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What makes Andrea’s Peruvian Collections Unique?
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Andrea’s Outsiders Approach
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Early to the Market
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What made Andrea a Unique Collector?
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What was Andrea Like as a Collector in Peru?
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What was Peru in 1978 Like?
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Andrea’s Ability to Reinvent Herself
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Was Andrea Influenced by anyone or a product of the youth quake?
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How Sally and Andrea Met
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What Caused Dakota Transit to Close?
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Traveling to Bali with Andrea
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Remembering Sara Penn and Knobkerry
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First impressions of Andrea
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Remembering Andrea’s Style
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Creating Miles Davis’ Custom Anaconda Suit at Dakota Transit
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The time that Jacqueline Kennedy Onassis walked into Dakota Transit
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What was it Like Working at Dakota Transit?
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What Were Andrea’s Motivations in Running Dakota Transit?
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What Was the Neighborhood Around Dakota Transit Like?
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How Did Andrea Work with Clients at Dakota Transit?
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Who and What Inspired Andrea?
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How Did Andrea Balance Motherhood and Running a Business?
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What made Andrea a successful leader and businesswoman?
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How Charlene Met Andrea
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What Made Andrea a Good Collector?
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Interlacing Textile Knowledge, Information, and Engagement
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Collection Highlights at Textile Hive
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Fashion in Peru and Collecting for the British Museum
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The Reuse, Repair, and Adaptation of Japanese Textiles
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20th-Century Kimono Textiles and Design
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Wide-Eyed Wonder
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Cut From Whole Cloth: Introducing Textile Hive’s Global Trove
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Andrea’s Influences
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Regional Styles
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Japanese Cotton Plaids
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Colors in Japanese Design
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Using Textiles for Inspiration
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Japanese Textiles and Techniques
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Recent Travels
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Themes of the Collection
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Where is the collection stored?
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When did you start collecting?
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Collecting in Afghanistan
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Interpretations by Designers
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Which Early Clients Were Your Favorites?
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Did you have influence in the fashion world?
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Approaching Clients and Running a Business
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Andrea’s Clients
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Selling Textile Swatches
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Moving Back to America
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Founding of Textile Documents
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Japanese Aesthetics
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Piecing Together History in Japan
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What was happening in Japan while you were there?
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Adjusting to Japan
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Fashion in Rural China
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Collecting in Southwestern China
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Andrea’s Childhood, Education, and Early Career
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Goals for the Collection
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Choosing Subjects for Collection
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Traditions in China
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Peruvian Textiles and Aniline Dyes
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Traveling and Collecting in China
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Globalization in China and Japan
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Relationships to Foreign Governments
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Do International Textile Collectors Study America?
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Japanese Textile Distribution and Dressing for Status
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Communicating in China and Peru
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Are ethnographic studies an offshoot of colonialism?
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Politics, Culture, and Ethnographic Collections in Peru
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Becoming a Serious Collector in Peru
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Collecting in Peru
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Visiting New Places
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Andrea Discusses the Contents of Her Various Collections from Peru, China, Japan and her Design Collection
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What is being archived, textiles or history?
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Andrea Discusses what Drew her to Japan and her Research of Modern Kimono in the 1980s
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Andrea Discusses her Famous 1970 Clientele like Jimi Hendrix and Miles Davis at Dakota Transit in New York City
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Is this Collection the Love of Your Life?
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Andrea on Textile Design – Japanese Kimono Artwork on Washi Paper
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Andrea on Textile Design – Japanese Stencil Kimono Design
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Andrea on Textile Design – Japanese 1960s Kimono Batik Artwork
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Andrea on Textile Design – American 1970s Youth Quake Artwork on Wax Paper
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Andrea on Textile Design – Japanese Oshima Tsumugi, 1940s Hand Woven, Plaids
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Colors and Aesthetics of Japanese Textiles
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Colors, Dyes, and Scenery in Peru
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Do you ever feel like you have enough? Have you seen enough?
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What do Your Collections From Peru, China, and Japan Represent?
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What Makes a Good Collector?
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What Makes a Good Collection?
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Traveling and Taking Risks in China and Syria
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Being Inspired by Peers
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Confidence to Experiment
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Rebellion and Unorthodox Careers during the 1960s Youthquake
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Thrilling and Transitional Moments
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Separation Between the Museum World and Collecting in the Field
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Working as an Outsider
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Being a Foreigner in Japan
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Rewarding Career Moments
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Teaching and Connecting
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Early Career Mentors in New York City and Japan
