Issue 11 of the Art of quilting is all about the sashing… and a tutorial for a cute little drawstring bag, oh and an interview with Jennifer Hollingdale. I’ve been putting this off this next stage mainly because I have been distracted by more glamourous dressmaking projects… among other things! But also because I thought it would take ages and wouldn’t be much to write home about. After all I still haven’t even scratched the surface with this quilt!
But ‘you know what thought, thought’ as my mum would say! It was a really relaxing thing to do this evening and has made my first 10 blocks visually larger so they look slightly more impressive spread out altogether!
It came together a lot quicker than I had anticipated too. Rectangles of white sashing fabric were pinned along the left edges of the blocks and and then ‘chained’ together. I love doing this as it really speeds things up. Following a good pressing, with the seam towards the sashing, I ‘chained’ the corner sashing squares onto the remaining rectangles, snipped and pressed and then sewed these onto the bottom of each of the blocks.
I have a neat little pile of mags up to issue no. 17, complete with a the necessary fabric pieces, just begging to be pieced together so they can hang out with their chums! But you know what I’m like… I will just have to find something else to do in the meantime!
I made this dress last weekend to wear to an audition on Friday. I’m afraid I can not speak of the adventures it had or the reaction it got as I am sworn to a confidentiality agreement so I can only tell of the making of the dress itself!
I’m sure, for most of you lovely sewing people out there, you have already guessed it to be the Roland Mouret knock off by Vogue – pattern no V8280 – the Galaxy Dress. But perhaps it wasn’t instantly recognisable without its signature sleeves.
On reading lots of reviews about how the sleeves would be best placed on a pitch against the New York Giants, I did run up a quick toile to test out their outrageousness. I wasn’t too scared by them but I wanted this dress to be right and not feel too self-conscious in it! So I went for Vew A. It looks a bit boring on the envelope but I do believe this is probably the classiest dress I’ve made to date.
Might have something to do with fabric choice though. I’ve come to realise that the longer I keep up this sewing lark, the more choosy I’m getting about quality of materials. For sure I still love a charity shop find but in truth, nothing beats shopping specifically for the most appropriate fabric. I needed to impress with this dress so it had to be good stuff. I chose wool crepe and silk lining. Oh what luxury! I have really started something now! Just look at the texture in that wool…
I love the way that it pressed so beautifully yet didn’t crease too much when it was worn.The wool crepe was £15.99 and the silk lining £6.99 a metre from one of my favourite fabric shops in the Goldhawk Road. Probably my most expensive make, around £42 in total but the blow was softened after I checked the prices of similar wool and silk in Berwick Street, London…. more like £30 – £80 a metre!!!!
If I’d have had the time, I would have made a full toile to check the sizing properly. I overestimated the sizing of the bodice and ended up taking it in by 3 inches under the arms. I will definitely take it down a size next time. And oh yes, there will be a next time!
This is also my first experience working with a modern Vogue pattern. I have heeded the warning of others about their ‘vague’ instructions, but I found this one to be very simple to put together. Bearing in mind I didn’t go for the sleeves!
Once you get the hang of the ‘flanges’… lol – or once you get used to calling them ‘flanges’ – it will all make perfect sense. And they do help to create a very flattering neckline. I chose the sweetheart neckline just because I think its more feminine and reminiscent of glamourous ’40s ladies.
Working with this fabric was a dream and made inserting a zip and lining up darts and seams, a breeze.
There were no instructions to fully line the dress, only to line the bodice. But from past experience I know I will never get away with an unlined skirt. My biggest fashion blunder was to take my coat off in the entrance to a party only to find out my unlined dress had ridden all the way up to my armpits. The worst (or most life-saving moment) of that was that another guest had to tell me. Otherwise I’d have strutted my stuff onto the dance floor like a complete fool, outdoing any Bridget Jones moment! And so I cut the lining, the same as the skirt but with an additional half inch added to the side of each piece. I sewed the back seam from the zipper opening to the top of the vent and the side seams but didn’t make the darts. I pinned the waist of the lining to seam allowance of the skirt section, first pinning at the side seams, then to the back openings, with one pin at the centre front. I then folded pleats at the dart positions and pinned those in place before sewing to the seam allowance all round.
I’m not entirely sure this was the best way forward. There may be more professional ways of doing this but it worked, for me, anyhows!
I bound the hem with bias tape and machine hemmed the lining. Tricky old stuff, silk lining. Seems to carry far more static than poly lining, when ironed. But boy does it feel good! Raising one’s own standards is very amusing!!
