Gift for a new baby

Back at the beginning of the year, I made a playmat for my sister’s new baby out of old fabric baby books … they were too tatty to hand on in their original state, but the pages were so delightful and held so much interest for little ones, especially helping them get over the ‘being-on-their-tummy’ phase when they’re not quite crawling – plenty to discover and do – that I wanted to re-use them somehow.

JeffordPatchworkPlaymat (2)

I enjoyed making it, and her little boy has absolutely loved it …. and it has endured – I made it good and strong, but you’re never sure how much abuse these things are going to get, especially when older siblings get involved in the equation.

For that reason, it never crossed my mind that there’d be any sort of commercial demand for these, so it surprised me that I’ve made another 3 of these since then (I owe my sister a *huge* thank you!), and now a fourth … and this time, I’ve got permission to post the picture:

Hobbis Playmat (1)

Welcome to the world, baby Cian! I hope you enjoy playing on this ….

An ancient friend …

A long, long time ago, I walked past a charity shop, and there, looking all forlorn in the window, was an old-fashioned sewing machine, one of the cabinet ones, a Singer.

I don’t know why, but I knew I had to have it … at the time I didn’t do any sewing, and I didn’t have any money, really, but I scraped the £50 together and went and got it. I won’t tell you how long it took us to get the thing up six flights of stairs to our third floor apartment … but it’s been with me (us) ever since, 20 years now, and I still love it, even if it doesn’t work any more.

Here she is:

Landscape 035

Dated 1908, it’s a cast-iron treadle operated machine (still with the original drive band) that can slide back into its cabinet, and when I opened up the drawers in the cabinet, I found the original instruction manual and the box with all the accessories.

What I particularly loved was that most of the drawers had bits and pieces of notions and threads and needles in them, and it felt wonderful to have that connection back to whoever first owned and loved it.

I particularly adore the art deco design on the machine, and the tooled panel on the front is just gorgeous. Singer (3)

Singer (6)

I used it extensively when I first started sewing, and although it took me a while to get fluent with the treadle action, the effort was worthwhile because it was a beautiful, well-mannered machine to work on. Sadly, I wore out one of the springs in the tension plate – it snapped – and I’ve been unable to replace it, despite the best efforts of the lovely people at the Singer Sewing Centre in Woking. I sometimes toy with the idea of contacting Singer direct, but I’m fairly sure they wouldn’t be interested in my old croc, so I just keep her clean and admire her beauty ….

Even though I now work quite happily on a modern Frister & Rossman (modern! It’s 20 years old if it’s a day!), I don’t think I’ll ever part with this old lady – she’s part of the family, now.

Upcycling at the Laundry

I’ve been hard at work in the Laundry for the past week or so, focussing on preparing a selection of stock items for the gallery – ideally, I need to be ready for the end of September, then I can keep maintaing stock levels through the busy pre-christmas period.

It’s going to be tricky, though, because I have commissions outstanding, and after next week I’ll need to stop working on stock and start on those pieces, particularly as I’ve picked up two new commissions – another tote, but in browns, and a fabric laptop/messenger bag hybrid for navigations charts and the like as a christmas present for the client’s yachtie husband. Fun! I hope I get permission to post pictures when they’re done …

The past week or so has been all about bags ….

Based on my colour scheming, I planned a couple of patchwork totes based on the ‘minerals’ theme – greys with rich jewel colours to complement/offset the neutral base.

Mineral Tote - Fuschia (2)

This selection of old, faded, worn black and grey shades of denim, corduroy and canvas looked splendid against the lush fuschia silk and pretty little floral jersey knit, and was soon whipped into this funky tote:

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And, whilst I was in the mood for making bags, I went on to use the remaining pieces of grey and black, adding in a knit along the way, to make another tote, this time lined with a vintage scarlet silk scarf with a lovely check through it, and a messenger bag lined with a gorgeous glazed chintz that I snagged from an interior design shop when they were off-loading samples … I wouldn’t want a curtain in it, but as a bag lining it’s fabulous, and absolutely in tune with this season’s bold floral prints. I followed that up with a pair of smaller messenger bags – one in the forest greens using camoflage-print canvas and knit, the other going off-topic a bit with navy denim and orange muslin lining. And, to finish, a tiny shoulder-bag in black denim, lined with a bold black and white floral with a fuschia highlight … how marvellous that I had some beads the exact same colour to make the strap!

