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Amy Karol talks about her lifelong love of vintage clothing, including aprons, and how vintage designs and patterns have influenced her own sewing and writing. You can find more of Amy's inspirational work on her website, amykarol.com, on her popular blog or on her Flickr vintage aprons group, which is a member of our Hall of Fame.
I think I started collecting vintage aprons seriously probably in 1991, my first year of college. I was an absolute junkie for vintage clothing, which was pretty much all I'd worn for a long, long, long time. I was finding aprons everywhere and just started collecting them. I can specifically remember buying a full vintage apron in L.A. at some sort of vintage craft shop. At the time it was $5, and I was like, oh, my God, that was so much money for this. I was so poor, and it was back when aprons were 50 cents and people were using them as dishrags.
It was a full apron from the 1930s, exquisite, and it's still one of my most prized aprons. I started collecting them after that, and aprons just started coming into my life. It's weird. I don't actually remember buying very many, though I know I did. They just would appear.
Around the same time I was also buying a lot of vintage table linens, and often they were together. It seems like aprons and table linens go hand in hand. There were a couple years where I got really busy with the apron thing, and then it died down after college. I was in Seattle for five years and didn't do as much thrifting. When I got back to Portland and started having a family, it heated up again. I started cooking more again. But when I originally started collecting them, it was much more for fun dress-up. It wasn't practical or awareness of the history. That happened later.
I still collect vintage aprons, but I don't go out and hunt for them as much anymore because they seem to find me. People send them to me, which has been happening now for a couple of years. I don't even know how many vintage aprons I have now, but it's way, way more than I have on the Flickr photo group.
Collectors Weekly: Is a lot of the stuff you sew now influenced by vintage clothing?
Karol: Definitely. Just two weeks ago, I did a bunch of slips and tap pants, totally copied from my vintage slip collection. I have to say, my love for aprons is just an extension of my love for vintage clothing. The clothes are the big umbrella, and vintage aprons fell underneath it and were plentiful and inexpensive. I found myself in a weird position where I almost felt like I was saving them. I didn't really wake up one day and say, oh, I want to collect these. They found me.
When I originally started collecting vintage aprons, it was more for fun dress-up. My awareness of the history happened later.
My vintage clothing collection is enormous and has been whittled down over the years because it was getting too out of control. I wore a vintage dress to prom my senior year, and that was the beginning. I graduated in 1990. It was Pretty in Pink with Molly Ringwald. It was unusual that I was wearing a vintage dress back then. It was from the 1940s and really pretty.
Aprons were just an extension. If I was having a party and wearing a vintage dress, I couldn't obviously wear a normal apron. I take the role playing probably way too far. And at some point, I realized, I'm not going to be one of those people that drives an old car. How far am I going to take this? It started to catch up with me, so I'm not able to dress up as much as I'd like, but the aprons have stayed for sure.
I went through a phase where I would find new things that looked vintage because my old stuff was tattered or I was pregnant or just had a baby and couldn't fit into anything. But I'm back now where I can get into my old clothes again. And I started sewing, in the case of slips, because I couldn't find anything new that looked vintage and all my slips were torn apart and ratty and I thought, I'll just sew it.
Collectors Weekly: Are there certain eras you're more drawn to when you're looking at vintage clothing?
Karol: My favorite has always been the 1930s, no doubt. But the most wearable for me is the 1940s because the '30s things I love are just too exquisite (e.g. silk), things that don't really merge into everyday very well. It's also exorbitantly expensive to collect pieces from that time. 1940s housedresses and things are easier to find and much more wearable. There's a dress-up version that I love and the daily grind variety, which I call my dust bowl dresses – the dusty sort of Middle America kind of look. And that works well with aprons as well, but 1930s and '40s.
1950s vintage clothing is easy and great and totally fun, and I definitely have some 1950s pieces. There's a vampy va-va-voom thing going on. It's fun to do, but totally not my calling. Where I feel the, oh, my God, is the '30s and '40s, and that's definitely true for shoes as well. Platforms make me crazy, not stiletto heels, and that's pretty true with aprons too. It's the full aprons with a drape quality to them rather than the pinched-waist Doris Day type things. Even in vintage hats, gloves, and purses, and pretty much across the board, it's the '30s and '40s stuff that makes me super crazy.
What's interesting is that there's this 1980s revival right now, but so much of the '80s was actually a revival of the 1940s that I'm actually able to find a lot of pieces I didn't like at the time and they look really '40s to me. People will say, "That's really '80s," and I'm like, "No. It's not. It's really '40s." The stripes and the platform shoes. I always tell people, "Think Blade Runner." If you see Blade Runner, really look at it, it was a total 1940s movie that was just done in the '80s.
I'm actually really enjoying being able to find new pieces that people think are 1980s, like the big plastic chunky jewelry. Everyone thinks Pat Benatar, but I'm like, no, it's like Carmen Miranda. The big plastic bangles, that's so Cuban to me. So it's funny. It just means I'm getting old, I think.
Collectors Weekly: What motivated you to start a Flickr group on vintage aprons?