And all that is left to say is thank you once again to Mr Ooobop! for being amazing in every way. Not only does he dutifully take lovely photos for me, he is the most amazing support for my often waining morale and makes me so happy… gush gush!
I’m sure most of you will know what I’m talking about but I’m having to be slightly cryptic as my ‘thingies’ are a surprise gift… and I won’t be able to reveal them in all their glory until the end of May.
I wasn’t going to post any progress reports, mainly because I didn’t know how, without giving the game away, but to be honest, if a certain person endeavours to follow these clues I should be impressed that he shares an incredible interest in what I love to do! Either that or he is bloomin’ nosey!
But the main reason for this post, not only to let the lovely Karen know that I found a window to jump on board, but I made another amazing discovery about my sewing machine. It serges! Well, of a fashion, I’m sure! There I was, head cupped in hands, eyebrows raised in awe and jealousness at Karen’s beautiful serged seams when… ping! I remembered a strange mechanical foot among my machines accessories and reference in the manual to a ‘side-cutter’! Oh the joy, the joy!! I WILL have beautiful 5mm seams too!
Took a bit of getting used to though, as you can imagine! And I’m sure I can get a better-looking, tighter stitch with a bit more fiddling. But the needle kept falling out! I checked and double checked that I had attached the foot properly, mainly because it does’t sit firmly in position. It is such a clumsy attachment and it kind of wobbles around.
But according to the manual, I had, and there was no reference to this problem in the troubleshooting section either. So I just used the little screwdriver to really tighten the needle clamp screw. Perhaps I ought to be doing this anyway, whenever I replace a needle. I just usually tighten it with my fingers but clearly it needs to be tighter when the fork attachment of the side-cutter is hooked over it.
Anyhows… I am as happy as some Larry’s and quietly confident I will make the party on the 28th once I figure out my disguise!
Quilt block number 10, the Sawtooth Star block and more importantly, one whole column’s worth of the final quilt!Not that these first 10 do actually sit in the same column but it is still an eight of the way there, all the same! It helps a lot that my lovely neighbour has subscribed me to the ‘Art of Quilting’. There is of course an obligation but it is the nicest kind of pressure!
It’s becoming easier to recognise the order in which these block pieces should be assembled. I just find it a bit tricky knowing the best way to press the seams. It’s not always towards the darker fabric, as I thought. So I am still very much paying attention to the instructions for that advice. Hopefully that will become second nature eventually.
To make this one, two smaller triangles were attached either side to the diagonals of the larger triangle to form a rectangle. Four sets of these were made. Two of these rectangles were sewn east and west side of the large central square. The smaller squares were attached each end of the other two rectangles, which were then sewn north and south of the block.
As with most of the blocks that contain small triangles, there is a necessity to watch those points and keep those seams to exactly 6mm. I was very concsious of how much room there was for error in this one but took it extra slow. Well, for the duration of Little Miss Ooobop’s flute lesson, actually!
Block Facts:
Name: Sawtooth Star block History: This block gets it’s name from the triangles that are reminiscent of a saw’s cutting edge. It has appeared on very early quilts in the US, dating back to 1860. Level: Slightly more advanced as accuracy is vital to create the points of the star No. of pieces:17
So here is block 9, The Cactus Pot. Apparently very popular in the 1930’s but, despite it’s Art Deco appearance, it actually dates back to the quilts of the 1800s. If the colour balance is altered it becomes more ‘Basket’ or ‘Cake Stand’!
I really like the fabric choice on this one. And with its white background, to be bordered by white, this little cactus is sure to be a pretty thorn among the ‘roses’!
I didn’t have too much trouble putting it together. I just took my time and repeatedly thanked my quarter inch foot! The small triangles were pieced together first, forming squares. Two sets of these were joined to make 2 rectangles. The first of these rectangles was sewn to the diagonal of the large yellow print triangle. A small white square was sewn to the second of the ‘rectangles’ to make a longer rectangle and this was then joined to the other diagonal of the triangle (and the edge of the first made rectangle)
Next up, the large red print triangle was joined to the yellow large yellow print triangle edge. Then the two small red print triangles were sewn to the short edge of the white rectangles. These were then joined to the sides of the block to create a ‘base’ to the pot. The last piece to be added was the large white triangle, across the bottom of the ‘base’.
Lots of pressing in between, and lots of satisfaction when this one was complete!
Block Facts:
Name: Cactus Pot block History: The block was first published under this name in America, in the Oklaholma Farmer Stockman magazine in 1930. Also known as the Flower Pot. Level: Some experience necessary for accurate piecing No. of pieces:16
I do believe I have sewn a garment in the same month as the current Burdastyle! Not sure that has happened before. But I was very excited about April’s edition and I knew I would make this skirt.
