JEAN SCORGIE, EDITOR
1992–1999
Th e March/April 1995 issue contained several wonderful projects
related to one of my primary weaving loves—handwoven clothing.
From bias-cut tops and kimono-inspired jackets to an easy-to-sew
jacket that fi ts any body, the projects and articles cover several ways to
use weave structures creatively to design beautiful clothing fabrics.
Aft er leaving Interweave, I continued my interest in teaching
handweaving by designing and publishing a periodical for begin-
ning and intermediate weavers that I named Weaver’s Craft. I
wanted to present weave structures and techniques through projects
designed for hands-on learning while making useful textiles that could be part of everyday living and also given as gift s. Th e
most popular projects for learning new techniques became towels—gift s that can be given again and again. Now, aft er
nineteen years, I’m still fi nding new ideas to explore.Photo^
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eMADELYN VAN DER HOOGT, EDITOR
1999–2012
Th e issue that stands out most in my mind is the notorious Pet Issue,
September/October 2006. I maintain that the biggest problem was the
cover model more than the issue content.
I am currently holding beginning and intermediate classes at Th e
Weavers’ School and working on Th e Complete Book of Weaving (a
working title that is worrisome since there really can’t be a really
Complete Book of Weaving, but I’d like to get as close as one can in a
single volume). MA
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HoogtANITA OSTERHAUG, EDITOR
2012–2017
My passion is traditional textiles, so the most memorable projects
for me were the ethnic and ethnic-inspired projects featured in the
March/April issues: Scharine Kirchoff ’s family heritage of bashofu
weaving from Japan, Susan Foulkes’s vibrant Sámi bandweaving,
and Jennifer Moore’s amazing doubleweave inspired by Peruvian
scaff old weaving. I looked forward to every March/April issue,
fi lled with projects inspired by weaving around the world.
Since Handwoven, I’ve been running my own technology
marketing business and enjoying more time with kids, grandkids, and looms. I’m fi nally getting to
explore my own “what ifs” that piled up while I was busy editing other weavers’ weaving.Ph
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SUSAN E. HORTON, EDITOR
2017–?
I’ve noticed that in many interviews, the interviewee is asked whom
they would like to have dinner with. Myself, I’ve fantasized about
joining these fi ve women at a round table for a great meal with a few
bottles of good red wine. I’m sure there would be many stories to tell,
quite a few laughs, and tales of classic moments, such as the time I
realized when we got copies from the printer that I’d forgotten to
put the issue date on the cover. Despite those moments, or maybe
because of those moments, being editor of Handwoven has been
one of the best experiences of my life.SUS
201
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SEPTEMBER/OCTOBER 2019 HANDWOVEN | 27