Karol: I started another apron blog first, called Tie One On. I'd pick a theme every month, and people would take it and make an apron in that theme. The first theme I ever did was home on the range, however you wanted to interpret that. The next one was pink lemonade. Sometimes twenty people would do it, and then sometimes fifty or sixty different people would post pictures of their aprons. You have to have made them from scratch; they weren't supposed to be vintage.
The whole point was that I'd been collecting vintage aprons for a long time and was getting worried they would disappear. I'd heard stories of people getting them and cutting them up. I wanted aprons to be put back out there as well, so that was the idea behind Tie One On, and I really wanted to do a group thing where all these people could use it as a reason to sew.
After about six months, it dawned on me to catalog my personal vintage apron collection. I blogged about it on Angry Chicken, and then thought about starting a whole other blog just about aprons. But then I saw Flickr, and thought, what a great tool. I'll start a vintage apron group. It just took off. Two weeks later, I did the vintage apron sewing pattern group, which is just as important for me because it documents the patterns. In my mind, I can't separate out vintage aprons from aprons made from vintage sewing patterns, because most vintage aprons were made at home by the home sewer. It wasn't really that common to purchase an apron, except for cocktail aprons in the 1950s and '60s.
For me, the Flickr apron group is wonderful. I love digging through it. But I go back and forth between that one and the vintage sewing pattern group. Aprons are hard to photograph, and with the vintage sewing pattern group, you get the illustrations on the front of the sewing pattern, which give so much information on the details and lines. When I'm doing my own research, I most always start in the sewing pattern section first and then look at what people have in their collections.
Collectors Weekly: Do people typically collect vintage sewing patterns to use them or just to use them as inspiration?
Karol: I think people are totally terrified to use them, and for the most part, they don't. The truth is, they're hard to use. Vintage patterns are definitely intermediate to very advanced sewing, and your regular old sewer right now doesn't have the chops to sew these things and people know it. So I think that often they collect them just to collect them.
It's just a different time now. When these sewing patterns came out, people had been sewing probably since they were five and were used to sewing a lot of their clothing. It can be hard for a beginning sewer. Honestly, too, people aren't used to wearing clothes that fit. I'm not saying everyone wears elastic-waist pants, but a lot of fabrics have stretch in them now. Most cotton-woven and knit fabrics have stretch, and that's just regular waistbands, not to mention things you just pull on.
So I think part of it is that people don't always understand not just how to sew, but how to fit themselves and even how to buy clothes that are fitted. People are used to wearing things off the rack and not having clothes tailored to their bodies, which makes sense because who can afford custom-made clothes? But what's interesting is that the middle- to working-class person who's sewing their own clothing gets a better quality fit than the average person today. You can go to Old Navy and buy, what, 20 pieces for a hundred dollars, but none of it might actually fit you.
These vintage patterns are fitted and you have to make alterations, so you're up against the actual pattern construction, which can be challenging – and that's an understatement. And you're up against alteration, because chances are, you're not going to be able to fit. Unless you're a fit model, you're not going to have the body that it's cut for, which means that you have to be advanced enough to know how to alter it. So I think those two factors can make sewing from vintage patterns really challenging.
Finally – and this sounds crazy, but it's true – we don't often wear the right support garments anymore for these types of outfits. So even if you are a petite little thing, you're probably not wearing a girdle, and these dresses, especially the '50s dresses for sure, there were some really serious support garments happening under these dresses that helped the fit.
So for a lot of those reasons, it's turned into more of a collector/fetish thing, and I don't mean that the bad way. Thank God people have fetishes about vintage stuff, and I can include myself in that group, because there's an appreciation and it's across the board. You have to be into the shoes, the stockings, the undergarments, the clothing, otherwise it starts to fall apart somewhere. You don't have to recreate it exactly, but at least you're interested in knowing how to.
Of course, the other thing is that sewing clothes at home, thank God, is coming back, but it was dying out for a while for the same reason that healthy home-cooked food was – because fast food is cheaper. You can buy things so much cheaper now than you can sew them. There was a time that sewing did make sense in terms of saving money, but now it's hard to get excited about sewing a T-shirt when you can get one for $7.
Collectors Weekly: When did you start sewing, and what are you really inspired by when you sew your own clothes?
Karol: I don't remember ever not sewing, but probably I was sewing projects on my own when I was 5 or 6 – toys and things, not clothes. I didn't start sewing clothes seriously until high school. Maybe eighth grade I sewed a dress, and then in high school I sewed lots and lots of dresses. It was a Laura Ashley time, lots of yardage, and people were sewing a little bit then, too. I wasn't completely a weirdo or anything, but I was sewing a lot.
In terms of inspiration, it usually works something like this: I'll see something that looks vintage in a catalog and say, oh, my God, that is so awesome. I cannot believe it's $249, and I decide I could sew something similar. By the time I actually get around to doing it, if I do it, it's changed and morphed and I don't remember what I liked about it. I lose the picture, but it's interesting.
I don't get direct inspiration from vintage items as much as I get more inspiration right now from reinterpretations of vintage stuff. Whenever I look at something new, I can always say it reminds me of something from this era, and I'm completely bored by anything that looks completely contemporary. But I love clothing, and I'm always, always, always looking at clothing.
