying art history. Lagerfeld was over the moon!

and its »spirit of enlightenment«. Names

Madame

Pompadour,

Voltaire, Friedrich II symbolise luxury, intelligence and the expression of a time period that they deemed as ideal – and that Lagerfeld especially longed for. He copied the style to decorate his homes, buying rare antiques, expensive wallpapers, French carpets and art with Hourcade. The salons of these mansions were dipped in royal blue

What started as an afternoon at the

and draped with sunny yellow curtains.

Brasserie Lipp turned into a 25-year-

»Houses were Karls soul«, it said at one

friendship, with Hourcade as a close

point. Inimitable!

confidante and companion. They were so close that he had his own rooms in

Hourcade fell for Karl and Lagerfeld!

Lagerfeld’s castles, where they worked

That’s clear right from the first sentence

together and inspired each other.

of the almost 200 page-long and well-

»Our

relationship

was

unusual«,

Hourcade wrote in the preface, »in the eyes of many it seemed strange, because it wasn’t brotherly or a romantic

edited book: »How to describe the indescribable? «, asked Hourcade. His loss for words became a sign for the complex relationship.

relationship, it wasn’t about business

As much as the icon Lagerfeld shaped

either. We were soulmates.« Their

him, with his exuberant creativity that

connection mostly stemmed from the

infected everyone around him, the

sisterMAG 64 | 2022

human being Karl, with his love of books quite literally, abruptly bringing an end – unbelievable amounts of books! – to their connection amid all of these and of being with others, his mother Elisabeth and his great love Jacques de Bascher. Karl Lagerfeld was something special, Hourcade often repeated. Not only in his incredible talent, the works on paper and catwalks that he created, but Hourcade was also impressed by Lagerfeld’s convictions, his dedication and discipline that showed his deeply charismatic character outside of all pomp. While Lagerfeld turned into a worldfamous icon, leading Chanel, Chloé and Fendi to unknown successes, Hourcade

events. For Hourcade, the circumstances were not clear and almost unbearable. Everything was complicated: money and jealousy were involved, betrayal, illness and unbelievable grief. Hourcade felt cheated on by Lagerfeld, guiltily cast away – and finally free. In the end, Hourcade remembered: »[...] the crowd cheered him [Lagerfeld] on, but at the core of his being, he always remained alone.« As we know, the good memories are those that remain.

became artistic director of Vogue Karl: No regrets – a dedication, a Paris. He turned to photography, then goodbye, a love letter, a testament of installations and their paths separated sadness. A light read, written with ease.

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Martina Klarić @buchberuehrung

Karl: No regrets By Patrick Hourcade, published 2. November 2021 at Thames and Hudson (224 pages), ISBN: 978-2080243713, € 25,99 [D] www.suhrkamp.de

BLACK WHITE Design & Styling: Evi Neubauer

Production:

Cristopher Santos Luis Hartmann Gabriela Morales

Models:

Marielouise Engel & Svala Wagner

Hair & Makeup:

Tatiana Ashakova / esteemmakeover

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What lasts long … in this anniversary edition we have prepared a collection with especially many new, innovative patterns. Project managers Marie and Svala stood in front of the camera as models for us, skillfully setting the scene for EVI NEUBAUER‘S fashion in black and white. The new patterns of number 64 are joined by some „old“ favorites reinterpreted. Have fun sewing them!

Moleskin-Jacket

64-1

Short, unlined

64-2

Wide-fitting trousers with wrap-around tie band

64-3

Lapel blouse with front pleats

64-4

Very wide with yoke

64-9

Blouse Mini dress Ballon dress

64-11

Short smock with back closure and feathers

64-12

Short, straight, sleeveless with stand-up

64-7 64-8

Double-breasted

Patent leather coat with cut sleeves and press stud placket Short with drawstring

Dress collar

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Moleskin

Louis Vuitton‘s collection has

shown

oversized

creating

the

way:

shortened, whole

new

silhouette. Our

64-1 Oversized

double-breasted coat

made of coarse fabric with stand (e.g. moleskin). Special features: a flap pocket on the chest and a beautiful stiff collar.

as seen on the catwalk

Marie wears it with

61-3

Oversized Business Pants with welt pockets.

Louis Vuitton, Spring-Summer 2021

64-1 J AC K E T

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61-3 PA N T S

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64-1 J AC K E T

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BLACK

WHITE Belongs in every closet: a wrap top that flatters the wearer and fits according to the individual shape of the day:

41-1 Wrap

jacket with neckline. We have designed a very wide, tightened trousers to complete this outfit: 64-2 trousers

Wide-fitting with

wrap-

around tie band.

64-2 WIDE T RO U S E R S

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41-2 WRAP J AC K E T

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Earrings: Geometric Earrings from beretkah via ETSY

41-2 WRAP J AC K E T

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64-2 WIDE T RO U S E R S

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Faltenblouse

BLACK WHITE 64-3 BLOUSE

White blouses always go and are almost the work uniform of the founding sisters. But with white blouses, more than with any other garment, it‘s the details that matter! This version is a particularly beautiful specimen, with the front part laid in folds, a lapel collar, without sleeves and noble buttons. Whether worn with wide business pants or skirts, this blouse shines on any occasion!

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61-3 PA N T S

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We have sewn this blouse without underwire to achieve the special airy look. Of course, the collar and fitted trim can be reinforced with interfacing.

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BLACK WHITE Inspired by oversized silhouettes currently seen on Instagram and the runways, this 64-4 very wide yoke blouse comes along. It is made with almost no seams. It has no collar and a button placket on the front. The sleeves are gathered at the wrist with an elastic band to create a balloon effect.

