From the very first moment we connected with Seth Apter, we knew something special was in the works. A year (and one gorgeous debut collection) later, that feeling has only grown. Seth’s eye for color and texture, his instinct for the big picture, his refusal to stay confined to any one medium… it’s all part of what makes him one of the most exciting collaborators we’ve had the privilege of working with. And honestly? He’s just one of the loveliest humans we know. We’re endlessly grateful for the chance to keep building something together.
Today, we’re beyond excited to celebrate One Layer Away, Seth’s second release with Aurifil. This collection of 10 Small Spools of Aurifil Cotton 50wt was curated to enhance and contrast with the 18 designs in Seth’s new One Layer Away fabric line— versatile, layered hues chosen with both fiber and mixed-media makers in mind.
The collection takes its name from Seth’s own creative mantra: that an artist is always just one layer away from magic. It’s a belief that runs through everything he makes, whether he’s binding a book, building a mixed-media piece, or designing fabric and thread. It’s the idea that the process of building up layer after layer, piece by piece, is where the real discovery happens. For Seth, thread has never been just functional. It’s construction and embellishment, structure and expression, often within the very same stitch, something that carries through his bookbinding practice and now into this collection.
We loved catching up with Seth to talk about how his voice has evolved since On Your Mark, why this collection leans fully into Cotton 50wt, and what layering really means to him as both a maker and a philosophy. Read on for the full conversation.
Since we last talked for On Your Mark, you’ve also released Stamped, a real change of pace with its black-and-white, text-and-stamp focus. Now here we are with One Layer Away, back in richer color. How would you describe your creative voice evolving across these last three collections?
All of my fabric designs come from my original mixed media work and represent where I am creatively in that moment. Both On Your Mark and One Layer Away lean into my love of layers. Both lines absolutely represent me but this newest release reflects a shift in my art to a lighter, brighter (at least for me), and less moody color palette. The threads in these collections represent this shift in direction as well.
How do these collections converge to represent your full creative voice?
My mantra has always been More is More. Despite working small, I am driven to include an abundance of marks and details in the many layers of my work. It has become the vehicle for me to tell my story and provide emotional depth and a sense of history in the art I make.
It is always my intention to have people pulled into the surface to explore the many elements to be found. However, this also means that the beauty of each individual detail is sometimes lost. Stamped is stripped back to highlight the beauty of these details while One Layer Away is a return to form – where getting lost in the layers is a good thing.
What’s currently catching your attention? Any new mediums, techniques, or ideas you’re chasing right now that you weren’t a year ago?
Mark making has always been my jam but somehow this past year has pushed me further into this technique. I continue to explore using fabric in mixed media art and have been experimenting with different ways to add to and alter the surface of fiber using both traditional and non-traditional supplies. I have also been exploring what I label minimal maximalism in my work, where strong, bold, intricate focal points contrast off a quieter background that still has texture and detail to explore.
On Your Mark was intentionally a mix of Cotton 50wt, 28wt, and 12wt because you wanted that variety reflected in the work. This time, the collection is entirely Cotton 50wt. What made that focus feel right for One Layer Away, and how do you see yourself using it in your own studio practice?
I primarily use thread for hand stitching for both design and function as well as for bookbinding. Of course many other people use thread for machine stitching. While I design my fabric and choose my thread collections for all creatives and all uses, I feel like the fabric designs in One Layer Away are the strongest grouping of designs for quilters of all my releases. So I decided to release the entire thread collection in 50wt in hopes of providing more options for the quilter. For the mixed media artist, anything goes and I know I can make any weight work!
Do you imagine using the One Layer Away threads alongside your On Your Mark set? Do the two palettes speak to each other, or are they meant to stand apart?
All the products that I release are authentically my own and represent my creative voice. Although my direction and focus shifts over time, my underlying style remains the same. So intentionally I work to create new collections that are both an evolution from earlier ones but also strongly connected. My new threads and fabrics can absolutely work with my older releases and that is an important factor for me as I design.
Your mantra for this collection is that an artist is always just “one layer away from magic.” Can you talk about your relationship to layering as both a technique and a philosophy? How did that idea take shape for you, and how does it show up across your different bodies of work?
Before my work as an artist, I was a full-time Psychologist. The many layers that exist within all of us was the basis and focus of my work. The world sees us initially based on the surface (what we look like, what we wear, etc.) but there are so many complex layers within. That is what I aim to replicate when creating my artwork. What you see on the surface is a direct reflection of all the layers beneath. Even though some lower layers might be nearly fully covered over, they are still so important as they lead to each subsequent layer. It is like creating a life in and bringing a history to whatever I make.
As in real life, there are those moments in our creative work where we are stuck. Our choices include being frustrated and giving up or working through the challenge and moving forward. That effort often leads to a moment of magic where it all comes together. I have found that carrying the thought that we are one layer away from magic is something that helps greatly in this process.
Your bookbinding practice has always been intertwined with thread, both structurally and expressively. As your career keeps stretching into new mediums, how does that bookmaking foundation carry over into the quilting and textile world? And as someone who comes to this space as a non-quilter, what excites you most about working within it?
I have always handstitched on the pages of my books as a form of mark making and – of course – used thread to bind the pages together. My books have historically been paper-based, although small fragments of fabric were used as collage elements. Now I have leaned more into using fabric as pages and the base for all the other layers. In my mind, each fabric page is akin to a quilt block – beautiful on its own but only a part of the whole story. I also see that the details I add with thread on the pages are very similar to the quilting stitch – a creative choice that is both functional and expressive.
Earlier on in my career, the choice of thread (material, weight, color, manufacturer) was not primary for me. As a mixed media artist, anything goes. In learning so much more about thread, my choices are now very thought out and directed. And the process of choosing has become exciting to me.
Your patterns are so rich in color and texture, even translated onto a smooth cotton surface. Can you walk us through how a design like this actually comes together? Do you start with pattern or with color first? And is the artwork created physically before it’s translated to fabric, or is more of your process digital?
All my fabric designs start with my original art made by hand using paper, fabric, paint, ink, etc. Sometimes the artwork is almost identical to the final fabric design. However, in many cases there is some digital manipulation to change scale, enhance color, or to add (and sometimes remove) additional layers.
Text and mark-making have always been part of your visual language. How do written or symbolic elements work in partnership with the graphic elements in this collection?
I see text and mark making as two of the elements that are not only prominent in my work but also fundamental to whatever I create. Text for me provides meaning, expresses emotions, and adds a beautifully decorative element to the layers. Abstract mark making does the same. I use them to enhance the surface, guide the viewer’s eyes, pull an observer into the piece, and lay the groundwork for the meaning of the art.
What’s next for you into 2027 and beyond? Are there any shows, collections, or teaching engagements on the horizon you can share with us?
I have completed designing my next collection with FreeSpirit and am nearly done with the one that follows. This means I will also soon be curating a new collection of threads with Aurifil. 2027 will also be filled with many adventures as I plan to travel to and teach at many locations: Germany, France, England, Italy, Canada, and the US – from Maine to California and many States in between.
Community came up as the most meaningful part of your journey when we talked last time. As that circle keeps growing— through fabric, thread, teaching— how has your sense of that community evolved?
Community is the basis of anything I do creatively. In the world we live in, a sense of connection and support has become more and more important. As I continue to release collections of fabric and thread and have the opportunity to teach using these mediums, my community has stretched and grown to include so many more creative members of all kinds. This brings me endless joy because I do believe that creativity connects us, art heals, and life is better when shared!