Here’s the final line-up …Magpies 016

Quilted Cards Tutorial

These quilted cards are pretty simple to make, and a good use of those scraps stashed away … when it comes to sending cards, they’re a highly individual and personal way to send a message to a beloved friend or relative that speaks of time and care and thought so much more than any shop-bought card.

Please note this tutorial is intended as a guide for personal and domestic use only. Do not use this technique for commercial purposes.

Before we start: you can be as precise as you like with this, but it’s probably not one for the obsessively neat. I make these without measuring, pinning, tacking, or anything else, on the assumption that they are supposed to be a little bit “shabby-chic” and “scrappy-handmade”, not highly-polished professional pieces. As such, there are no hard-and-fast rules, just a demonstration with a handful of explanatory notes and some ‘here are things I’ve found work well’ pointers along the way.

So, let’s get started.

You will need:

  1. either 2 blank A6 cards, OR a single strip of card 10cm x 45cm
  2. PVA glue
  3. a handful of small scraps of fabric, preferably medium-to-light weight
  4. a sewing machine (well, you could sew it by hand, but it’d be pretty tedious)
  5. about 15-30 minutes (depending on how much fabric you use & sewing you do)

Step 1: Prepare the card.

If you are using 2 blank A6 cards, glue one to the other so that you have a tri-fold effect. If you are using a single strip of card, fold it into three equal sections. You should end up with something that looks like this:

QuiltedCardTutorial (1)

If you glued it, obviously you need to leave it to dry before you sew on it. Sewing machines *really* don’t like wet PVA.

Step 2: Choose your fabric

(Compulsively neat and tidy people might want to skip this image)

QuiltedCardTutorial (3)From your bag of scraps (or bags: I have at least five bags of scraps, all organised by colour ;) ) select some pieces of fabric. Essentially, what you’re after is two or three strips for background, and then a couple of smaller pieces with a nice detail on them for the foreground. These can be either co-ordinating or contrasting, perhaps a couple of co-ordinating pieces for background, then a contrast in the foreground? It’s totally up to you, and what attracts your eye!

I usually try to choose colours and motifs that the person for whom I am making the card identifies with – either it suits their home decor, or its colours they wear often, or colours I know they love.

As a general rule, I try to avoid very heavy fabrics like denims and suedes and upholstery fabrics, purely because they can snag up the card as you’re sewing. Very sheer fabrics bring their own problems and can slip and buckle and fray if you’re not careful whilst you’re sewing. If you want to use them, go ahead, but proceed with caution!

Step 3: Arrange your fabric pieces on the card

QuiltedCardTutorial (4)

It’s fairly self-explanatory! Once you’ve selected your pieces of fabric, arrange them on the card in a loose way until you achieve a satisfactory balance between the different elements.

At this point, I will generally stop the process and IRON the selected pieces. This is not compulsory, but I do find it much easier to sew them onto the card when they have been ironed (remember – no pinning or basting!), and you do get a much better impression of what the final card might look like.

Another thing to bear in mind, is that you almost neve end up with exactly what you think you’re going to do with these cards: because it is a very organic and loose process, you will probably find that you end up adding the shapes in a different configfuration, and in different quantities, than in your initial planning layout. But it’s still worth doing ….

Step 4: The actual sewing.

Hooray! The fun bit!

Working from top to bottom, and (obviously) attaching the background first, take one piece of fabric at a time, and sew around the edges to fasten it to the card.

Remember, you are working on the MIDDLE section of your tri-folded piece of card.

QuiltedCardTutorial (5)

Don’t get too hung up on your original plans – just go with the flow and add pieces until you are satisfied with the overall design. Once you have attached all your pieces of fabric, use the machine to do some freeform quilting to emphasize any attractive shapes or motifs that appear on the card.

A couple of technical notes:

  1. A heavy duty needle works best for this if you are using medium weight or heavier fabrics, even if you have some sheerer foreground elements
  2. Every stitch you make is a PERFORATION in the card, so too much sewing will weaken the card to the point it disintegrates and starts to hang up in your machine, so keep it simple & avoid too much crossing over
  3. Use a slightly longer-than-regular stitch to attach the fabric – too short a stitch will result in the card disintegrating

When you are done, hopefully you will be pleased with what you see!

