Shirts for Food

Denzel and I met a few years ago when we were both working at Baltimore Montessori Public Charter school. In the years since we met, we've each forged new paths (in the spirit of Montessori, of course!). Mine, obviously, has been to pursue the path of a clothing designer and maker, and Denzel's has been to become a local, sustainable farmer in Baltimore. Denzel's farm is called Five Seeds Farm, as he now has five children (one of whom was in my class a few years ago!). He started with a plot that used to be one of the many boarded-up row-houses in the city, and now has expanded to include another farm just north of the city line. They are "reviving the idea that farming is essential, artistic and exciting." Five Seeds Farm offers a June-November CSA, and so Denzel and I decided to do a trade: a CSA share for custom shirts and a necktie.

Not to mention that he's multi-talented--great farmer, great model!

Here's Denzel rocking his Shacket in Pigtown, Baltimore:

And here he is in his custom Red Clay shirt:

This is his final fitting at my studio (those trapezius muscles don't drape themselves...), in farmer gear, picking out his custom shirts and tie:

This upcoming summer's Five Seeds Farm CSA share is available for purchase now until February 15th at a discounted rate, and I can say based on last-year's bounty, it's going to be good. Denzel's farm features a lot of specialty veggies, such as mizuna, sorrel, and oyster root, all of which I became adept at incorporating into whatever pot or pan was heating on the stove. We ate really well last summer, and almost didn't have to plan our meals, because we could throw greens, roots, and fruits into the skillet and then wrap them in rice-paper or crepes, or saute and serve over rice, and all was delicious with very little effort. Very fresh, sustainably-grown grub.

Just wanted to share some pictures of the food that we made from the veggies from the share last season.  It was so much fun to be creative with each week's veggies.

Look how fun Denzel is! This is the friendly face you will see each Thursday if you sign up for his Five Seeds Farm CSA!

Human Scale

“The only way to make money in the perfectionist craftsperson industry, it seems, is to stop being a perfectionist craftsperson.” -ADAM DAVIDSONin the New York Times article, “What's a $4000 suit worth?”

The New York times printed an article earlier this month about bespoke suit-making. The article praised the skill of the featured bespoke tailor, but questioned the economics of the business. This tailor has all the business he can handle, but his salary is limited to how quickly he can make each suit. He has no employees and each suit takes about 2 weeks to make. Because there are few ways to speed up his process—-making a suit is skill dependent and each takes about the same amount of time—-his income will remain well below the income that a person buying one of his $4000 suits would probably make. Because he works in the way an artisan would have worked a hundred years ago, he is not making money in the way that much of the clothing industry does today.

These critiques are valid if making money is the main concern, but there are many benefits to the artisan, the customer and society at large that are important but can't be as easily measured as is profit. These are issues that I think about often as I build my business. Although I don't make bespoke suits, the work that I do also “has no economy of scale”--it is human-scale!

First and foremost, the artisan who spends his or her time perfecting skills and making beautiful, functional items out of the resources from this planet, finds fulfillment in the work, in the creating and problem solving she uses her energy and mind for every day. It's also worth mentioning the obvious—-that someone who feels fulfilled functions as a happy person in the world. I know that through my work I have found a happiness that has allowed me to give more to others, and in turn, others have reciprocated in a way that I didn't notice before.

Secondly, the consumer of the product buys something that has been well-made, well designed, that fits well, and that may last longer or bring more joy than another less carefully-made item. The buyer also has a way to get in touch with the maker—to have adjustments/corrections made, or to add to his/her collection.

Also, by making clothing or other artisanal products on a human scale, there is less waste involved in the process. One person can only make a finite amount of products with her time, which limits the amount of products that are made. Bespoke suits are made to order, which reduces waste even further, because a suit is not being made to hang on a rack, but made with the wearer in mind.

Another benefit to society is the continuation of human skills. In clothing, the art of creating a garment that fits around a specific body is an age-old study, one that continues to develop through apprenticeship and experimentation.

Because of the immense value of all of the above, the issue of making more money is minimized in my mind. Yes, I think that quality of life is very important and that if certain tools will speed up the process and allow for more free time while still maintaining the benefits described above, that's value added. But to sacrifice so many of the above benefits just to increase profits seems to me a waste of humanity—a waste of skill, a waste of materials, a waste of time.

I would like to fade out with a song, and there are so many to choose from. Jack Rhodes' “A Satisfied Mind” was sung by many people and here's Porter Wagoner's take:

Kading family pride

My grandfather died last week, and I traveled to his Iowa farm, where I got to know him and the family a little bit better.