54-2 FINE C O R D U ROY PA N T S

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64-4 WIDE BLOUSE

e Blouse 61

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32-2 MINI DRESS

64-7 DRESS

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MiniDress

A pattern from our archive interpreted in Chanel-like manner. The perfect allrounder for special events and also usable in colder temperatures due to the long sleeves. The cut is also well suited for sewing beginners. Details make this dress special. In issue 32 we decorated it with feathers on the edge, here sequins and beads decorate sleeves and top pockets. The brooch is also handmade. The instructions for it will come in one of the next issues. 32-2 Mini-dress with long sleeves

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BLACK WEISS Earrings: Harmonia Earrings in Yellow from Swarovski

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64-7 Double-breasted mini dress with faux fur trim: A pattern that really shows off the fabric choice. Fabrics

64 7 of stand with a -bit

KLE I D fall too that don‘t easily are best here to keep the shape of the dress.

Double-breasted closed and decorated with faux fur stripes on the armholes, it is super comfortable.

64-7 DOUBLE BREASTED DRESS

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Blazer

BLACK WHITE This outfit shows how versatile our patterns really are. Two archive cuts from issues 23 and 41 are made here from the same black fabric with a bit of stretch to become the new ensemble: The

embroidery thread sets off the flap pockets. It falls loosely and admittedly rather something for experienced sewers. Combined with the 41-7 Business trousers with pockets. The narrow trousers were provided here at pockets and at the hem with decorative stitching. On the front there is an 18 cm zipper, a hook with eye for closure and two side pockets of the pants.

23-3

Straight Costume Jacket is made unique by a back strap (see next page) and the decorative stitching with white

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23-3 BLAZER

41-7 PA N T S

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Blaze 41-7 PA N T S

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23-3 BLAZER

LACK

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BLACK WHITE You are looking for a fabric in your own „warehouse“, suddenly a scrap of fabric falls into your hands, which you have not thought about for a long time. Actually, too little for any garment too good to throw away. We have made a cut that can be worked from a single fabric or just put together from different ones. The cut is based on the mini dresses of the 60s. You can cut it apart in many places and adapt to the fabric scraps: 64-12

Short,

straight,

sleeveless dress with stand-up collar. We are looking forward to many dresses!

64-12 DRESS

64-8 PATENT COAT

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This patent coat also graces our cover of the issue: Cut sleeves and a wide fit give it the interesting silhouette. It becomes a real keep-piece with unusual details like the placket with metallic snap buttons: 64-8 patent coat with snap button placket.

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The stand-up collar is closed by an eyelet at the back. The back closes with an invisible zipper about 30 cm long.

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A DIY it-piece is our Padded Headband: a simple hairband is pasted with foam, covered with fabric and glued with glittering stones.

64-12 DRESS

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Minidress sister-mag.com

Soft shell - a fabric that has made it too much fame for outdoor wear and durable children‘s clothing. But in recent years, many designers have also discovered it. We followed in their footsteps and made a simple cut:

64-9 short balloon dress with

a drawstring. This cut can be made into a work of art in many ways: punch needling with thin wool is the first option. The rose motif is part of the pattern.

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Two tricks we would like to share with you. Since you can not iron the seams apart, we have sewn the seam allowances inside each side invisibly by hand, virtually like a hem. The seams do not fall together, and the silhouette gets the right shape. We have made very good experiences with leather needles for sewing, because they do not leave any holes when correcting a seam.

52-1 BLOUSE

BLOUSE MATERIAL from schoenerstil.de

64-9 BALLOON DRESS

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BLACK WHITE 64-11 S MO C K

Earrings: Chroma Stud earrings in Pink from Swarovski

57-3 JOGGING PA N T S

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Designer Evi‘s favorite piece from this collection. Affectionately called „smock“, you can‘t tell from the front of this top what it hides at the back: it gapes open with every movement, as it is only held closed by a single snap. Easy to make, it is well suited for sewing beginners. It is ideally made from a thicker fabric. The feathers on the back and sleeves are a playful add-on for a unique look, as currently seen everywhere on catwalks:

64-11

short smock top with back closure and feathers.

Pair it with:

Jogging

pants 57-3 Ideal for cozy time at home, but also the short way to the

57-3 HOSE

supermarket. Cool combined like here, it looks casual and elegant at the same time.

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d r a o b r e k T c T e h A P C A R O R A AUR L OL C GE E R A C L A K NEC

CERAMIC TEAPOT

Our f avou Che c r i te s kerbo with ard p a t te r n

Our t eam‘s favou alrea rite p dy sh roduc ow ho uniqu ts e che w sty c ke r b lish a Whet nd o ard p her it atter is car or ce n is. p et s, ramic floor s – th mat s e p at for a tern m sup er a ke s uniqu e de s ign! sister-mag.com

CC-TAPIS

dERN T

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JA MAD LEY PARS

VASE MORBU

BLOU SE

PRINT TOTE BAG

T A M R DOO

E D A DM N A UGS H M IC M A CER sisterMAG 64 | 2022

BABY

»GEORGE«

Difficulty**

BABYROMPER

64-10

Find the pattern in our shop: sistermagpatterns.com

// Photos: Thea Wittemann // // Design & Styling: Evi Neubauer // sister-mag.com

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Baby Romper

A baby romper in the style of little English lords that looks great on both girls and boys. The bib buttons all the way down the front, and elastic is used at the hips and leg cut-outs. The straps are best left a little longer so that the romper can grow a few sizes.

MATERIAL RECOMMENDATION All fabrics that are not too thin are suitable. The fabrics should be washed according to the manufacturer‘s recommendations before cutting so that the trousers do not shrink during the first wash. When washing fine woollen fabrics, pay attention to the detergent and temperature. FABRIC CONSUMPTION 0.4 m outer fabric for a fabric width of of 1,40 m For other sizes and if fabric with a different width is used or a special pattern is to be observed, the fabric consumption will change accordingly.