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Step 5: Finishing off

The not-so-fun part ;)

QuiltedCardTutorial (8)

First things first: tie off your ends, nice and neat and trim off the excess thread (I know you know to do this, but I’m being comprehensive)

Trim off any fabric that is overhanging the edges of the card

As you can see, the inside of the card isn’t terribly pretty, what with all that stitching. This is where your tri-fold comes into the equation … PVA the left-hand-side wing of the card (as you see it in this photo, so that the sewn piece becomes the front of the card and it opens the right way round). Check and check again you are PVA-ing the correct piece of card – I’ve lost count of the number of times I’ve glued the wrong bit down and ended up with an upside-down card. Lucky I don’t try to make any actual pictures :)

Once you’ve glued, you need to leave it to dry. To ensure proper sticking, I recommend putting the card underneath a heavy object such as a BIG book or something of similar size/weight until the glue is dried. Make sure that any surface on which you put the card is clean and dry, and that there is no overflow of glue out of the edges. It would be a terrible shame to ruin all that hard work ….

Step 6: TA-DAAAAAA

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QuiltedCardTutorial (10)

All done, and now all you have to do is write the message of your choice to the lucky recipient and send your card on its way.

And once you’ve done one, you’ll want to do more, and more, and more.

Have fun! And, if you do give it a go, I’d love to see your pictures ….

Moods, A/W 2009/10

Forest Fantasy

An ‘inside’ day today, sorting through fabrics and trimmings and working out a couple of ‘mood boards’ for the autumn/winter textile pieces.

The top picture, ‘forest fantasy’ is a blend of natural green tones that will work well with this seasons pale grey/taupe neutrals and soft pastel, using a mix of fabrics from knits to canvas to silk to chiffon to dyed antique lace, with accents in gold and copper and pale pink. Trim will be gold costume jewellery, faux pearls, satin & organza ribbon, metallic beads and natural forms – faux fur and feathers and flowers. Subtle, and quite feminine.

Precious Minerals

By contrast, the second set, ‘precious minerals’ is much more flamboyant and decadent, strong scarlets and luscious fuschias in riotous harmony, a bold splash of colour that will make a huge statement against the sombre, mineral blacks and greys. The fabrics are more luxe and shimmery than the ‘forest’ collection, silks and satins and chiffons and soft, vibrant knits. Bold floral prints and retro checks feature, and trimmings come from chunky vintage beads in purple and grey, silver thread and chains add a metallic glitter alongside crystal beads to provide a modern gloss.

Magpies Laundry In a Spin

The holidays are over, summer is slowly turning to autumn, and it’s time to get back to work.

2009-08 Otter Estuary (2)

It’s time, then, to start work on the winter collections, and, for me, it’s exciting that the new season colours of rich neutrals – slate greys, chocolate browns, soft shades of taupe, sienna, umber – accented by rich, vibrant accent colours and metallic gleams, are exactly what appeals most to my magpie sense. Alongside that, the trend towards natural fabrics and soft tweeds, tartans and prints give me a perfect opportunity to have lots of fun with upcycled fabrics.

It looks as though alice bands are going to be hot stuff this season, so I’m planning to make a handful of them to go alongside the corsages and hair combs and clips I usually create, and with lace jewellery riding high on the new-baroque trend of thigh-high boots and sexy cloaks, I think I shall experiment in that area, too, given a huge stash of antique lace just begging to be used.

(Which reminds me that I want to contact the friend of a friend who still produces hand-made honiton lace to ask her to teach me how ;) ).

I’ll add in a mixture of messenger and tote bags, and I have an envie to use up a yard or so of fabulous chinese brocade to make a laptop bag, but I definitely need to work up a handful of clutch bags – *so* essential for the party season!!

The emphasis on softer shades and neutrals in interiors as well works in my favour, so I’ve got plans to make a handful of little lavender sachets, lavender neck cushions and cushion/bolster covers, because they always sell so well in the run-up to Christmas. I’m wondering, too, whether to venture into making a test run of Magpies quilted Christmas Cards … I suppose it will do no harm, to dip my toe in, even though it looks like a pretty-much saturated market right now. It will, I imagine, come down to how much time I have in the end.

As always, being a home-based business and with three children to run around after, time is my enemy: particularly so at the moment, as I picked up three commissions in the last week that I need to service:

- 1 embroidered linen cushion cover – the cushion cover won’t take too long, but the embroidery I’ve been asked to do will be pretty complex and time consuming.

- 1 wall-hanging – 30 x 60 cm landscape patchwork & applique mix with embroidered lettering – I’m very excited about this one, since it’s something I’ve not done before and came very organically from the discussion I had with the client and the texture and colours of the fabrics I’m going to be working with.

