Gary picking the winner.
Emma and her machine.
Emma, please email your address to normajeffries at yahoo dot co dot uk and I will send you this pattern.
The quilts each measure approximately 11.25inches x 8.25 inches. This size of quilt has become a bit of an obsession of mine. They get put into an envelope and sold in a sort of Quilt Lucky Dip to raise funds for the Quilt Association.
It’s quite a hard size because it’s not square – normal block patterns don’t work but it gives me the freedom to try out ideas. If they work I give them to the Quilt Association, otherwise they’re scrapped.
These two are made from the remains of the batik jellyroll I used to make this skirt.
I’ve made a couple more mini quilts but one isn’t quite right yet so I’ll save them for another day.
You can see my velvet mini quilts here.
And there’s another 1934 skirt in the pipeline – they really are becoming an obsession.
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Some of you may remember that I made this dress once and it soooo didn’t suit me. It’s a lovely pattern but whilst I love 1940s styles they really don’t love me.
I traced off the pattern so it’s all still complete.
If you’d like this Sense & Sensibility pattern please leave a comment below and I’ll choose someone from the hat next Thursday 23rd February.
It’s not heavy so I’ll post anywhere in the world.
I’m trying to work with leather.
I was given scraps of supersoft coloured suede and had the idea I’d like little pouches (the bottoms are about 2 inch diameter), the sort of thing I’d imagine a Medieval woman putting her money in or a travelling herbalist keeping her most special herbs in. I’ve used them as purses and for giving little gifts, but I’d like to have one with tiny special items inside – maybe pretty stones.
The brown leather was fairly damaged when I got it but I just wanted something to try so it didn’t matter too much. The bag is made with three identical shapes as you can see from its bottom. It’s based on a 16th century pattern – not commercially available so far as I know and it was drawn on a bit of brown paper for me.
I added the strap: I think the original might have been attached to a belt. I machine sewed using a leather needle and extra strong thread.
I tried to add metal eyelets to the brown leather but I just couldn’t get them to attach properly. I’ve never used metal eyelets before so I have no idea why they didn’t work. I will try again using denim to see if it’s my technique or the leather.
I used an awl to make the holes for the draawstring. I think a leather punch might be better so I’ll look for one of those.
I would like to learn lots more about leatherwork. Making shoes would be lovely. Some of you might remember these shoes I made in a beginners’ workshop at Green Shoes.
The shoes are still in use five years later, although I have had them resoled so they’re not quite so me made as they were.
I have used the little pouches and although the brown pouch is not as elegant as I’d like because my skills are pretty basic, I think I’ll want to use that too.
I have been watching Carolyn’s shoemaking for her Year of Handmade and thinking I should have another go. Maybe I will.
Meantime, I was given these so that I can keep practicing.
So I’ll definitely keep trying.
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This one is Irish linen – navy pinstripe.
How is it different to the others?
It has a zip in the side. The lavender one has press studs and the wool one has wooden buttons.The lavender skirt doesn’t have a back pleat.
The zip was a lucky charity shop find and dates from the 1960s (still in its original packaging). It works fine, but I rubbed the teeth with a pencil point to ensure smooth running.
I sewed this one on my modern Pfaff and finished the seams with a machine zigzag stitch. I did insert the zip by hand (because I am rubbish at zips) and hemmed the bottom by hand too. I sewed the lavender skirt on my 1930s Singer and finished all seams by hand overcasting. I sewed the wool skirt 100% by hand.
I think I might have made a mess of this skirt if I hadn’t made the other two very slowly beforehand. I have had plenty of practice with the pleats now.
I’ve been very encouraged by the support of EmilyAnn in Brooklyn who’s sewing 1930s along with me. Take a look at her marvellous recreation of a 1930s dress. Wonderful sewing and technical details.
Which is my favourite?
I love the wool skirt so much but I did need a slightly lighter version for warmer weather.
I’ve been trying to work out what I need in my wardrobe and I think a dress and jacket for a summer wedding need to be high priority. I’m also planning a garden dyed skirt (or maybe wide trousers) and a top but whilst I might make them now, the actual dyeing will probably take all summer.
I’m planning plenty of posts about garden dyeing for this year, so look out for that if you’re interested.
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OneYearOneOutfit – the final outfit reveal.
Top: Lots more detail here.
Made of Irish linen, garment dyed by me with docks, onion skins and a pattern made by hammering English Marigolds into the fabric. I kept the top in the dark after each dyeing session to help set the dye.
Bias cut, sewn by hand. Pattern: Merchant & Mills Curlew.
Skirt: Lots more detail here.
Welsh wool, spun in Wales and woven at the National Wool Museum. No dyes, these are natural sheep colours.
Pattern: 1934 from Home Journal magazine. Extra pleat inserted by me.
Scarf: All welsh wool. The cream and the grey are natural sheep colours. The golds are onion dyed by me.
The scarf replaces the waistcoat I knitted which I hate: it makes me look much bigger than I like. It will make a gorgeous cushion cover and I’ll work on that over the next few months.
Boots: Made by Celtic & Co in Cornwall from British sheepskins which are mainly a waste product these days. They were a Christmas present from my husband.