OTHER MATERIALS » sewing thread in matching colours » 8 buttons » some thin cotton fabric for lining the bib and for the diagonal stripes » approx. 55 cm soft elastic 1 cm wide » approx. 40 cm elastic 1.5 cm wide

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64-10

BABY ROMPER Find at sistermagpatterns.com sister-mag.com

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How to sew lap seams for baby clothing: Place fabric pieces right sides together, sew together 1.5cm apart.

First iron the seam allowances flat, then iron to one side. Trim one of the seam allowances narrowly, this is at the bottom. Why we use lap seams in this pattern: Lap seams are stitched twice. It is not only sturdy, but seam and seam finishing in one. It is particularly suitable for seams that are subject to heavy wear and regular washing.

Fold in the wider seam allowance on top and pin or baste in place. From the right side of the fabric, topstitch the edge with narrow edges.

You can find detailed sewing instructions in the pattern from sistermagpatterns.com.

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YE ARS Table of the Month sister-mag.com

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CREDITS Photos: Gabriela Morales , Hürriyet Bulan Florals: Hürriyet Bulan | BotanicArt Styling: Marie Darme , Hürriyet Bulan, Ilaria Trombí Theresa Wittemann

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TABLE OF THE MONTH

A special occasion made the sisterMAG team come together for issue 64 and put together this table decoration. 10 years ago on February 24, 2012, our first issue was released, and we celebrate this with this black and white DIY table. From tablecloths to napkin decorations, it‘s all DIY here, with some keepsakes like grandma‘s napkins and crystal glasses. Have fun decorating.

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OUTFITS FROM SISTERMAG PATTERNS Toni: 59-5 Oversized Blazer with welt pockets Toni and Thea founded sisterMAG together with Alex 10 years ago.

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Thea: 32-2 Mini dress with long sleeves

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YOU‘VE NEVER EXPERIENCED SPONGES LIKE THIS BEFORE …

Hardly anything shapes the look of a set meal as much as the tablecloth. Therefore, here comes our „tablecloth of the month“ - stamped in a checkerboard pattern. What are the stamps made of? From simple household sponges! The tutorial can be found here incl. Video .

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Our theme of checkerboard continues in the NAPKIN DECORATION. Old damask napkins in beige with yellow pattern and monogram are tied together with three

cubes and thin wire (or ribbon). A very simple decoration that can be easily made in the colors of the decoration. For instructions with template, go this way .

Plates: Kristina Dam Setomono Teller – Thank you to Herz&Blut Forks: Vintage

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Happy Birthday, sisterMAG! A little musical greeting decorates our chairs, and the notes can be easily made out of paper. Template and instructions are here

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BO TA NIC ART It wouldn‘t be a sisterMAG feature without the flowers from our longtime floral designer and friend Hürriyet Bulan. The beautiful arrangements of anemones, spring branches, vetches and peonies adorn the table and background. For those who would love to have such floral works of art at home, Hürriyet‘s photo prints that she sells in her store are recommended because they last forever and combine her and our love for photography and florals: BOTANICARTPRINTS.DE sister-mag.com

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Our background, this time born from the stock of photo equipment. But what we have built here with large rolls of background paper (you can buy, for example, at Calumet ),

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of course, also goes in smaller format at home. Simply glue rolls of paper in different shades on top of each other. This works best on a wall or a paper background.

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CAKES BERLIN

Our anniversary cake is from the label „CakesBerlin“ and we spoke to founder Stephanie Illouz about her history, flavours and company. What is the story behind CakesBerlin? How was CakesBerlin founded? Long story short, I moved to Berlin after graduating from art academy in Israel. They were the most diverse studies I could wish for; painting, sculpting, lot´s of mixed media like fashion and photography… I didn´t know that would be the solid foundation of what later became to be CakesBerlin. I moved to Berlin and end up doing props and stage design for theater and spaces. It might sound odd but from there the way to edible props and cakeart was short. :) Berlin is such a creative playground and a perfect place to experiment. It helped me a lot to turn from playing with cakes as a hobby/ side-job to running the big thing it is today. What is the special feature of what you offer? We specialize in bold, playful custom cakes and enjoy trying new techniques and playing around with colours and materials. That’s actually my favourite part about CakesBerlin! Our clients often have a general idea ab-

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CAKES BERLIN How does the ordering process at CakesBerlin usually work? How much time should customers allow when they want to order a cake? It really depends! We have a quick purchase option on our website for same-week orders. On the other hand, wedding cakes are complex and the one-on-one design process with the out what cake they´re looking for but are open for us to suggest ideas and surprise them, this is how the best ideas bloom. It surprises me every time how much trust is given to our work; it´s pretty amazing. Which flavours always go with a cake? And which are the customers‘ favourites? We have about 10 flavours, so everyone can find a match. Our recent bestseller is our super fluffy chocolate-based cake, layered with fresh vanilla cream and red berry sauce. My personal favourite is chocolate and peanut butter. But I dare you to try and find out for yourself? couple can take time — these should be placed at least a couple of months in advance (four to eight months is the standard). Once an inquiry is placed we get together to brainstorm and again after exchanging several ideas and designs. Later, once we have found THE ONE, an offer is sent to the client, and then it´s me and my team´s magic time of planning, baking, decorating and delivering the cake to the party! sister-mag.com

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a little more extreme, along with a broken-hearted tiny letter and one who asked her current partner to move in with her! Pretty awesome people, we really love our community <3 Does CakesBerlin have a shop in town? We moved recently to a new location in There seem to be no limits to the creations of CakesBerlin. What types of decorations can you choose from when designing a cake? We work with everyt-

Kreuzberg. It´s a production kitchen and a studio where we meet our clients for consultations and creative projects. Since we´re not a cafe and all cakes are made to order, visits are by appointment

hing as long as it´s not dangerous to put

only, but a joyful design is in the making,

it on a cake. Fresh flowers, disco balls,

so we hope to make it an inspiring space

toy figurines, gummy bears. We use dif-

to work and meet in!