In terms of my own designs, I do get inspired by what's happening in contemporary areas. I also get a lot of inspiration from my sizable collection of vintage children's books (all I do all day is read to the girls). Seeing clothing drawn makes me so excited. I think that's why I'm so into sewing patterns. I've recreated so many outfits for the girls from the vintage kids books. Pre-1950s, it's interesting. There are lots of pinafores and really simple dresses and Peter Pan colors and stuff. We'll be reading and I'll hone in on something and they'll say, "Why are you stopping on this page?" and I didn't even realize I was stopping. There's something about a drawn version of vintage clothes I find fascinating.
I also have my big Sears Roebuck catalog – a reproduction of the 1901 version – and then I have all the Dover Sears books from the 1930s, '40s and '50s, which I used when I was working as a sewer at a costume shop in college. So I have references, but again, these are photographs and lithographs, and though they're much more realistic, they don't excite me as much as artist-drawn versions.
So though I say that my designs are all contemporary, I do get a huge amount of influence from older sources. It's such a part of my life that I don't even notice it anymore. I've had all that stuff lying around for years in my psyche. It's in me, and when I reinterpret it, that's when I get excited.
Collectors Weekly: In your own designs, do you use a lot of trim and ribbon and buttons?
Karol: I do use a lot of binding and piping. Ribbon sounds frilly, but it's not like that. It's more like the 1930s and '40s. You'd see a pocket, but it would be lined in a really, really tiny 8-inch piping in a different color. It's the details. That's my passion, because otherwise I'd feel like it's just basically almost like a purchased item. The little stuff is a lot of fun.
In my book, there's a big section on making your own binding and how to make ruffles. You can buy it all pre-made and that's just as cool, but it's really fun to use. Solid bindings, you can buy them in any color, but then imagine one with stripes or with polka dots. It's like hey, that's actually pretty much impossible to find new without making it. So I strip it down a little bit.
Some people might find it annoying, but I really like doing things that people are like, oh, certainly you wouldn't want to do that. You just would buy that. The point of making a dress is making a dress, but for me, the point is making the pocket on the dress. So I'm making a dress, but really I'm mostly excited about the pocket. It's like if I make a potato salad the most exciting thing for me is to make the mayonnaise from scratch.
In the last two years, I've been stripping it down more to where the end thing isn't necessarily what drives me. It's more this one component that you would never normally think that you can make yourself. I want to try it because I haven't done it before. I like to do things I haven't done before, and those tend to be the details.
Collectors Weekly: Can you tell us about your book and the inspiration behind it?
Karol: It's called Bend-the-Rules Sewing and it's been out for two years now. I have another coming out next summer. The first one was actually going to be about sewing aprons, but then my publisher really wanted a basic sewing book, so it's 26 projects geared towards beginners. There's a general section on how to sew, how to get started, how to find a machine, and then there's projects and patterns. The whole idea is learning basic skills, but not getting too caught up on rules; finding your way and an attitude about sewing. For some people it really resonates; for others, they needed a lot more specific instruction.
I find I learn best by reading minimal text and then trying it. The difference between intellectualizing and actually doing something physically is huge. Often when people have questions about my projects, they'll tell me, "I'm stuck on this," but almost always they haven't tried it yet; they're just trying to figure it out in their head. When you're physically doing it, the answer often becomes apparent. So that's the way I wrote this book, and it's gotten a huge response, which is awesome.
My second book is an extension of the first, but with a little more artistic flair – for example, ways to customize your fabric before you make your project. If you look at my book, it barely looks vintage at all. It's very contemporary, but I see vintage all throughout it, and of course those aprons. There's a classic 1950s apron pattern included. That's a really good one to know how to do.
Collectors Weekly: Did apron designs vary much by era?
Karol: Definitely. When you get into the 1950s aprons, there's this whole group of cocktail aprons put on solely for decoration, usually chiffon. They were often see-through. You'd absolutely never wear them in the kitchen. You'd wear your real apron in the kitchen and then switch into your party apron, usually pink or black or something totally adorable and bizarre and mildly erotic. You'd put that over your dress and tie it around your waist. So you can see what was going on. Maybe these people had maids, but most likely they were playing up this domestic thing.
In the 1930s and '40s, the aprons were more workhorses, although there were always nice aprons for company and house aprons that you'd wear everyday. Often women would wear two aprons: a nice clean one underneath and their house apron on top, so if someone came to the door, they'd take off their dirty apron and underneath they'd have their clean apron. Actually, there were always dress-up aprons. Actually, they think Marie Antoinette was the first to use aprons to dress up at Versailles when she was playing milkmaid. Her aprons were fun with gold lace.
Collectors Weekly: How many different styles of aprons are there?
Karol: There's the basic 1950s apron shape you think of, with the little waist and gartered skirt and pockets. Then there's a cobbler apron and a full apron and pinafores and smocks, which I consider aprons as well. There's at least a dozen styles, when you include half aprons and full aprons, and within that, different ways to embellish. There were light quilts that could express anything you wanted.
With the light quilts also goes a pretty established history of how to embellish an apron. If you did Gingham, you almost always did what was called chicken scratch embroidery on it. If you did a cobbler apron, you almost always had a contrasting binding. If you did rickrack, you would do it in a certain way.
