This research explores the significance of using our hands in creative practice and its influence on the maker’s thought processes and creative directions. By examining the intimate interaction between our hands and materiality, I ask: how does manual practice influence the maker’s emotions and thoughts? In this study, learning through handmaking is not only about gaining new knowledge but also recognizing our emotions, exploring the relationship between knowns and unknowns, and reflecting upon curiosity and persistence as the catalyst for activating and maintaining bodily activities. Using muslin fiber and my hands for a series of experimentations to practice simple and repetitive hand motions for utilizing muslin fabric, this study aims to capture my emotional changes, thought processes, and pivotal moments of decision making. The critical phenomenology of bodily experience in this study is heavily influenced by the phenomenology by Merleau-Ponty (1982) and Byung-Chul Han’s discussion regarding the mainstream of advanced technology, especially related to smartphones, in Non-Things (2022) and The Burnout Society (2010). Also, the use of reflection notes as the practical narratives of the making process to navigating research direction is inspired by Yeseung Lee’s Seamlessness: Making and (un)knowing in fashion practice (2016).