ferent icing techniques and textures, you name it, also — all colours work. If you like natural tones and a soft elegant floral arrangement on the top? Or black on

stephanies.cakes.berlin

CakesBerlin

CakesBerlin.com

black with a giant disco ball headpiece? The creative part (and sometimes challenging) is finding a way to make it look amazing in the end. Which cake has remained a special memory for you? Which design has been particularly fun lately? Oh wow! That’s a hard one to choose! Recently, on Valentine’s Day, we invited our customers to send to their loved ones a funky message on a cake. We couldn’t have predicted how awesome people can get when they are given the stage for it! We had several really naughty ones (like: “Be naked when I get home”, and a few that were

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CHECKER BOARD RECIPES Recipes and Photos:

CAROLE POIROT carolepoirot.com

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BATTENBERG CAKE gluten free & dairy free

INGREDIENTS 175g vegan block (butter, Natruli’ works really well), plus extra for greasing 175g golden caster sugar 3 large eggs 175g gluten-free selfraising flour ½ tsp vanilla extract

TO FINISH

Around 4-5 drops red food colouring

100g apricot jam 350g ready-made, white marzipan 2–3 tbsp icing sugar, for rolling sister-mag.com

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PREPARING THE BATTER 1.

Preheat the oven to 190C/375F/Gas 5.

Grease a 20cm square cake tin with butter.

Take a 30cm x 20cm strip of baking paper and make a 8cm fold in the centre. This will create a division in the cake so that the two differently coloured sponges can be cooked at the same time.

Line the tin with the baking paper, keeping the division in the centre.

Put the butter and sugar into your mixer bowl and whisk until creamy.

Add the eggs, one at a time, and whisk for two minutes after each, then add the vanilla.

Add the flour spoon-by-spoon and mix until combined.

Pour the batter to a bowl set on scales, remove half of the batter and put it in a second bowl.

Add a couple of drop of red food colouring to one bowl and fold it into the batter until the colour is uniform. To make the colour more intense, add another couple of drops.

10. Spoon the cake batters into each side of the prepared tin and smooth. 11. Bake in the centre of the oven for about 25 minutes, or until a skewer comes out clean. 12. Cool in the tin for five minutes, then carefully turn them out onto a wire rack. 13. Leave until completely cold. sister-mag.com

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ASSEMBLY

14. To assemble the cake, place the sponges on top of each other and trim off the crusty edges so they are both the same size. 15. Cut the pieces in half lengthways to make four long rectangles. 16. Warm the apricot jam in a saucepan. 17. Brush the long side of one of the pieces with jam and sandwich together with a piece of the second colour. Do the same with the other two sponges. 18. Sandwich the two pairs of sponges together like a checker board. 19. Place the marzipan on a surface dusted with icing sugar and roll into a rectangle of about 40cm x 20cm. It should be large enough to wrap the cake completely, leaving the ends exposed, and be about 3mm thick. 20. Brush the top and sides of the cake with jam. 21. Turn the cake upside down on the marzipan and brush the underside with jam. 22. Wrap the marzipan around the cake, pressing it gently onto the surface of the sponges, and press the edges together to make a firm join. 23. Turn back over so that the seam in on the bottom. 24. Serve with a lovely cup of coffee.

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gluten free & dairy free

MATCHA CHECKERBOARD BISCUITS INGREDIENTS 350 g gluten free plain flour plus extra for rolling 1tsp xanthan gum 225 g vegan block (Natruli’ is the best one)

EGG WHITE GLUE

200g caster sugar 1 large egg + 1 large egg yolk save egg white for below 2 tsp vanilla extract 1tsp lemon juice 2tsp matcha powder

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1 egg white 1 tbsp cold water

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FOR THE BATTER 1.

In a bowl, mix together the flour and xanthan gum

In a stand mixer use the paddle attachment to beat the vegan block/ butter on a high speed until soft and creamy.

Add the caster sugar and beat until combined and creamy.

Add the egg, egg yolk, and vanilla and continue beating at high speed until combined.

Scrape down the sides of the bowl and beat again to combine for about 2 minutes.

Add the flour to the bowl and beat on low to combine. The dough will be thick and sticky.

Weigh the dough and divide into half. Wrap one half of the dough in cling film and form it into a rectangular block.

Add the matcha powder into the second half of dough still in the mixing bowl and beat on a low speed until combined.

Wrap the dough in cling film and form into another rectangular block.

10. Freeze both doughs for 45 minutes (if you’re using dairy butter, you can chill it in the fridge!).

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ASSEMBLY 1.

Place two levellers about 12cm apart.

Roll out each dough into rectangles about 12cm wide, 20cm long and 1.2cm thick.

Use a ruler to mark 1.2cm across the dough and then slice into 1.2cm strips.

You should get about 10 strips for each dough (you’ll need 9).

Mix the egg white and tablespoon of water.

Place a green strip next to a plain one.

Brush the sides with the egg white mix, then gently press together.

Place another green strip next to the plain one brushing with egg mix before pressing them together.

Brush the top with egg mix.

10. Place a green strip on top of the plain one and plain ones on top of the green ones always making sure to brush the sides with egg mix. 11. Make a third layer by now placing a plain strip on top of the green one and two green ones on top of the plain ones. 12. You should now have a long log with green/white/green at the bottom, white/green/white in the middle and green/white green at the top. 13. Make the second log with the colours in reverse (so white/ green/white at the bottom, green/white/green in the middle and white/green/white on the top) 14. Carefully wrap the logs and freeze for another hour. 15. Preheat your oven to 170°C. Line 2 baking sheets with baking paper. 16. Take the logs out of the freezer and, using a sharp knife, slice them into around 1cm thick slices. 17. Bake for 20 minutes or until very lightly browned on the edges. 18. Once done, leave the biscuits to cool on a wire rack. sister-mag.com

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ROAST BEETROOT SWEET POTATO FETA SALAD INGREDIENTS Around 3 medium sweet potatoes 6 medium beetroots 400g Feta cheese Extra virgin olive oil for brushing and drizzling

HOW IT IS DONE

Salt & pepper

Preheat your oven to 200°C

Cut the sweet potatoes and beetroots into about 1.5cm cubes.

