When I was a teenager, my parents kept a curtain in my bedroom as a sort of reminder of what they did for a living.
My dad had a sewing machine and a sewing kit in his kitchen, and my mum had a few other things too.
The curtain was always there, reminding me that we lived in a time when sewing machines and sewing kits were rare and expensive.
I remember how I was so obsessed with it.
I was constantly worrying about how to get the curtains to slide down the dresser or slide into the wall, or even how to put it on the dress, because I didn’t know how to sew a simple dress together.
I would always have to look up the instructions online to find the perfect stitch.
When my dad died suddenly in 2003, I became obsessed with my curtains, and it was this obsession that led to me designing the curtains that I now wear every night in my living room.
When I first started sewing, I was obsessed with the curtains because I loved how they would make me feel.
I always thought it was so much more romantic than my dad’s clothes.
And it was, of course, because my curtains were made from the same fabric that my dad had used to make his clothing.
But when I first began sewing, my obsession with the curtain did not begin.
The curtains were something I didn´t understand until I had an actual sewing machine.
My Dad made my curtains in the 1920s and ’30s, and he also made curtains for the servants and the maids in his house.
I never really understood why he would make curtains for his servants, but when I started learning how to make them, I realised that the curtains were a form of tribute.
When we lived next door to his house, we would sometimes sit at the kitchen table and watch the curtain hanging over the dining table.
My mum would come into the house to cook dinner, and we would see the curtain come down and then look up at the dining room window to see her, and then we would laugh and pretend we were watching the curtains go up and down.
I learnt so much about curtains when I was still a child.
I started sewing because I wanted to be like my dad, but I also wanted to become something more.
The fabric, the way the curtain was put together, the fabric on the curtain itself, the colour of the fabric, and the way it was used – I realised my dream of making curtains that made me feel like a person – I could make them that way.
I had to take those feelings of being a person and combine them with sewing.
I thought that it would make the curtains more personal, more personal to me.
So I decided to learn how to do it myself, and started making the curtains myself.
It was a challenge, but eventually, I started to feel like I had something to offer.
My parents always thought that the fabric was a burden on the family and that the whole family needed it.
They never liked to see it being used for something that was not their job, so they were always looking for a way to rid it of the burden.
They would always tell me that they wanted the curtains made from something that would make them feel like people and not something that they were forced to wear, but somehow, it was still there.
When the curtain fell, I wanted the curtain to go up.
And when the curtain went up, I would want the curtains put back down again.
When that happened, I knew that I was onto something.
When a curtain goes up, it makes a statement, it says something, and I could say to myself, “That is my curtains!”
So I would take it on every night when I made the curtains, not because I felt it was a great achievement, but because it was my curtains.
The fabrics were made to be made of the same fabrics as my curtains – it was the fabric that I had learnt how to work with as a child and to wear.
When they were taken from my family, they were made into the fabric of the curtains.
I took them from my mother and from my grandmother.
When those curtains came out, I took a lot of pride in them.
I think that when I had those curtains, I never imagined that I would have a career as a designer.
But I had the opportunity to do that, and because I worked in a small shop in Edinburgh, I felt that I could do a lot with those curtains.
After many years of learning how my father made curtains, a friend told me that she wanted to make curtains of the materials that I made.
I decided I wanted my curtains to have a personal significance.
So, I bought some curtains that were made in the USA from the 1950s, ’60s, from a company called White House.
I bought them as part of my collection because I thought they would be very valuable to me when they were used.
The American Curtains