Paula Sweet

In the 1990's I became a mother. I oversaw the growth of my child as well as the Muslin Mink business.

I spent time in playgrounds with sand, water and lots of children, moms, dads and nannies. I maintained a staff of 18 in a 10,000 square foot loft with a river view. There were multiple sewing and cutting contractors in-state and showrooms across the country. I did sketches for clothing and home décor shapes. Pattern makers made the patterns. Sample makers cut and sewed them for approval. We did 300 designs per season, 5 seasons a year, making sample lines for out-of-state showrooms and attending their market week shows. The Muslin Minks were now produced in hand woven silks and cottons, lace, linen, flannel plaids, denim, velvet, madras and prints for daytime or evening, office or play, spring time or winter. An original hand painted cut and sewn "Muslin Mink" became a part of the permanent collection of the Metropolitan Museum of Art. It is a full length Mink with a zip off bottom, so that it becomes a short coat. I developed a table linen line when Bergdorf Goodman asked us to do napkins in our wonderful hand woven fabrics with Muslin Mink trim. I designed the collection to be washable with no ironing. Simply beautiful is my tag line. In 1993 we were asked and honored to do the table linens for the 11th Annual Frederick Law Olmsted Awards by the Central Park Conservancy. Bed linens came next. I designed with our beautiful hand woven silks creating my own pallet of mood setting colors for duvets, pillows, robes and guest towels. Bill Clinton is said to have wiped his hands on one of my guest towels when he was president. Designs from my drawings were silk screened onto cotton and linen for sheets and duvets. Elements in my drawings, like water pools and fish, became unusual fun sculptural pillows. My focus was on beauty, comfort and easy care. We produced for fine specialty stores, department stores and catalogues. I liked to draw friends who came to visit. I made large black and white portraits with colorful borders. Large multi-piece paintings began from individual drawings put together and painted over to become one. I started drawing flowers and noticed that they would lean toward each other in the vase over time as I drew them.