Arrange the cubes (half beetroot, half sweet potatoes) on a baking sheet lined with baking paper.

Brush with olive oil and season with salt and pepper.

Bake the for 45 minutes.

Take the beetroot and potatoes out of the oven and leave to cool completely.

Lemon juice for drizzling Finely chopped fresh parsley

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Cut the feta cheese into cubes about the same size as the vegetable cubes (they will have shrunk a little in the oven)

Now arrange the cheese and vegetables in a pattern on a (preferably square or rectangular) plate making sure not to have two of the same next to each other.

Drizzle olive oil and lemon juice on top and garnish with the parsley.

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E T I H W

IN BLACK & sister-mag.com

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DIYs in Black and White Inspired by our black and white color scheme, we‘ve designed a new DIY feature for young and old in this anniversary issue. It‘s going to be animalistic, artsy and fashionable. Among other things, we show you how to design elements from our »Table of the Month« in just a few steps, make animal masks or packagings with your little ones. Have fun getting creative!

#SISTERMAGDIY

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CHECKERBOARD TABLECLOTH

VIEW VIDEO

DIY: Marie Darme // Photos & Video: Gabriela Morales // sister-mag.com

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MATERIAL

» Tablecloth (preferably made of cotton or linen, old fabrics are also suitable here) » Angular sponge » Cutter » Ruler

» Pencil » Fabric paint in Black & White » Paint brush » Flat Iron » Protective sheet

DIY DOWNLOAD

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DIY: Marie Darme // Photos & Video: Gabriela Morales //

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VIEW VIDEO

MATERIAL

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A4 template 4 x A4 black paper Scissors or Cutter Folding tool Ruler Glue Pencil

Instructions 1.

Print template on white paper.

Cut template out and trace the outlines on the black paper with a pencil.

Cut out black paper notes.

Mark the folding lines with

the folding tool and the

ruler and fold.

Glue the parts together (just follow the numbers on the template).

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CHILDREN’S MASK „PANDA“ & „ZEBRA“ DIY: Marie Darme //

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Photos & Video: Gabriela Morales //

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MATERIAL

» » » » » »

Print template on A4 Scissors Elastic band Felt in Black und White Hot glue gun Pencil

» Print template on paper and cut it out. » With the pencil trace the template on black and white felt and cut it out. » Glue the felt pieces together using a hot glue gun. » Cut a piece of rubber band (about 20 cm, it’s best to just measure the child’s head beforehand). » Make small incisions on the side of the mask (at eye level) and knot the rubber band there. » Finished!

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ZEBRA BOX DIY: Marie Darme // Photos & Video: Gabriela Morales //

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MATERIAL

VIEW VIDEO

» Paper box or Paper bag » Print template on sturdy paper (150g - 200g) » Paint brush » Paint (Black, White) » Scissors » Cutter

Instructions 1.

Print template on sturdy paper.

Cut with scissors and cutter (or with cricut machine).

Place stencil 1 on the box and paint with the white paint. Allow it to dry.

Place stencil 2 on the white

zebra and paint with the black paint.

Leave it to dry. Finished.

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B L O U S E

U P G R A D E

VERSION 1

Gathered through smocking

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On the catwalks we always see blouses with lush patterns, great embroidery and ruffles. But for those whose sewing skills may not yet be enough to make their own masterpiece entirely, this series is „Blouse Upgrade“. We have bought very simple white oversized blouses, as you can find them at every popular fashion label, and in this and the following issues we will show you how you can make your very own it-piece out of them.

THE STARTING PIECE: A simple oversized blouse by ZARA with white blouse buttons and a rather straight shape.

THE RESULT: For our black and white issue 64 we use the simplest of the smocking

COST:

techniques: the honeycomb tech-

Blouse: ~30-40€ (e.g. H&M, ZARA oder Mango) Embroidery threat: 1,80€ von DMC Glass buttons: 12€ from „Schneidersitz“ Sewing shop (Pestalozzistr. 54 in Berlin) 129

nique. It‘s guaranteed to work with our short instructions and video tutorial! With this we gather the sides to create a waistline. In addition, the buttons are upgraded with black glass buttons.

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B L O U S E

U P G R A D E

B LO U S E U P G R A D E V 1

Gathered through smocking

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What is honeycomb smocking? A wavy stitch that is worked evenly on the fabric surface over distributed points. These points define the pleats that will be created later. For our blouse, we decided to use dots spaced 1 cm apart. Smocking instructions: 1. First mark the dot pattern on the blouse with a pencil (fig. 1-3, next page).

In old books this type of smocking is sometimes cal-

We put the points as follows with our blouse:

led seed smocking because the small dots that are created look like seeds. These are very decorative and can of course also be worked in bright or different colours.

12 Zeilen

7cm

12cm

10cm

1cm

13cm vorn

hinten

2. The dot pattern is pulled up slightly on the back of the blouse so that the smocking panel appears straight and does not tilt down. It is best to try out beforehand how much narrower the piece of fabric becomes due to the chosen dot spacing. 131

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EMBROIDER Guide along thread

(1)

(2)

(3)

3. Now sew two points together in the above order: Stitch through one point in and out, through another point in and out (fig. 4; red lines). Then pull these two points together and stitch over them again (= „seed point“ is created, fig. 5).

(4)

(5)

(6)

(7)

(8)

(9)

4. On the left side of the fabric now pass the thread along to the point below (fig. 6, blue arrow) and gather and stitch the next two points. 5. Continue the whole row like this. Then either knot and start again on the left or stitch across two rows to the third row (see grid above).