Is it wearable? Yes! I have worn the skirt and top together and felt happy with it. I put these boots with it to make it a British Isles outfit and prefer my black leather boots to make an outfit.
The top is a great match with my black trousers so will get worn that way too. I love the skirt and it goes well with a couple of other tops (and the black leather boots rather than these). The scarf is lovely and warm so is sure to get lots of wear over the winter.
What did I learn about British Isles textile products? There are no natural fibre threads spun in the British Isles so far as I can tell. All my threads had to be pulled from the fabrics so handsewing was the only option.
Plenty of handmade wooden buttons are available and they are so beautiful.
There is lots of Welsh knitting wool available – hand and machine spun. I’ve loved using it and will definitely use it again. It looks and feels beautiful. My knitting skills do not do it justice (and that’s not false modesty).
How will I take it forward?
Making clothes from completely local products is time consuming and can be quite expensive.
A lot of work goes into bringing up sheep, spinning yarn, weaving yarn, dyeing , knitting and handsewing. If all my clothes had to be made this way, I would have very few. It makes me understand why Elizabethans left each decent garment to a favoured person in their will. They were valuable and valued.
My life won’t allow me to have every item made this way but I plan to use elements in the future.
Lots of garden and other natural dyeing planned. I loved doing it. I’m growing woad to try to get local blue dye. The plant was eaten by caterpillars so I’ll have to try again.
I will visit WonderWool Wales again and buy more Welsh wool fabric. For a jacket, perhaps.
I am a terrible knitter but definitely improving because of all the practice I got doing this project. I’d like to use some of the cream or grey wool to make a sweater for next winter. Or the one after!
I bought a 10 metre roll of undyed linen so I think another Curlew top or dress but dyed a different colour. Made by machine next time with purchased threads.
I really like Merchant & Mills patterns so I’ll probably make more of theirs in 2017. (I made an “unblogged” summer top from one of their patterns too).
Why wearing the landscape? That’s how I felt about #oneyearoneoutfit when I was working on my clothes. I wanted to take it further and see what else I could do with natural colours and fibres. It occurred to me that maybe wearing nature’s current products rather than those that have been buried under the earth for centuries might be a more sympathetic look for me.
I’d love to hear your comments on that.
It proved impossible to find a secondhand silk dress to line this oneyearoneoutfit 1930s skirt. It’s made of Welsh wool tweed and needs something underneath to complete it. If I could’ve sourced some very lightweight undyed Irish linen it would have made a great lining. It was not to be.
Instead, I decided I’d have to make a petticoat to work with it. I was inspired by the lovely cotton lace I was given and some white cotton lawn from my stash made it possible.
The top of the petticoat uses one width of the 115cm wide fabric and the bottom frill is 150cm wide. It was the only way to get a long swishy petticoat out of 1.5m of fabric.
Unlike the Victorian petticoat it resembles, it has elastic at the waist. It has French seams, a rolled hem and I’ve satin stitched the lace to the petticoat. All techniques used in the 1930s but I did them all by machine.
I couldn’t resist some handsewing so there’s white cross stitching in cotton perle on the gathered seam.
I’ve used cotton threads throughout so that I can dye the petticoat in the future if I want to. Interestingly, the very fine cotton thread I used for all the sewing behaved well even when stitching the elastic in. It needed to be upright on the sewing machine spindle because it was straight wound onto the bobbin.
It doesn’t count towards oneyearoneoutfit because it isn’t local fabric or thread and I’ve no idea where the elastic comes from, but it does make the skirt wearable. A wool skirt with no lining teamed with a too short petticoat would never get worn, but this combination made me feel fabulous when I wore it. And that’s what we’re all looking for from our clothes, isn’t it?
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Back in December, I painted this old chair at Amanda Skipsey’s workshop in Rhayader.
The background colour is chalk paint and the details are acrylic. Amanda was very patient with me when I needed to get the shapes and she painted a chair herself at the same time. There are no stencils involved, this was freehand.
If you compare mine & her’s, well there’s no competition but I’m thrilled with it. And it’s the start of more furniture painting for me. Seems like a fun way to upcycle to me .
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Happy New Year
The OneYearOneOutfit Challenge: To make an outfit using local natural fibres, threads and dyes.
Fabric : Natural Irish Linen
Thread: Taken from the linen and run through beeswax. I also dyed a piece of fabric with the top so that I have matching thread for repairs & alterations. There are no commercially made natural fibre threads which fit the criteria of OneYearOneOutfit.
Dye: Garment dyed five times. Solar dyed three times with dock leaves, mark making with English marigolds and overdyed (in a pot on the stove) with onion skins. I think it looks much better in real life than in the photos.
Pattern: Merchant & Mills Curlew. Bias cut and sewn entirely by hand.
Will it go with the skirt? I’m not sure. I have noticed that dyes taken from the local landscape do sort of go together. I’ve got a theory that if you wear stuff from your own landscape it should always go together – as nature’s colours do. We’ll see. In any case, I think it goes well with my black trousers so it will get worn.
Do I like it? Yes. I think it will get worn a lot. I might need to shorten the sleeves but I’m going to wear it a few times to be sure. I plan to make the pattern again sometime.
Thanks for stopping by,