I love classic, timeless styles. And the pencil skirt is no exception. Worn anywear, anytime, dressed up or down, it makes getting dressed for work or an evening out, a mindless operation! I also love that it can be modern or vintage, whatever you team it with.
Satin was the suggestion for this particular version but there was another one with a gabardine recommendation. Satin is a bit too posh for work and everyday so I set off to get some gabardine. I bought some but wasn’t filled with the usual glee once I’d parted with my cash. Praps it will soften a bit in the wash, I thought! But just as I was on my way out of the shop my eyes continued searching – as they always do – and I spotted some black stretch denim. That’s the stuff, I thought. And I was right. Comfy, casual but smart and sturdy enough to hold me in, in all the right places!
This is possibly the shapeliest pencil skirt pattern I have come across. Largely due to the panels and princess seams I would assume. It is really high waisted and a lack of waistband allows for a shapely top at the waist, or near under-bust!
The instructions didn’t relay details of a lining and I have learned hard lessons from not including one so I dug out some deep red poly lining, cut the same pieces as the skirt, minus the facing and allowed a pleat in the front.
I felt quite pleased with myself for remembering this trick but alas it wasn’t enough ease to have just the one in the front. I should have really allowed for another two, one at the top of each back panel. It really is a very snug fit!
The invisible zip went in without any probs. It lines up and everything!
I will definitely return to this pattern at some point and would love to make a posh version and include the couture techniques suggested on the Burda Style website, namely adding boning, underlining etc.
But I seriously must not veer off the project list any more than I already have! I have much more interesting projects to fry, not least of all my jacket! I can report that it is, at last, taking shape, all be it in the initial stages, but it has a body, nonetheless, and some welt pockets with flaps and a collar ready and waiting its turn….. honest! 😉
There is something quite comforting about visiting an old pattern. I made my first gypsy top almost a year ago and not only have I had great use out of it, it made a great addition to Dorothy’s ensemble too! Once again I used Butterick B4685, Fast and Easy… and indeed it was.
I used view D this time but omitted the front lace panel. I did originally include the underbust elastic but when I tried it on, tucked in a skirt, which is mostly how I intend to wear it, I looked a little (more) like the Michelin Man! So out came the elastic, quicker than when it went in!
I used a remnant of cotton gingham that I picked up from Oxfam, and used every last bit of it! So very satisfying especially as I’ve since found that 100% cotton gingham isn’t that easy to get hold of. Well not in a choice of colours. Despite my local plethora of fabric shops, they all stock poly cotton gingham, for the demand of school dresses, apparently. It looks just as pretty for sure but pure cotton feels so much nicer against my skin.
I prefer the sleeves and the simplicity of this style. Its less fussy and so quick to make up. I am going to make a few more, lined up for summer, and my eldest daughter has put an order in for one too.
It also made sense to enter this into Made by Rae’s Spring Top Sewalong 2012, just as I did last time round. Its not nearly up to the standards of most of the beautiful tops over there but I’m liking the annual inspiration of creating a new tops for Spring all the same! You can see this and all the other entries over at Flickr. My entry has been successful so I will keep you posted when it is time to vote! 😉
I wore it out to a trip to the Tate Modern yesterday with Mr and Little Miss Ooobop! and I have to say it is perfect gallery wear. It’s always soooo hot and stuffy in the galleries. The artwork made for a choice back drop too!
Hope you are all having a wonderful Easter break 🙂
The Diamond Square block is number 8. That makes me a tenth of the way there… woohoo!! I wasn’t joking when I said this was going to take me over a year to make! The ‘pile’ (if you can call it that) of completed blocks is slowly growing. and issue 11 of the Art of Quilting has supplied the first batch of sashing (the white fabric that will join them altogether). I have yet to complete blocks 9 and 10 before I begin that task, when I shall then present them as one – a far more interesting post I’m sure!
I am happy to report that this particular block was a breeze. It is based on 2 sets of triangles around a central square. The central square allows for the use of bigger print and with the contrasting outer levels gives a great illusion of a square in a square in a square. All points matched up this time and I particularly like how it worked on the reverse!