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O P RT

Text Robyn Alexander Production Sven Alberding

Photos Warren Heath / Bureaux

m _ h . e sv

We speak with

Frances van Hasselt

c n a fr

The

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i a h o

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s The designer Frances Van Hasselt on one of her beautiful rugs, that demonstrates the tactile appeal of mohair.

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Maker, designer and entrepreneur Frances van Hasselt creates beautiful mohair rugs that reflect all the uniqueness of their origins in the South African Karoo.

Karoo

The arid, semi-desert landscapes of South Africa‘s central Karoo region are an acquired taste. This is a place where extreme harshness – scorching heat on summer days, icy cold on winter nights – coexists with the delicate beauty of indigenous plant life, and where the bone-dry air is scented with dust yet still exquisitely clean and crisp. Sunrise and sunset are soft and subtle moments, the land stretches seemingly endlessly to the distant horizons, and the sky feels somehow higher above one‘s head than it does elsewhere. The people of the Karoo are special too: friendly to every visitor, yet with an inner reserve that reflects the elusive nature of the place in which they live and work. This is also an area renowned for its exquisite mohair. The mohair fibres produced by the angora goats of the Karoo are some of the very best there is in the world, prized around the globe (and most especially, in the textile sister-mag.com

centres of Italy and Japan). In South Africa itself the exceptional quality of local mohair is not as well known. Partly as a result of this, almost all of it is exported as a raw material, to be spun, dyed and woven elsewhere. Which is why, as designer, rug maker and Karoo native Frances van Hasselt explains, it was only once she had spent some time working in the international fashion industry that she ‚came to realise how incredibly special and unique mohair is‘.

»It was only once I spent time working in the international fashion industry, I came to realise how incredibly special and unique mohair is.« – Frances van Hasselt

Frances had always known about mohair: she grew up on the Van

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Decorating one of the walls of Frances‘s studio is a selection of samples, colour tests and other works in progress. The studio makes use of a variety of looms to hand-weave rugs, thus developing an ever-broadening understanding of the possibilities offered by mohair textiles.

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Hasselt family farm, which is located outside the small town of Prince Albert and includes one of the oldest angora goat studs in South Africa. The mohair produced by those goats is an integral part of her heritage. No wonder then, that she ‚became determined to produce a local product... that highlights [mohair‘s] unique and desirable qualities‘. The result of that resolution is Making one of her rugs is a uniquely creative process for Frances. ‚When I am in the Karoo I make sure that I spend time outside walking, as this is where most of my ideas and inspiration come from,‘ she says. The light and the colours, the patterns formed by the region‘s gravel roads and folded mountain ranges – all of these unique signifiers of place are reflected in her graphic designs.

»When I am in the Karoo I make sure that I spend time outside walking, as this is where most of my ideas and inspiration come from.« – Frances van Hasselt sister-mag.com

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ohair

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The Karoo is an arid yet uniquely beautiful part of South Africa. ‚Our rugs are inspired and informed by the places, spaces and people of the Karoo,‘ says Frances. ‚We try to replicate its dusty plains, the rich colours of delicate vegetation, its textured landscapes and crisp light.‘

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»Nature‘s most valuable lesson is that of simplicity« These might be inspired by ‚the tiniest folds of a veld flower or the balancing act performed by rock formations,‘ she says – adding that for her, nature‘s most valuable lesson is that ‚of simplicity‘.

Simplicity

As Frances takes care to explain, her rugs also reflect more than one single person‘s creativity: she is a collaborator, both with her clients and with local traditional textile workers. Another of Frances Furthermore, in Frances‘s view, ‚a V.H‘s aims is to offer sustainable sustainable, circular economy employment and training in a part does not start in factories‘. For of the world where jobs are scarce. this designer-maker, weaving One result of this multifaceted and finishing a rug are the last approach to what she creates few steps on an intricate supply is that no two days of Frances‘s chain that ‚starts with rain, the working life are the same. She delicate ecosystem of the veld spends time finding her inspiration (landscape), the role of herdsmen, in Karoo landscape around her, the importance of healthy animals formulating her designs and to produce quality mohair‘. She‘s collaborating with clients. ‚All our also very aware that the resulting work is made to order, so I have raw fibre also has to undergo a very close relationship with multiple processes – washing, clients,‘ she says. cleaning, dyeing and spinning, But she is also occupied with most of which is done by hand promoting the Frances V.H brand, – before the yarn ends up on her sharing its story with the world, loom.

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A rug in progress on a loom. Each individual rug produced by Frances V.H is the sort of very contemporary luxury item that Frances describes as ‚rare, once-off, sustainable, trend-free, timeless, unique to the individual‘s taste, and handmade‘.

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All the mohair used to make Frances V. H rugs is hand-spun, then dyed and woven to reflect colours and textures inspired by the natural surroundings.

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and of course, ‚there is always

mohair should be recognised something happening in the in the same way cashmere is in studio, from dyeing yarns, to Scotland or alpaca in Peru – and spinning, weaving up new orders to achieve this we need to create locally made, or playing around with different exceptional finishes‘. And as this is a working finished products.‘ This is farm, there‘s plenty of everyday why Frances V.H creations administration, logistics, pack- are luxurious in the most aging of orders and fixing of contemporary sense: not as a result of being costly, but equipment forming an inevitable because Frances‘s captivating part of running a business such rugs encapsulate what she as hers too. describes as a ‚world view‘ that is Reflecting both the uniqueness all about ‚clean air, open spaces, of the Karoo‘s ever-changing an appreciation for nature, landscapes, and her personal meals around a table with friends passion for mohair as a fibre, and family, and building a home Frances‘s rugs demonstrate in which you feel safe, calm and her view that ‚South African functional‘.