There was also a different apron history in England and Australia, and different trends and ways of embellishing. There's a whole type of embroidered apron in England; handwork that happened that we never saw over here. There were pillowcases that were embroidered that way here, but not aprons so much. This was in the 1930s and '40s, and those full aprons and pinafores are getting really hard to find. They're just not very common.
There's a lot of focus on new aprons now, but they're just not as elegant as what you see in the vintage sewing patterns. There's a couple of aprons I know intimately; Alice in Wonderland aprons and Raggedy Ann aprons. I did an apron of the Dorothy version for my daughter, Sadie, for Halloween, but it was really a pinafore dress, though it can still easily be an apron. Aprons are a great project to start sewing with because they're not really that fitted.
All the aprons in my Flickr vintage aprons group, the group featured on Collectorsweekly.com, are either found objects (original vintage aprons from someone's own personal collection) or aprons sewn from vintage patterns. There are many duplicates, because a lot of the same patterns are floating around out there.
Collectors Weekly: How important is finding the right fabric to use?
Karol: The most important thing in a sewing project is picking a suitable fabric. No matter how good your construction skills are, if your fabric is inappropriate, it won't drape or it won't move. It just won't feel right. Even though you did it all right, it'll be stiff or whatever.
The best way to really learn about fabrics is to look at what you already have in your closet. Anything you touch, check what the content is. Sometimes it's hard because it might say 100 percent cotton, but there's a difference between a T-shirt and the sheets on my bed – one is a satin cotton cloth and one is a knit-cotton jersey. You'll start to be aware of content and of weave.
Looking at catalogs is another good way to get in touch with the weave. J.Crew is a great one, because they're pretty good with their descriptions: that shirt is broadcloth, that jersey has 10 percent Lycra, this skirt is herringbone. It gives you all these terms and you can look at the picture. If you're not in the store, you can at least imagine, I've felt that before.
Then with all of that knowledge, when you're in the fabric store, you can look for those things. People just get drawn in by a fabric and think, oh, this looks like it would make a great, funny, funky skirt. But wait a minute. It's rough. Its weave is way too big. It's stiff. It was never intended for garment sewing. It's a novelty print that would probably look good as a curtain. If you make it into a skirt, it's always going to look and act like a curtain. Lots of times people want prints, and prints are not often printed on appropriate fabric for clothing. So you end up with a lot of solid colors, and think, shoot, I could just buy these at the Gap.
Part of why I wrote my second book is to let people know that you can take plain fabric and screen it yourself or alter it yourself. If you really want a pattern on it, you can start with a fabric base that's more appropriate. I think it's awesome that people are using a lot of cotton quilting fabrics for clothing, but at a certain point you may realize, I feel like I'm wearing a quilt. You just have to not get sucked in by the drama. If it feels like a pillow, don't try to make a dress out of it.
Collectors Weekly: Are there a lot of vintage apron collectors and vintage clothing collectors out there?
Karol: Yes, it's growing and growing. It's definitely gotten more popular in the last five years. You're definitely not seeing vintage aprons much at thrift shops anymore; they're all going to antique malls, because people know. Same with vintage linens too … it's nice to know that people aren't trashing them, that they're appreciating them.
In terms of advice to collectors, it's hard because I have not seriously thrifted on a regular basis since the end of college, which was before eBay. My suspicion now is that vintage aprons and vintage patterns probably aren't as easy to find, and if you do, they're probably more in antique malls or places where there are dealers. You're not going to really find anything that predates the '70s at estate sales or Goodwill.
If I really want a vintage-looking piece, I'll try and sew it. The only thing that excites me other than that is these people online now who are actually doing reproduction work, either with a spin or straight up by-the-book. There's a remix site that does all the reproductions you might want from the '30s and '40s, and holy crap, they are gorgeous. They're 150 bucks or 200 bucks, but I'd rather spend my money on something like that.
If you're just beginning to collect vintage clothing, don't be afraid to collect reproductions, especially if you want to wear it and enjoy it. There's a lot available now. A lot of people are doing vintage dresses or vintage-inspired dresses from vintage patterns. It's a really great way to support people and small businesses, too, but also, you get to wear it and you're not up against the whole does it smell like smoke? And it was in someone's house deal. There are people in L.A. and Hollywood who are really, really good about collecting real pieces, and they're taking care of them and they rent them out or they're in museums.
With reproduction, I know I can look the stuff up and research and appreciate it and that it's being well maintained and taken care of. I think vintage clothing will get there eventually, too. People are starting to wake up. Vintage typewriters are now starting to really take hold, whereas before their keys were getting clipped off and made into charm bracelets. I also think rotary phones are going to be more taken care of again. Everything is going to be valuable eventually.
So whatever you're interested in, a really nice thing to collect is source material – books and magazines and things. A huge thing for me is just looking at the pictures, because where are we going to wear this stuff anyway? We can only dress up so much!
(All images in this article courtesy Amy Karol of amykarol.com, Angry Chicken, and Flickr vintage aprons group)
11 comments so far
HiAmy — your comments on the intricate construction of 1930's and 1940's clothing, and the expectation that women had been sewing since girlhood, and the fact that today's easy-fit styles are totally the opposite of the 30/40's look have been so insightful for me. Really given me a "feel" for the 30/40's mindset. Thank you so much.