Although I have been there many times and had my share of experiences as the grandchild-farmhand for the day, this trip had more gravity as I traced the family history and connected it to myself. This time as we revisited the buildings on the farm, my Dad told stories about the tools, machines, and the buildings that housed them, all designed and built by my Grandpa. One thing that my Dad emphasized was that he often didn't even draft a plan for the machines (many of them tractors that performed specific, unique functions for the farm) or tools, but had the entire plan in his head. That little piece about the way he worked really stood out to me, because I also work this way, so it seemed like a small part of him that I was lucky enough to inherit. Like him, I have a strong visual image of my designs that I keep in my mind, but (perhaps unlike him) my drawing skills are so poor that my sketches usually fail to capture the image I have in mind, so I often skip the drawing and go straight to drafting and draping the pattern. I sculpt the image that is in my mind, rather than drawing it first.

His workshop was especially attractive to me. Each tool in it's place, ready to be used. The time spent with tools, to me, is the best part of creating. This is the time for learning, inventing, perfecting, problem-solving, and finding the most elegant way of fitting pieces together. The product is nice too, but the process of creating is what's important to me.

I would be flattering myself to suggest that my skills live up to the skills of my Grandpa, but as I continue to develop as a designer and maker, the way I go about my work will remind me of my Grandpa and my connection to my family. One thing that I'm certain I inherited is the open-hearted love passed between family members, and for that I have so much gratitude.

Tools and workshop


And one more thing to admire---for work and for dress, he always had great personal style.

Interview on The Good Closet

Many thanks to Elizabeth Cline, of The Good Closet, for interviewing me about five8ths!  I really enjoyed the opportunity to delve into what makes my work special.  Read the interview here, and be sure to check out the rest of The Good Closet blog.  

Her new book, Overdressed: The Shockingly High Cost of Cheap Fashion just came out and I can't wait to order my copy.

Here is the full interview:

Q&A: Five8ths Handmade Clothing Designer Elizabeth Kading
Tell us about five8ths, your Baltimore-based clothing business. What inspired you to start up?

I’ve had a passion for clothing and fashion design from a young age, but my path has also wandered through the worlds of art, sociology, costume design, and Montessori. On my honeymoon trip to Mali in 2006, I saw for the first time an example of how to work in fashion and not sacrifice my ideals. Each person wore a unique garment, custom designed and often made from colorful wax printed cottons. Independently-owned custom clothing-maker’s shops dotted nearly every street in Bamako. In order to have a new outfit made, a person went to the market to pick out fabric, then took it to a tailor’s shop to discuss the design and have measurements taken. In a few days, the design was cut and sewn to size (the tailor who made a shirt and skirt for me used a treadle machine and an iron that was heated with coals). This concept of clothing being made with a person in mind really inspired and appealed to me. This is a functional form of art, design, and craft that affects the way people behave. Making clothes is work that combines so many of my interests and allows me to spend my time doing something that I believe in.
After teaching in public Montessori for five years, I had the chance to live in South Africa last year where my husband was working. While there I spent my time refining my skills and developing the framework for my business. I spent a lot of time working on custom-designed and custom-tailored clothing for myself, my husband, and friends in Johannesburg. When I moved back to Baltimore, I began working part-time in public Montessori again and also started five8ths during the fall with both a men’s and women’s line. As I prepared to attend my first craft fair during the holiday season, I began concentrating on men’s shirts, and developed standard sizing. I now also have my first spring/summer line of men’s shirts, and offer the option of ordering standard sizes, semi-custom, or bespoke (fully custom).
What pieces are you most excited about in your line right now? What types of materials do you use and where do you get them?
I am always most excited about the latest design I’ve drafted, or even just the latest shirt that I’ve sewn. I take great pleasure in noticing the tiny improvements in skill and craftsmanship that result from the practice of making each shirt. That said, the Shacket, especially its front yoke that doubles as pocket flaps, is still my favorite design overall. I use only plant-based, 100% natural fabrics (no synthetics). This includes cottons and linens at the moment, but I’m also sourcing hemp and bamboo. I like the look and feel of these fabrics but there is also an environmental benefit to not using synthetic fabrics. (There is evidence that when synthetic fabrics are washed, nano-particles of plastic get washed down the drain and eventually make it into waterways and oceans, where they are ingested by animals repeatedly up the food chain.) I would like to incorporate organic fibers as soon as possible, and even hope to take the handmade element even further and be able to offer fabrics made in small mills or even hand-woven fabrics some day.
Do you work out of a home studio?
Yes. I love working from home and being able to be productive on specific tasks when my energies are most effective (sewing in the morning, tackling the business side during afternoon energy-lulls, attaching buttons by hand in the evening while relaxing on the couch, etc.).
It must be difficult to convince people to pay custom prices when stores can sell a button-up shirt for $20?
Shirt prices vary wildly, this is true, and everyone has their own price-point. I have always been very conservative with the way I spend money, so I am sympathetic to sticker-shock. Some people who are happy with $20 shirts probably won’t be convinced that paying for hand-made clothes is worth it, and that’s fine. But there are a number of reasons that hand-made is worth the cost to me and my customers. The price is not high because I am charging a premium. The price is high because it takes a lot of time, labor, and quality materials to get the quality of clothes that I aim to produce. In other words, it is not my goal to create shirts for a luxury market—it is my goal to create high-quality, long-lasting shirts that don’t need to be replaced as often and therefore might compare in price to another type of more disposable shirt over the life-time of the shirt. Also, it’s easy to overlook the hidden costs in cheap clothing—when people pay $98 for a mall-store shirt that’s made half-way across the world in abusive factory conditions, my prices seem relatively low! That said, I understand my prices are high for most people and I do everything I can to keep the prices as reasonable as possible.
Custom clothing of course fits much better than storebought; are there other advantages that those who don’t own custom clothing might be overlooking?