»South African mohair should be recognised in the same way cashmere is in Scotland or Alpaca in Peru.« – Frances van Hasselt sister-mag.com

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A trio of recent Frances V.H rug designs on display in Frances‘s studio.

Frances‘s studio and workroom is located on the farm. It‘s a simple and practical space, furnished with heirloom chairs and decorated with weaving samples. The studio makes use of a variety of looms to handweave rugs and develop an ever-broadening understanding of mohair textiles.

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Text Lea Becker

Watching forFashion The shows where clothes play a lead role Are you looking for new trends, cool outfits and Itlabels? Simply switch on your TV or tablet, relax and be inspired by one of these thrilling or funny shows. The sisterMAG-team took a closer look and picked the shows where sought-after designer handbags, painfully expensive high heels and cool accessories turn actresses into fashion icons.

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City

Sex and the

The high heel cult is born

This charming cult series featuring three open-hearted, thirty-something, single women from New York lit up our TV screens between 1998 and 2004. A much-quoted and often-copied style icon emerged in main character Carrie Bradshaw, portrayed by Sarah Jessica Parker, a sex columnist and fashionista with a love for shoes that immediately captured the hearts of millions of viewers. US-American costume designer and stylist Patricia Field was responsible for the playful feminine outfits – her own designs and the styling on »Sex and the City« got her five Emmy nominations and one win. She also won four Costume Designers Guild Awards. Field managed to create a completely new style for the time, courageously combining feminine, playful vintage dresses with loud, blingy costume jewellery, painfully expensive designer bags sister-mag.com

and the newest, sought-after high heels above 12cm by Jimmy Choo, Louboutin, Dior and more in a casual and seemingly random way. She never shied away from mixing brands or patterns, experimenting with colours or using eye-catchers like extravagant headwear. Patricia Field consciously stayed away from the more athletic It-pieces of the noughties and instead let character Carrie Bradshaw walk through life in trendy New York bars and clubs wearing quirky outfits like the iconic ballet dress with tulle skirt. This hasn’t changed in the current reboot of the series »And just like that«, which shows three of the four friends in their fifties: even if Patricia Field no longer dresses Sarah Jessica Parker, the styles are still as inspiring and the heels still as high as they were twenty years ago.

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Gossip Girl If New York was a Catwalk

»Gossip Girl« shows the lives of a group of wealthy, young teenagers living on the Upper East Side in New York: none of them have to worry about money or their social status – but thanks to drugs, mental illness or sex escapades, they all risk their good names at one point or another. The lives of these teenagers are observed by the unknown »Gossip Girl«, who watches their every step and immediately publishes mistakes on her gossip blog. sister-mag.com

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The entertaining series for young adults (2007-2012) features Blake Lively as Serena van der Woodsen and her best friend Blair Waldorf (Leighton Meester) and doesn’t only have a gripping storyline but is pure inspiration when it comes to the trendy styles and designer looks of a past decade. Stylist Eric Daman – who learned his craft under »Sex and the City«costume designer Patricia Field – brought designer fashion from Vogue, Elle & more that

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many a teen and tween can only dream of to TV screens. How he did it? He asked to borrow outfits from the great fashion houses such as Chanel, Dior and Valentino. They were enthusiastic about making their fashion visible for millions of viewers at very little cost to the brand. There’s hardly better marketing!

» He asked the big fashion houses like Chanel, Dior and Valentino if he could borrow outfits for the series. The designers were thrilled: Their fashion became visible to an audience of millions without incurring high costs for the brand. No one could wish for better marketing.

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Figure-hugging dresses by Proenza Schouler, super chic accessories, preppy Chanel miniskirts, blouses with puffed sleeves and luxury bags from Hermès and Chloé made the main characters style icons, whose example many young women wanted to follow. Fashion chain stores used the series as inspiration and presented collections in a clearly richkids-inspired style. Now, 10 years later, the series has been rebooted with a new cast. Just after the first stills from filming were published, showing the teenage cast on the stairs of the New York Metropolitan Museum of Art, fashion bloggers and fans alike frantically tried to find out which labels the dresses were from, where to shop them and how to style them with smaller budgets. Style is what you make of it – even without a full wallet, right? XOXO …

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TheGambit Queens One woman on her (stylish) path

Eine echte Fundgrube für Fans authentischer Retro-Klassiker.

This super successful US-miniseries portrays the world-famous chess player Elizabeth »Beth« Harmon, played by Anya Taylor-Joy. Based on the novel »The Queen’s Gambit« by Walter Tevis from 1983, Beth grows up in an orphanage in 1950s Kentucky. Her talent for playing chess is discovered and nurtured – but Beth has a hard time settling into the male-dominated world and her drug and alcohol addicti-

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on stand in the way of a successful career. Costumes were made by the German costume designer Gabriele Binder, who perfectly sets the scene of old-school charm of the working class in the fifties and sixties with her simple twinsets, tweed coats in muted tones, strappy heels, leather gloves and pearl earrings. A true inspiration for fans of authentic retro classics.

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Mad Men

Sexy Sixties – Women between the old and new world The series »Mad Men«, on TV between 2007 and 2015, is dedicated to the lifestyle and aesthetics of the sixties in New York. It tells the story of marketing genius Don Draper who works at a well-known agency, developing ad campaigns for big labels, surrounded by attractive secretaries that willingly serve him alcohol and cigarettes. His wife Betty, played by an elfin January Jones, takes care of their home in neat twin sets and petticoat dresses, depressed that her husband is home so little. But Don’s affairs are much more thrilling than tame family life. Next to Betty Draper, Christina Hendricks plays the curvier head secretary Joan Holloway with humour, cleverness and sultry outfits with pencil skirts and deep necklines. She turns the heads of 153

many men and has a serious love affair with her boss. Costume designer Janie Bryant knew how to create a fashionable divide between the two women, showing their different attitudes towards and roles in life: Betty Draper in girly dresses and wide skirts, pastel coloured, perfectly made up and always frustrated like a way figurine by her stove. And the funny head secretary in skin-tight dresses and high heels, often wearing tied scarves, elegant pearls and extravagant earrings to the office. Her character represents the new, more progressive woman emerging from the 1960s. Which woman or look you identify with more is your choice, but one thing is certain: when it comes to fashion, both ladies get full points! sisterMAG 64 | 2022

Emily in Paris Fashion is the principal character

Clothes shown there are googled millions of times and bought thousands of times within a few days of being broadcast.