Susan Webster Says:
What a wonderful collection.
Linda Crispell Says:
I just gave at least four dozen vintage patterns to the local second hand store Had I known you collect them I would have sold them to you or someone like you.
I am selling vintage sewing machines are you or anyone else interested in three sewing machines I am selling?
one is a white fantasy straight and zig zag in cabinet works great
another is vintage singer 1956 straight stitch in cabinet works well
third is the 1933 singer 221 black in original casethanks
HM Says:
This is a great article, thanks! I agree that many vintage patterns can be hard to sew, because there was an assumption that the person knew what they were doing. But there are lots of Jiffy, Easy To Sew, Learn To Sew and other basic patterns that are good places to start. Just be sure to buy with your measurements, don't buy by size. Just like a size 8 at Nordstroms won't fit like a size 8 at Wall Mart…so were there differences between pattern companies. So know your measurements and make something not found at the Mall.
There are lots of online sources of vintage patterns out there (I own one :-) ), so be brave and try something new/old!
What-I-Found – Sewing Patterns
What-I-Found Says:
Well, my gracious, I just never knew there was anyone who was as into vintage sewing, aprons and especially the 3-'s and 40's as I am… and quite honestly you're way ahead of me. In fact you make me feel like quite the beginner. *blush*
I am just in the beginning stages of starting a business sewing vintage-styled and actual reproduction aprons. I'll be basing them on my aprons from my pattern collection that date to the 1920's. You know I had the idea to start this business 7 or 8 years ago- really nobody was into aprons then, certainly not to the extent that they are now at any rate! Nobody was selling aprons, so I doubted my idea and let other more "sensible" people talk me out of undertaking such a "weird" business idea. I should have listened to myself! Oh well, better late than never, right?
If you have any advice or words of wisdom for a fledgling business gal such as myself, please do share. I am all ears!
Diane Says:
Hulda Deuschel Says:
Wonderful tips gratitude for posting. Actually in all articles of this site there is always things to educate yourself on.
I appreciate learning more about our history & culture from your article on aprons and sewing.
Jo Lewis Says:
Enjoyed your article on vintage aprons. When I was in elementary school I can't remember the times my Mom made aprons using simplicity pattern #4479 view 2 in red and green organdy fabric for my younger brother and I to give our teachers as Christmas gifts. They always turned out so pretty. I recently came across my mom's pattern in original envelope with pattern pieces, unfortunately it is missing layout views and instructions. I would love to use this pattern to make aprons for my daughter and grand-daughters using shirts that belonged to my Dad, but really feel it would be very helpful to have instructions sheets. Could you help me in locating a copy? I think it could be a "special" gift from myself, my Mom and my Dad. Any help would be appreciated. Thank-you. Sandra Sellers.
sandra sellers Says:
I enjoyed your article very much. I started collecting aprons over 15 years ago, and now have over 400. I found most of them at garage and estate sales, & gifts from friends. I am interested in selling them in near future but not sure how to go about it. Age is creeping up, and it is hard to lift all those totes. Any suggestions???
ROBERT L DESKINS Says:
I have pattern 4479 "Simplicity". I love the apron made from it. The apron seems small compared to ladies today, but when it's on it fits even a large. It's a lot of fun going out and coming across these old treasures. I found a Butterick pattern 9784 a couple weeks ago. It's got the childresn sunsuit and bloomers in it. 40 cents new. I'm 70 now and have no idea who I will pass all of fabric, sewing treasures, and my Grandmothers sewing machine too.
SHERYL S WESTMARK Says:
Amy loved your stories !! My mother worked as a waitress in small town restaurants . I as a child I remember her wearing different aprons over her white dress uniform… some frilly some plain but colorful !! Thank you for stirring the memories …
Kathy Ames Says:


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Yates named Kimmel Professor of Construction Management
The only woman to head a college or university construction management department in the United States has joined the faculty of Western Carolina University as the Joe W. Kimmel Distinguished Professor of Construction Management.
J.K. Yates began her duties as Kimmel Professor and head of WCU's department of construction management June 15.
Prior to joining the WCU faculty, Yates served as chair and professor in the department of construction management and engineering at North Dakota State University.
WCU's Joe W. Kimmel Distinguished Professorship in Construction Management was endowed in 2006 through gifts provided by Asheville businessman Joe W. Kimmel.

subset: commoncrawl


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- The following week from the device that you're currently using.


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Nearly eight in 10 Americans (79 percent) say they are at least somewhat knowledgeable about nutrition, but new research from the International Food Information Council shows several wide gaps between their perception of the adequacy of their diets and reality. The IFIC presented the results to journalists on a webinar this morning.
The 2013 International Food Information Council Functional Foods Consumer Survey reveals that despite consumers' reported knowledge about nutrition, the majority (67 percent) believe they fall short of meeting "all or nearly all" of their nutrient needs. "Functional foods" are defined as foods that have benefits beyond basic nutrition—such as blueberries, yogurt, and fortified milk, bread or cereal.