- a cushion cover for a nursery room, patchworked from old girls’ baby clothes. I just adore working with baby clothes, it makes me feel so very connected to the roots of patchwork, and of course the variety of fabrics, textures, colour and pattern always make for such a striking and individual result, especially when I make sure I keep details of buttons and pockets etc.

So, I’m going from having a very lazy summer to suddenly facing a pretty hectic autumn! Still, it’s good to be busy in the present economic uncertainty, and I shall keep my fingers crossed that the trends for a little touch of decadent melodrama in the fashion world will be just what the doctor ordered for *this* laundress.

Anatomy of a miniature patchwork project

I get so much satisfaction working with textiles, it’s an activity that absorbs me completely and that I enjoy so much – taking something from conception to completion and solving all the problems of design and material and construction along the way, and the opportunity to learn new techniques, to refine old ones and to get a better understanding of how different textiles handle under different circumstances and in different combinations fascinates me.

I’ve spend a good part of this month working a tiny patchwork in my spare time – it’s just under A4 size but I’m very pleased with the outcome and don’t begrudge the time it’s taken. Sometimes it’s nice to take a time out from working for other people and to do something for myself.

Frontispiece 02I started with a sketch of what I wanted to do – a combination of square, wild goose and hexagon patches and drew it up properly measured out.

 

 

 

Frontispiece 05I had a lot of pieces of blue and complementary colours from a patchwork piece I did from children’s clothes a couple of years ago. (Yes, I am the most dreadful magpie when it comes to hoarding fabric). I cut out and pinned the measured paper pieces to the fabric. Each piece of paper was numbered and had an arrow to show right way up . . .

 

Frontispiece 10This was necessary because when I get to this stage – all the little pieces cut out – I would otherwise have no idea where they all went!!

 

 

Once I got to this stage, the next task was to baste all the pieces onto a backing fabric – in this case a remnant of light cotton from a set of curtains. I make this difficult for myself because I like to preserve the detail of the original garment if I can, so pretty hems and buttonholes and pockets have to be incorporated rather than chopped out.

And so the patchwork starts to take shape – I am too impatient to take the path of virtue and baste everything before I put it together – I like to see it all come together as I’m working through. Regardless of method, I am happy with how the different elements work together and the textures and colours of the fabric:

Frontispiece 11

When I’d completed the patchwork itself, I framed it in strips of old white linen salvaged from an antique napkin that was on the verge of disintegration and backed the whole thing onto a page made from old calico curtain lining – ivory, though in retrospect I think white would have looked better – hemmed in chevron stitch.

And then, because I can’t leave well enough, I played with some lettering and did a combination of different techniques to put my mark on it!

Frontispiece 12

M – embroidered satin stitch, lettering comes from a Calligraphy Source book I adore.

A – beaded letter – the beads were salvaged from an old junk-shop necklace – very pretty blue glass but with lilac inners . . .

G – not terribly clear, but the piece of lace suggested the letter so I appliqued it in place with very tiny stab stitches so they don’t show at all!

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The ‘P’ is a yo-yo, with the tail just a gathered oval in the same fabric

I – a small strip of vintage beaded trim that came out of my gran’s sewing box . . .

E – embroidered, shaded satin stitch, tho I didn’t change colour . . .

S – used buttons to form the letter shape, all from stash.

Frontispiece 14

L – stem stitch embroidery

A – I love this little piece of pleating. *Such* a fiddle to do, but I’m really pleased with how it came out.

U – simple back stitch embroidery, punctuated with French knots at each end.

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N – two shirred strips from a piece of cotton voile out of stash

D – a cute ruffle from a piece of salvaged muslin and another yo-yo from a thicker piece of linen with a lilac check.

Frontispiece 16

R – stuffed applique, the denim is leftover from one of the dresses I’d used in the patchwork.

The ‘Y’ I am probably least happiest with. I used an offcut of a nasty amethyst polyester satin to make a double row of flounces (I’d bought it to make Honey a princess dressing-up outfit). It didn’t cut well. I wanted a nice pinked edge, but the fabric snagged in the shears and fluffed it more than I would have liked, and because it was so small the flounces didn’t quite stand up the way I wanted them to. Ah well, we live and learn, tho I think that adding the beading redeems it, and it still looks sweet and in character with the rest of the lettering.

And – ta-daaaaa – here’s the finished article. I’m happy with that – it rather neatly conveys a picture of what I’m about and what I do – what do you think?

Frontispiece 22