Because each shirt is designed, drafted, cut and sewn by me, I produce only 5-10 of each design, so every shirt is limited-edition. Each individual shirt is also truly unique in that each is handmade, and often made-to-size. Making each shirt by hand allows for utmost attention to detail in design and craftsmanship. All of my seams are flat-felled, which means the edges are enclosed for a clean look and comfortable feel, and are sewn with two lines of stitching, which reinforces the seam. The buttons are sewn on by hand, and are unlikely to fall off, but if so, I hand-sew an extra button to the inside of the shirt for replacement—I hope that each shirt will be worn often and over many seasons, and want to encourage simple repairs like replacement of buttons to extend the life of the garment. I add decorative, but also strength-building plackets on the hem of the side-seams and openings. The collars and cuffs are sculpted so that they maintain a cylindrical form on their own, which ensures a more polished look.
There’s a relationship between you and your client. Do you think that the social element is a selling point of custom clothing?
When I’m working with a client, I am sculpting a piece of fabric around his body. Throughout the duration of his measuring or fitting appointment, we shift back and forth from a very social relationship to that of sculptor and sculpture/subject. There’s a lot of trust involved on the part of the client. I ask a lot of questions about how the client likes the fit to feel and look, and we work together to create something that looks good and also feels comfortable. Getting to know a client fuels the creative process of identifying a style that fits the body type and lifestyle of the person. Each shirt is a sculpture, but also almost an extension of the personality of the client, and very unique in that way. Even for non-custom I think an increasing number of people enjoy being able to meet and interact with the person who is making the products they use.
Buying a one-of-a-kind garment has a different ethical and environmental footprint than storebought clothing. Can you tell us about that?
There are so many things to say about this, and I’m sure I don’t have space to cover them all here, so I’ll only name a few. One, there is little to no waste involved when buying a custom-made garment. Large production of standard sizes inevitably produces excess clothing at one stage or another. Many may never sell, and the garments that are bought, perhaps cheaply, may not be valued enough by the consumer to be worn very often, and might end up being discarded after a short time or very few wearings. Where do all of the clothes go that people discard? Trendy or poor-quality fashion creates mountains of textile waste. Even donated clothes can have negative impacts. For example, the flood of cheap donated clothes has been blamed in part for the decline of domestic textile industries in many countries in the global South. Another obvious component of buying locally-made, handmade products, is the sustainable practice of supporting labor locally. My clients know me and can always come back to request changes or repairs—my work has my name on it. Supporting a craftsperson supports the continuation and development of artisan work that has become scarce in our society. Keeping money in the local economy helps everyone in the community. The money spent on a five8ths shirt stays in the community as I use it to invest in materials and supplies (I support local businesses as much as possible both for my business and personally). People say they can’t afford nicer clothing. But I’ve found that what’s really going on is they’re attached to buying a lot of clothes, even if they don’t wear or like most of them.
How do we get people out of this habit of quantity over quality and to view their clothes as an investment?
The practice of buying a few, nice outfits each season, getting them altered to fit well, and wearing them frequently, is a foreign concept to many among us. Because cheap clothing has become so pervasive it is actually difficult to find quality clothes. As a result, shopping habits have changed so that we buy too many clothes (too many to keep track of or to justify an extra tailoring expense when the item may only be worn a few times), and I think this has even led to a deterioration of style. A growing number of people are now thinking of food choices as ethical choices. Because of the things discussed above (environmental concerns, labor practices, supporting a local economy, etc.) clothing purchases can be thought of in the same way. It starts with making it a habit to consider: Do I really love this, and will I wear it often, for many seasons? Where was it made, by whom, and in what conditions? Once a person starts considering these things, it’s a shorter leap to then also consider the fabric content and its environmental impact. I try to limit myself ahead of time by abstaining from shopping at stores where I know that the ethical or environmental practices are questionable.
You design menswear, so where and how do you shop for your own clothes? Do you make your own custom pieces?
If I had more time, I would make more of my clothes, but I also really enjoy searching out the work of other designers, dressing in clothes that contrast my own design style, and supporting other designers. Two designers whose work I’ve been excited about lately are Filly and Fischer. I aim to buy one piece per season. I frequent locally-owned boutiques that carry small independent designers, and I also spend a good amount of time in vintage, thrift, and re-sale stores, and am always up for a clothing swap! I also look for local designers whenever I travel. When I lived in Johannesburg, I frequented the local fashion events that were part of the buzzing fashion scene there. There are a number of exciting designers there, such as miyabi, take care, and Superella. I recently had a fantastic time in Montreal, where each shop that sells locally-designed and made clothing has a large sticker in the window that says: “Mode Montreal”. I fell in love with Betina Lou’s current collection, all made in Quebec. The heightened awareness for locally designed and made clothing in Montreal is something I hope to see more of in the States soon, echoing the growth of the slow food movement.
Any hope for a womenswear line down the road?
Yes, definitely! I have focused on men’s shirting because I wanted to hone my skills by not being too broad while developing my business. I hope to launch a womenswear line soon, starting with shirts and shirt-dresses and then expanding from there. For those interested in being notified of when the women’s line is up and running, please visit my website, and fill in the online form there, or email me at