The survey also shows significant disconnects between people's beliefs about whether they are getting sufficient amounts of many specific nutrients and the reality of their diets, as judged by the Dietary Reference Intakes (DRIs) recommended by experts.
A comparison between the survey's findings about perceptions of diet adequacy (by specific nutrient) and National Health and Nutrition Examination Survey (NHANES) data shows wide chasms between how many believe their intakes are adequate versus the actual DRIs.
For nutrients such as vitamin D (68 percent perception vs. 32 percent consumption), potassium (61 percent vs. less than 3 percent), and fiber (67 percent vs. 5 percent), the discrepancy between perception and reality is quite stark. The high percentage of consumers who are meeting their needs for B vitamins (60 percent perception vs. 90 percent consumption) is a testament to the value of functional foods, especially fortified foods, as providing a "functional fix."
However, there are still gaps in knowledge and consumption of a variety of other functional components such as omega-3 fatty acids, lutein, flavonoids, and zeaxanthin. One third, or less, of the population say they are not consuming enough of these components to meet their needs or to get a health benefit.
It's clear that Americans have an interest in functional foods. Similar to survey findings from 2009 and 2011, 90 percent of consumers in 2013 agree that certain foods have health benefits beyond basic nutrition (87 percent in 2011, and 89 percent in 2009).
"While there is some disparity between perceived nutrient adequacy and actual nutrient intake, it is notable that consumers recognize the benefits their food can offer," says Sarah Romotsky, RD, Associate Director of Health and Wellness at the International Food Information Council Foundation. "Indeed, health-promoting foods and food components play an important role in meeting nutrient needs and improving overall health."
Consumer interest in learning more about functional foods remains high. Almost nine in 10 Americans (86 percent) are interested in learning more about foods that have health benefits beyond basic nutrition. Similar to 2011, almost half of all consumers (45 percent) are "very interested".
Previous iterations of the survey revealed that even though consumers have a positive perception of functional foods, reported consumption of various functional components for health benefits remained stagnant. This year's study further explored perceived barriers to functional foods. Respondents were offered a list of 16 potential reasons for not consuming more of these foods; on average, they selected 10 of those barriers, indicating that they perceive a variety of challenges. Specifically, price is the most common barrier, with more than half identifying it as a major reason. Other perceived barriers include skepticism of manufacturers' motives for adding health components to products, preference for the purity of basic foods, and taste.
The 2013 Functional Foods Consumer Survey was fielded by Mathew Greenwald & Associates of Washington, D.C., between July 9 and July 22, 2013, and sampled 1,005 between ages 18 to 80. This is the eighth version of the survey dating back to 1998. Other topics in the survey include fortified foods, food processing, and behavioral determinants of functional food consumption.


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If you loved all the great paper elements from the wedding we shared this morning, I think you might also fall in love this fun cascading pinwheel table runner DIY our sweet friends Jessica + Garett at Wednesday put together for us! If you are looking for an alternative to flowers on your tables, I think this would be a great idea – and you can of course pick colors that match your wedding design. I could also see this as a great backdrop for your ceremony if it's in indoors – just have all the pinwheels hang on the wall! Super dramatic :)
- 8.5 X 11 sheets of paper
- Scissors
- Double sided tape
- Cardstock
- Hot glue gun and sticks
Step One: Fold a piece of paper like an accordion. Your folds should be the length of the 8.5 in side. Sometimes I like to cheat and fold 2 at a time to speed the process along.
Step Two: For a medium sized pinwheel cut your piece of paper in half, and you will need four halfs.
Step Three: I like to make the ends of my pinwheels a little more polished, so I curved the edges of one side. You can also use a hole punch to punch each of the folds, and it gives a little more character to the look of the pinwheel.
Step Four: Take double sided tape and stick each of the ends together until you've made a full pinwheel circle.
Step Five: Cut a circle shape out of the card stock. To help the pinwheel keep it's shape, use the circle as support on the back of the pinwheel. Use hot glue to hold it in place.
Step Six: Once you have a hearty collection of pinwheels, you can start organizing them on your table. We wanted to go for a more asymmetrical look on our table. We hot glued each of our pinwheels together to keep the shape we wanted. To create the cascade look we also hot glued the falling pinwheel to the ones on the table.
Just love the playfulness mixed with the over-dramatic of this table runner!!
DIY created by Wednesday exclusively for Green Wedding Shoes


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The day has finally come, Verizon Wireless has made the HTC ThunderBolt handset officially official. We've seen leak after leak — and even an authorized third-party provider announcement — but now, straight from the horse's mouth, the handset has been anointed with a March 17th release date and $249.99 price tag. LTE data plans, which have been the topic of much discussion, will retail for the same price as their 3G counterparts — $29.99 per month for unlimited use. Verizon is also providing mobile hotspot capabilities to all ThunderBolt owners for free until May 15th. Get those credit cards ready, Thursday is the day. Hit the jump for the full press release.
ThunderBolt™ by HTC Available Beginning March 17
BASKING RIDGE, N.J. – Verizon Wireless and HTC today announced that the ThunderBolt™ by HTC, exclusively from Verizon Wireless, is available on March 17 in Verizon Wireless Communications Stores and online at http://www.verizonwireless.com for $249.99 with a new two-year customer agreement.
