By the time the little house at 1437 U.S. 1 in Sebastian became the Feminine Arts Haberdashery, it had already been a part of the area’s rich history for more than 100 years. Known at the turn of the 20th Century as Mrs. Carlile’s Boarding House, it had welcomed boarders, mostly bachelor fishermen, who stayed in the upstairs bunk room and ate in a separate kitchen/dining room west of the main house.
Later, the Carlile House had serve as a private residence, and, later still, as a gift shop. When textile artist Diana Gannon first laid eyes on it, it had been the office of chiropractor Dr. Pamela Adan for more than 20 years, during which it had undergone several upgrades.
Gannon, a CPA in the employ of a large printing company in Stuart until her position was eliminated in 2013, was looking for a place to start a new life in a new business. Meanwhile, Adan had decided to retire, and had put the place on the market.
Gannon recalls, “I drove by, saw the sign, and my heart started beating. It’s THAT HOUSE! I knew I had to make it happen.”
And she did.
Gannon, who had always created her own clothes and made most of her own patterns, knew exactly what she wanted to do. She enhanced the history-rich building, refinishing upstairs floors, installing new floors downstairs and redesigning the interior. Mrs. Carlile’s Boarding House had become Carlile House Feminine Arts Haberdashery, a textile art studio and shop, where Gannon teaches, and displays her fiber creations and those of other fiber artists.
What’s with the name? “I’ve always liked the word,” Gannon says, pointing out that the definition of the Olde English “haberdasher” has broadened from its original meaning – “a men’s clothier” – to “a dealer in small wares.”
An artist to her toes, Gannon often combines art with engineering and day-to-day problem solving and sees possibilities everywhere. “My brain is always on fire,” she says. “I write ideas on the backs on envelopes, on a piece of paper I spilled tea on, wherever.” There’s no reason, she believes, that mundane, necessary items shouldn’t also be beautiful and fun, and she has always seen art, engineering and problem-solving as going hand-in-hand.
“Carlile House does not see any distinction between art and craft. We see art in all things: nature, packaging, labels, cooking and food presentation, table settings, paintings, crayon drawings, architecture, clothing, language and the written word, etc. Art is literally all around us.”
It certainly is when one enters the charming house: it has a very “cottage” feel, white wood with a green roof and broad railed porch across the front. It is sunny and welcoming, with warm wood floors, small, cozy rooms, and, everywhere, baskets, bags, boxes, shelves, wardrobes, and drawers of fabrics and supplies – and color – lots and lots of color.
Gannon creations – models of people young and old, sewing boxes that open like flowers, quilts, bags, animals, dragons, elves – are amazing in their detail. Her “people” move with anatomical accuracy, and “doll” doesn’t begin to describe them. “Puppet” comes closer, and Gannon uses many puppetry techniques in her creations. She brings out a large figure of a man she calls The Professor. He sports a hand-sewn beard, every hair in his eyebrows stitched in place, specs and proper professorial attire. She’s figured out how to devise little joints for movable body parts: Waists twist; Arms bend at shoulder, elbow, wrist; legs at hips, knees and ankles. The Professor’s torso is weighted for a natural center of gravity.
Another figure, Richard, has a stubble beard, completely stitched by hand on his square jaw. Gannon wanted her character faces to have shape and dimension, unlike the usual flat faces. So she figured out how to sew curves into the small visages, and even to “sculpt” a dimensional nose or a square jaw. Every single tiny seam is stitched by hand. “I NEVER use glue on anything,” she says, apparently horrified at the very thought.
Equally detailed is a bobbysoxer with ponytail, long poodle skirt, pearl necklace, saddle shoes – even a petticoat, bra and camisole.
Arguably the most amazing creation in the shop is what Gannon calls her “Dolly Hospital Bag.” It is her go-bag – a big, colorful 4-sided fabric carryall, with numerous flaps, pockets and panels that open up to reveal all the materials and sewing supplies needed when she teaches and demonstrates. There’s a surgery center panel, with doctor and nurse; a waiting room with patients sitting on chairs; an emergency room; and a maternity ward, complete with mothers (in those annoying green hospital gowns) and babies in their tummies ( little pockets). Every single figure is 3-dimensional. It is a fabric creation that simply must seen to be fully appreciated.
It’s hard to imagine the time that must go into all this. A lot. And it’s worth it, Gannon says. “I’d rather spend a month, full time.” She reaches for a leggy fabric lady, points to the face. The eyelids are curved, sewn on, separately. There are fringy lashes, too.
“We’re losing the joy and the specialness of handmade. Technology has sort of de-humanized us.” Gannon wants to remedy that. She aims to “give people the opportunity to explore their creativity and identify their natural art and problem solving abilities.”
She will teach people how to sew, how to dye and stamp fabric, how to make alterations, how to make art from textiles and found objects.
“At a deeper level, we want to make sure that feminine arts, knowhow and appreciation are passed on to younger generations,” Gannon say. “We want to infuse our designs with younger influence, we want to reduce our carbon footprint through reuse, upcycle and local manufacture.”
Carlile House will also be a place where local artists can display and sell their work.
“We want to provide income opportunities to local artists . . . and we want to have fun and laughter as the best prescription for good health and long life.”
For further information: diana.d.gannon@gmail.com 772-571-6008