Minutiae and Momentousness

I have been in production mode for the past few weeks, getting ready for Renegade craft fair in Brooklyn next month.  This week I am finishing up five linen dress shirts (more info on those soon).  Production mode is quite different from design mode, in that I do each process involved in building a shirt five times in a row (make five collars, make ten sleeve plackets, etc.).  Today I concentrated on some of the benefits of repetition, such as the process of perfecting skills.  It's amazing to me that, with barely any conscious action, once I get to the fifth shirt, the results are not only better, but faster than the first shirt!  Repetition, such a huge part of our everyday lives, can also be comforting and confidence-building.  So, I was taking a meditative approach to the work all day.

Then, half-way through the day, my meditative reflection on repetition was interrupted by a reminder of the big picture of the work that I'm doing.  I received a package from another independent designer, Fischer, containing a shirt I'd ordered!  I savored the experience of opening the beautiful packaging and getting to know my new shirt!  A personal note and surprise gift were included as well, which made it even more special.  I know this piece of clothing will be in my life for a long time, and a regular part of my week.  While immersed in the construction details of each cut piece of fabric, I had temporarily forgotten that the work I am doing is part of a larger movement of locally designed and made clothing, and remembering that allowed me to appreciate each part of the process even more.


This week, I have been sewing a muslin version of each of the custom slopers that I drafted last week.  Drafting and sewing five different custom slopers at a time has emphasized the many differences in body shapes that aren't accommodated for in standard sizing.  These variations in shape are unique enough that when I hold up a finished pattern or muslin, it's like looking at a puzzle piece that will fit only in one space, and I am able to visualize the person for whom the muslin was drafted. Even though the outline of a men's shirt is generally rectangular, the subtle variation in cut built specifically for each customer is visible. 


For my whole adult life, I have been self-conscious about my tendency to be a bit OCD.  I always worry that I will annoy people by being so thorough, so fastidious, so knit-picky, etc.  I'm always apologizing for these behaviors, both verbally and with my body language.

Recently, I've experienced the benefits of being so particular, so attentive to detail-----it means that I do a good job on a number of things (where this would be important)!  That high standard for the quality of every detail of what I'm working on has been noticed both in my Montessori activities and my work in fashion.  It really boosted  my confidence to, for the first time, acknowledge that something I've always considered a failing might actually be an asset (while still underscoring that it can also be a hinderence in certain ways and activities).  

I don't feel, for once, that I need to apologize for the way that I am, but that it is what makes me great at what I do! :)


Today I am re-drafting my Shacket pattern, to tweak the construction process and at the same time draft the standard-sized patterns.

I have just stopped for lunch, but am still floating from the sensation of being in a very deep state of concentration for a long period of time.  For those who don't know, I am a Montessorian, and therefore I value this mental state more than most other things (besides air, Ben, etc.).  Reaching this state is how I have thrived my whole life, and I've always reached it by working with my hands.  After spending years working with children and helping them to find inner peace and joy through concentrated work, I realize why it is so important to me to work with my hands.

Back to work!