Powered by Android™ 2.2, the ThunderBolt by HTC is the first smartphone to take advantage of Verizon Wireless' 4G LTE network. The ThunderBolt by HTC features the latest version of the HTC Sense™ experience, which offers enhancements including new personalization options, a consolidated e-mail inbox, and unique camera effects and filters. The ThunderBolt by HTC is equipped with support for Google Mobile Services, including Gmail™, YouTube™ and Android Market™ with thousands of free apps. Additionally, the ThunderBolt by HTC will feature 4G LTE optimized apps such as EA's Rock Band, Gameloft's Let's Golf, Tunewiki and Bitbop.
Additional features:
- 4G LTE – customers can expect download speeds of 5 to 12 Mbps and upload speeds of 2 to 5 Mbps in 4G Mobile Broadband coverage area
- 4.3" WVGA display
- 8- megapixel rear facing camera and HD (720p) video recording
- 1.3- megapixel front facing camera with video chatting capabilities
- Newest generation of the 1GHz Snapdragon processor
- Mobile Hotspot capability – share 4G connection with up to eight Wi-Fi-enabled devices
- 8 GB of onboard memory and a pre-installed 32 GB microSD card (Actual formatted capacity will be less)
- Built-in kickstand for easy media viewing
With the ThunderBolt by HTC, customers will need to subscribe to a Verizon Wireless Nationwide Talk plan and a 4G LTE data package. Nationwide Talk plans begin at $39.99 monthly access and an unlimited 4G LTE data plan is $29.99 monthly access.
Mobile Hotspot allows users to connect up to eight Wi-Fi-enabled devices to the nation's fastest wireless network via an application available on the ThunderBolt by HTC. Mobile Hotspot will be included through May 15 for no additional charge. After May 15, customers may choose to activate Mobile Hotspot for $20 for 2 GB of data per month. Customers can track their data usage by downloading the My Verizon app available in Android Market or by logging on to their My Verizon accounts online at http://www.verizonwireless.com/myverizon.
For additional information on Verizon Wireless 4G LTE visit http://www.verizonwireless.com/4glte. For more information about the ThunderBolt by HTC please visit http://www.verizonwireless.com/thunderbolt. For additional information on Verizon Wireless products and services, visit a Verizon Wireless Communications Store, call 1-800-2 JOIN IN or go to http://www.verizonwireless.com.


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Small, lightweight and portable, the ST-E2 is a dedicated infra-red transmitter to control two groups of remote wireless receiver Speedlites. It also functions as a focus assist lamp in low light.
Take a more detailed look into the Canon Speedlite Transmitter ST-E2
Working with the E-TTL II flash metering system, the ST-E2 ensures wireless flash exposures are accurate and consistent in all situations. In complex lighting conditions make use of exposure compensation for more control of light output.
Control the ratio of light output of two groups of flashes for creative results by using the ratio control available on the ST-E2. Controlling the ratio between 1:8 and 8:1 for the two groups of Speedlites provides a wide range of adjustment.
Sync the flash at shutter speeds faster than the maximum sync speed of the camera by using high-speed sync flash. This allows you to still shoot at wide-apertures in bright daylight and so make use of faster prime lenses.
For inside working, the ST-E2 provides a working range of between 12m and 15m. For outside working the range is between 8m and 10m.
When shooting in low light conditions, the ST-E2 can emit a focusing beam to ensure sharp results. This beam aids focusing and covers all focusing points on all EOS cameras.
Find out more about the Canon Speedlite Transmitter ST-E2, its features and what it can do.


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According to the dictionary, "hang" can also be used as a noun, but I don't think it is the right word to use in this scenario. Should I use "hanging" instead, e.g., this software bug may cause two problems to this computer, crash or hanging? It also sounds weird to me.
In general, if a verb doesn't have a direct corresponding noun, what should I do if I have to use a noun to present the same meaning.


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Although I.O.U.S.A. was not graced with the honor of an Oscar nomination this morning, the movie's power and message is undeniable. The filmmakers did a great service to the issue of fiscal responsibility and the country's dialogue about generational stewardship.
Although I.O.U.S.A. was not graced with the honor of an Oscar nomination this morning, the movie's power and message is undeniable. The filmmakers did a great service to the issue of fiscal responsibility and the country's dialogue about generational stewardship.
This was eloquently brought home to me in a letter I recently received from one of my Midwestern volunteers. Strong in her Christian faith, she was instrumental in bringing a screening of the documentary "I.O.U.S.A." to her church in order to encourage others to see the parallels between Christian values and the stewardship practices needed now to ensure a good quality of life for future generations.
She starts out with a quote from Martin Luther King:
"The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy."
And continues:
"A diverse group of people at our church gathered expectantly one Sunday afternoon. We shared a potluck meal together and then shared the challenging film, I.O.U.S.A.. I thought I knew what to expect, but there was so much I was unaware of about our economy and how we got to where we are now. I was stunned by the graphics expressing what many stories could not: this is a mess, a financial fiasco, there is plenty of blame to go around and we are all part of it. I was likewise relieved to hear speakers such as Warren Buffet, a man of great wealth but of modest needs, expressing his take on our financial status and future.