Block Facts:
Name: Diamond Square block History: This block design appears on quilts dating back to the 1870s. It is also known as ‘Pride of Holland’ or ‘Night and Day’ Level: beginner No. of pieces: 9
Progress report:
Block 1: The Double Four Patch
Block 2: The Whirlwind
Block 3: The Sailboat
Block 4: The Shoo-fly
Block 5: The Trafalgar
Block 6: The Windmill Block 7: The Chequer Square
Block 8: The Diamond Square
‘A simple combination of squares and rectangles makes this block easy to piece…’ For some, may be! This is the Chequer Square block, number 7 in the series from The Art of Quilting. For sure, it looked easy enough and I was quite looking forward to not having any triangles and points to line up. But I still messed up, doh!
I am trying really hard to ignore the misalignment as I proceed with the other blocks but it is really niggling and I might possibly go back and sort it out… but then again… who’s going to notice this in amongst the other 79 quilt blocks?! 😉 I guess that’s what handmade quilts are all about!
Block Facts:
Name: Chequer Square Block History: Similar designs, of different dimensions but all based on a simple arrangement of squares and rectangles, can be found on some of the earliest surviving quilts. Level: beginner No. of pieces: 12
Progress report:
Block 1: The Double Four Patch
Block 2: The Whirlwind
Block 3: The Sailboat
Block 4: The Shoo-fly
Block 5: The Trafalgar
Block 6: The Windmill Block 7: The Chequer Square
Today, I took full advantage of my freelance status, ditched the children for a couple of hours and headed off to the Fashion and Textile Museum, near London Bridge, to see Designing Women: Post War British Textiles exhibition. What a totally self-indulgent treat!
The intro to the exhibition:
“Britain was at the forefront of international textile design in the 1950s and 1960s. The art of textile design radically changed after the Second World War and three women artists working in England in the 1950s were pivotal in this artistic revolution. The drab days of the War were transformed by the fresh, progressive designs of Lucienne Day (1917–2010), Jacqueline Groag (1903–86) and Marian Mahler (1911– 83). Designing Women: Post-war British textiles showcases their work beginning with Lucienne Day’s ‘Calyx’ pattern of 1951, featured at the Festival of Britain, and moving through textile commissions of the 1960s and 70s. The exhibition features more than 100 works.
Original artist designs with bold abstract pattern, as well as the use of saturated colour, marked a dramatic departure from conventional furnishing fabrics. This new wave of bold textile designs, helped to bring the influences of the art world, in its most recent, refreshing, and largely abstract forms, into the contemporary home.”
The influence of modern art is so strong in all the designs of this period. Its very easy to spot some iconic inspiration from Joan Miró, Alexander Calder and Kandinsky.
Lucienne Day, wife of Robin Day, was the most prolific and successful of the designers having kick started the ‘revolution’ with her ‘Calyx’ print in 1951.
'Calyx', Lucienne Day 1951
Heals, though at first very sceptical, was her first client. The work was considered too modern but the risk proved to be a good and profitable move for both parties. Lucienne Day was the first artist to be credited on the fabric itself.
Lucienne didn’t limit herself to fabric, wallpaper and carpet design…
Tea/coffee set, Lucienne Day
Jacqueline Groag was born in Czechoslovakia and emigrated from Vienna to London in 1939. She is one of the key designers in Mid Century Britain having worked with some of the foremost textile manufacturers and retailers, including John Lewis, Associated American Artists and David Whitehead Ltd. She also produced laminated surface designs for British Overseas Airways Corporation (BOAC). The same company my mum used to make pilots suits for!
This ‘Pebbles’ design by Jacqueline Groag is so nostalgic for me. As I stood in front of it, it took me back to my home in the 1970s. I can’t be sure that it was exactly this design but similar enough to generate some serious flashbacks! My mum had great taste!
Untitled (Pebbles), Jacqueline Groag, 1952
Marian Mahler was Austrian and emigrated to Britain in 1937. As artist and illustrator she combined both skills to generate designs for the younger, yet sophisticated clientele who were looking to create a stylish home. The fabrics were mostly rayon or cotton and the roller printing process made for fast production and an affordable end product. I just love the birds!
'Bird Chair', Marian Mahler, 1952
The temptation to ‘touch’ was too much!!!
'Linear Flowers', Marian Mahler'Mobiles', Marian Mahler, 1952Untitled (Sails), Marian Mahler, 1952/3
Paule Vézelay was a painter and her skills transferred beautifully to fabric design. So much so that I think a certain Ms Kiely looks to have drawn some serious inspiration, don’t you think?!
And I wasn’t expecting to see any of these fabrics in dress form but just look…
Marian Mahler, Linear Flowers dress
I hope you have enjoyed this little preview. I do apologise for the quality of the photos. No flash photography was allowed so they are a bit grainy and really do not give any of the fabrics the justice they deserve!
Well, best I get on with my real work now… the downside of freelanceness!