Crazy colours, wild patterns, designer high heels and berets: The former »Sex and the City«-stylist Patricia Field has been giving the characters of hyped Dramedy-series »Emily in Paris« their textile identity since 2020. The screenplay for the newest It-series of the fashion crowd was also written by one of the SATC-writers – no surprise then, that fashion is not a supporting character. The looks of leading actress Lilly Collins as American Emily Cooper, who moves to Paris for her dream job at a marketing agency and subsequently suffers from culture shock, are awe-inspiring. Full

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of enthusiasm, the twenty-something begins her life in the capital of fashion. She doesn’t adapt to the famed, strictly elegant French style but wears contrasting, colourful designer clothes – preferably miniskirts. Her accessory however is a French classic: the beret. According to online research, »Emily in Paris« is one of the most influential series of our time: The clothes are being googled millions of times within days of a new episode coming out and they’re also selling thousands of times. The third and fourth seasons were recently confirmed.

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Bridgerton Hoop skirts, ruffles and romance

While most of us spent the Covid-pandemic of 2021 on our sofas wearing loungewear, not particularly active in our fashions, Netflix launched the series »Bridgerton«. The sensual period picture started a real Regency-fashion hype (#regencycore) and was mostly talked about for its erotic scenes and the diversity of actresses and actors. Costume designer Ellen Mirojnick re-interpreted the fashions of Great Britain in the sister-mag.com

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19th century. Little in »Bridgerton« is true to historic references, with most costumes being made of modern fabrics in bright colours. But that’s exactly what viewers like – and they like it so much that romantic, playful styles of empirewaist dresses, pearls, corsets, puffed sleeves, pleated tulle skirts and pretty dressing gowns are fully back in style. This is exactly the distraction we need right now – and we’re anxiously awaiting season two!

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Royal time travel

For six years, »The Crown« has been running on Netflix, showing the partly fictionalised story of the British royal family since 1947. With so much history, drama and glamour, the fashion is all Brit Chic, preppy looks and the iconic pastelcoloured sets of Queen Elizabeth II next to the big ballgowns. Costume designer Amy Roberts has most of the wardrobe (around 300 costumes) tailor-made: a huge undertaking and a big nod

to fashion. Since 2020, the royal time travel takes us through the 1990s. Princess Diana, portrayed by Emma Corrin, is now one of the main characters. Her outfits are inspired by late Lady Diana’s typical looks: Chanel sets, Peter-Pancollars, cowboy boots, high-waist jeans, bike shorts and oversized blazers with shoulder pads. All of these pieces remind us of the most photographed woman in the world who was a fashion influencer in her own right even thirty years ago.

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BABY

»TONI«

Difficulty **

BABY DUNGAREE

64-6

Find the pattern in our shop: sistermagpatterns.com

// Fotos: Thea Wittemann // // Design & Styling: Evi Neubauer // sister-mag.com

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Whether it‘s a favourite fabric or a remnant box - these dungarees for babies are super cute and will become a real favourite in your wardrobe. The trouser legs are buttoned by colourful press studs, making it easy to change diapers. There is an elastic band at the back for extra freedom of movement. The straps are sewn extra-long so that the buttons can be moved to grow with the baby. Practical and chic at the same time! MATERIAL RECOMMENDATION All fabrics that can be washed easily are suitable. The pattern can be sewn from woven fabrics, fabrics with elastane content or, highly recommended for children, jersey fabrics of all kinds. FABRIC CONSUMPTION 0.6 m outer fabric for a fabric width of 1.40 m. OTHER MATERIALS » elastic band 1 cm wide; approx. 20 cm long » 2 buttons » 10 press studs plastic snaps

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IMPRINT

SISTERMAG – JOURNAL FOR THE DIGITAL LADY www.sister-mag.com

Chief editor Operations

Theresa Wittemann, Antonia Sutter Lisa Bagdadjan, Theresa Baier, Marielouise Engel, Irene Günther, Carolin Kralapp, Christina Rücker, Norell Sanatpour

Fashion

Eva-Maria Neubauer (Fashion Dir.)

Design

Theresa Wittemann (Art Dir.), Ezbah Ali, Marie Darme, Gabriela Morales, Alina Tahir, Ilaria Trombí, Svala Wagner

Contributin editors (Text)

Lea Becker, Martina Klaric, Michael Neubauer, sisterMAG Team

Contributin editors (Photo & Video)

Luis Hartmann, Carole Poirot, Cristopher Santos, sisterMAG Team

Translation

Ira Häussler, Alex Kords, Christianah Ajayi, Estelle Kamwa, sisterMAG Team

Proof

Ira Häussler, sisterMAG Team

Published by Carry-On Publishing GmbH, Gustav-Meyer-Allee 25, 13355 Berlin, Germany. Re-use of content is only allowed with written permission of the publisher. There is no liability for unsolicited manuscripts and photographs. The Carry-On Publishing GmbH assumes no liability or guarantee for the accuracy, currency and completeness of the information provided. All information is provided without warranty. Contact: mail@sister-mag.com Management

Antonia Sutter, Theresa Wittemann, Alex Sutter

Sales

Alex Sutter (Sales Dir.)

Marketing

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Antonia Sutter (Marketing Dir.)

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FO L LOW U S ON INSTAGRA M TO D I SC OV ER MO RE!

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