As we viewed the film, I reflected: As Christians we should be dismayed by the socio-economic circumstances we have created and are leaving to our children: we have increased disparity while over-consuming and leaving fewer (or much less valuable) resources–worse yet, we have built up debt that they will assume.
What can we do about our long-term challenges? Our faith should inform not only how we accept Christ's challenge in Matthew 25 to feed the hungry, comfort the sick, visit the prisoners, clothe the naked, but also how we view and use our earth's and our family's resources. For one thing, we can take steps that indicate that we recognize our responsibility as Christian stewards. Our finite natural resources should prod us to decide what kind of world we plan to leave our children and grandchildren? Are we wise enough to value the Native American concept of considering what the effects of a decision will be on to the seventh generation?
Will we accept the challenge presented by I.O.U.S.A.?"
J. Down
Iowa City, IA
I appreciate greatly her sharing these sentiments with me, and look forward to working with her and other faith, civic, or business groups in the Midwest. Educating the public on these issues is the heart of what we do at Concord, so if you are interested in organizing a movie screening or a budget talk or an educational exercise, don't hesitate to contact us.
–Sara Imhof


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- You are here:
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- Lime Kiln Dam
Lime Kiln Dam
The Lime Kiln Dam was removed by the Ozaukee County Planning and Parks Department and Highway Department in 2010 in cooperation with the Village of Grafton and landowners. The project was funded by an American Recovery and Reinvestment Act (ARRA) grant administered by the National Oceanic and Atmospheric Administration (NOAA) and included removing debris and fill from the former raceway, impoundment dewatering through the raceway, dynamite blasting to fracture the dam face and footing, and concrete and debris removal with heavy equipment. Ozaukee County also completed multiple restoration activities including: bank stabilization, public access amenities, construction of a wooden pedestrian bridge over the old raceway for public access to the exposed bedrock island, invasive vegetation removal and native prairie seeding and tree plantings. The project restored access to a total of 32 river miles of mainstream habitat in the Milwaukee River from Lake Michigan upstream through this former impoundment.
Lime Kiln Informative Posters
Removal of the Lime Kiln Dam compliments fish passage projects occurring throughout the Milwaukee River Watershed, restoring access to high quality habitat that has been isolated since the dam's construction. Expected benefits of the dam removal project include:
- Improved recreational fishery in the Milwaukee River
- Restored habitat access for game, non-game, and/or imperiled native fish species
- Local economic benefits through increased tourism
- Enhanced opportunities for area residents to enjoy local natural resource
High quality fractured bedrock and cobble substrate was exposed following the removal of the Lime Kiln Dam. These materials, together with the exposed bedrock shelves upstream of the former dam site, will likely provide valuable lake sturgeon spawning habitat when these fish return from Lake Michigan.
Since dam removal, the area upstream of the former dam has been actively monitored by the Ozaukee County Fish Passage Program and project partners. Electrofishing surveys have captured a diverse array of fish species, with a high number of greater redhorse (Wisconsin threatened species) and young smallmouth bass.
The Milwaukee Falls Lime Company was established in 1892 with the opening of a limestone quarry in the Village of Grafton. The company, managed by G.A. Mace, constructed five lime kilns adjacent to the quarry near a reach of the Milwaukee River north of Cedar Creek. An early description of the quarry gives its size as 800 ft. long, 400 ft. wide, and 40 ft. deep.
Prior to 1915, a timber crib dam with earthen backfill was built into the abutting limestone walls and solid bedrock island that defined the river channel. Around 1915, the dam was reconstructed with concrete and additional earthen backfill, reaching a hydraulic height of five feet. The dam's 60 foot long spillway created a five acre impoundment with an average depth of five feet and maximum water depth of nine feet. In addition, a raceway with concrete walls was constructed west of the bedrock island to divert the river's flow, increase velocity, and power a machinery house that spanned the raceway walls. The machinery house supplied power to an air compressing engine that operated the drills in the quarry and to power the tram cars up the incline to the kilns.
The company continued its lime production through the turn of the century when its operations were purchased by the Tews Lime and Cement Company. As the country's need for the product dwindled in the early twentieth century, the lime production at this site decreased until the mid-1920s when operations ceased.
In the early 1960's, the Village of Grafton acquired the site, paying $6,000 annually over ten years to the Tews Lime and Cement Company, and filled the former millrace with concrete debris and earthen fill. During this time, the dam began to fail. In 1963, repairs were made to the Lime Kiln Dam to prevent further damage. About this time, one of the limestone quarries located northeast of the remaining kilns was filled and paved to become a parking area. The date of the demolition or collapse of two of the five original kilns is unknown. Four tramway piers and the raceway walls were preserved and are still visible at the site today.
Village of Grafton Lime Kiln Dam
Impoundment Before Removal
Removing the Lime Kiln Dam
Removing the Dam
Removing the Dam
Restoration Work After Dam Removal
Restoration Work After Dam Removal
Installing Pedestrian Bridge After Dam Removal
Lime Kiln Bridge
Lime Kiln September 2014
View from Downstream After Removal
Lime Kiln Dam After
Lime Kiln September 2014