Sunday, April 13, 2014

The tiniest antique bonnet!

I've been working so very hard on a new pattern that I've neglected 'The Blog'. Sorry. So today I dove into my drawer of antique bonnets and found this tiny gem.

 

If you look carefully you will see the hand-stitched perfectly spaced pin tucks. Such fine detail! The laces insertions have been whipped to the fabric and the hand-embroidered floral insertion. Can you imagine making that embroidered insertion? It is perfect!


Here is a back view and you can see the little circle which draws in the fabric to shape the bonnet. With all the hand work that has been done this little piece has been applied by very fine machine stitching - the only machine work I could find.


From the inside - almost good enough to wear this side out!! You can see the raw edge of the fabric which has been whipped to the lace and the embroidered insertion. Very neat and precise. The ties are of a single thickness of the bonnet fabric. The edges have been turned twice and a running stitch used to secure the hem. Interesting.... 
Below is a close-up of the embroidered insertion from the back.
The thread carried from motif to motif is an indicator of hand work in most cases.


Here you can also see the back of the ruffle with the tiny lace edging.
Below are detailed shots of the ruffle and the finishing from the right side and the inside.

 
 
 
One quick look at the hand stitched pin tucks - such attention to detail.

 
And lastly here is a close-up of the centre back. Such a neat job and those tucks line up nearly perfectly!
 
 
I hope you enjoyed a look at this stunning, wee bonnet. I just wish I could meet the lady who made it and talk about all those fine details I would love to find out how long it took her to make it. I think we would be hard pressed to create a tiny bonnet, even with all our high tech machines, that would rival this one.
 
So until next time, keep stitching....




Saturday, March 22, 2014

Finishing a baby quilt

Many years ago my mother made a baby quilt for my son and started one for my daughter. It got packed away and only a couple of years ago when my sister was moving did she unearth this second quilt - I have no idea how she came to have it as mom passed away in 1988! But what a treasure to pass on to a new generation!

The quilt as I received it
She was certainly ahead of her time some might think with her choice or a strong yellow broadcloth but in truth, I am sure she was trying to avoid gender stereotypes and had a very limited choice in fabrics considering they lived in the country. The puppies are hand appliqued and embroidered. At first I thought I was going to have to do all the assembly and quilting so you can imagine my surprise to find that it was finished all but the binding.

Now I am the first to admit that I am no quilter! Years ago I took a quilting course that covered many types of quilting so I have a pretty good idea of how to do it but like all things, techniques change and it seems that binding are done differently today. I learned quite a little bit when I went searching for fabric for the binding at the local quilt store and chatting with the sales girl.

I often make submissions to A Needle Pulling Thread magazine and Carla, the chief editor and owner, insisted that young moms don't want pastels any longer and so I went searching for something to 'tone in' with the colours of the embroidery and help to calm the bright yellow that was too much for me. I found a delightful print with just the right bright colours, gender neutral and not too much like a nursery print. And since a binding (the way the sales lady described the modern style to me) is fairly narrow, not a whole lot will show anyway.                 


I decided to make the binding half the width of the outer sashing (a bit wider than what I saw in the quilt store) and made use of the grid in my cutting mat to cut the correct with - 6" - rather than drawing lines on the fabric as a guide. This was against all my training to use proper straight grain by pulling a thread or tearing!

The final width of the binding was only 1.5" and I will show you why and how I got these measurements. First I had to join the strips which I cut on the 'straight' grain not the bias. I was amazed at how well this worked - no stretching like I would have gotten with a bias binding! Next I had to cut the ends on the bias or at 45 degrees. Doing this reduced any bulk I might have had by keeping the joins on the straight grain. Again the cutting mat saved a lot of time and bother.
Follow the grid and use the ruler to keep the blade cutting straight.
Next step was to join these strips with 1/4" seam allowances and press the length of fabric in half.
Next I pressed the raw edges so they met at the centre fold. Finally I folded the piece in half again on the original fold and gave it one more press. Now I was ready to start attaching the binding.
Fold in half & press
 
Press raw edges to centre


Press in half on the original fold again
To attach the binding to the quilt, open it out so the raw edge, single thickness, lines up to the edge of the quilt.
 
 
 


Here you can see how the binding, when folded to the back side of the quilt is half the width of the yellow sashing. The fold you see on the right is the centre fold of the binding.

It all went together so well! I chose to mitre the corners but I see that many of the modern quilts don't do it this way and have 'square' corners much, much easier. But I am still a bit of a traditionalist and fiddled with these corners to get the perfect mitres. And they are perfect thanks to measuring.

 
Here you see the binding being pinned to the back of the quilt. The stitching done on the top to hold the binding in place now acts as a perfect guide to get the binding hand stitched in place.


Everything is ready now to sit in the evening and enjoy some handwork while I watch tv! I can hardly wait....

Hope you like this print as much as I do now - it kind of grows on one!

Till next time, keep stitching.......








Friday, March 7, 2014

Trying a new fabric...

I saw this 'cabbage rose' minky-type fabric at the local fabric store and once I touched it I just knew I wanted to try a "Buckleberry" teddy bear in this fabric. Now this is taking me out of my usual range of woven fabrics but it is a good thing to try new stuff, right?

 

They had a wonderful baby pink but since I don't know if this is going to a baby girl or boy I had second thoughts and chose a beautiful honey brown (not sure what colour this will be on your computer).
To give this little fellow a bit of definition, I found a soft satin in a similar colour.

The sales girl and I tested the pile to be sure it didn't pull out should the baby put it in his or her mouth. (We are now learning to think of safety first in all we sew) She tore the fabric instead of cutting it - quite a surprise in these days of rotary cutters. It tore like a dream, again a surprise as the foundation of the fabric seems to be a type of knit fabric. 
At home I started cutting out and quickly found I had 'fall out' everywhere. (When torn, there was no fallout!! so this mess came as a bit of a surprise.) But it became an easy clean-up job for my trusty hand vac! Working with it close at hand, I could keep things well under control and not end up covered in bits of brown pile.  Even each piece that I cut shed as I picked it up!


Lessons to learn: Cut single thickness with the backing side up for more accuracy. I am a strong believer in grain and this makes it easy to know how you are laying the pattern pieces.
Pins seemed to work better than weights - just don't forget to flip the pieces to get the left versus right sides.
Work with a longer stitch length such as 3 rather than 2.5. Makes it easier to see the stitches and lets the machine glide over the fabric.

The satin worked out beautifully for the soles, the inner ears and the underarms to give a bit of visual definition.


If you have ever sewn fake fur coats (does that date me terribly??) or even real fur you will appreciate how the seams can slip and slide and how the fur pokes out of the seams. What I found was that if I basted (yes, the 'B' word) the tricky seams like setting in the legs, arms and neck it took far less time than fighting with the pins as I stitched with the machine. When you pin to baste, you can push the pile out of the seams so you are lining up the raw edges accurately. So much easier!!

When I was finished I took some time to remove the basting threads, tie off and clip all the threads before stuffing. One more thing to do with this fabric is to turn bear right side out and with a pin or seam ripper go around every seam and pull the pile out of the seams. Give the seam a little rub with your hand and it all but disappears!

So here is the finished little bear. Would I make another in this fabric? You bet. It is very forgiving if you don't get a perfectly straight seam. You are lucky if you can even see a seam!


I stuffed him with a bit less polyester so he would be softer and more cuddly than some of the others. I am hoping this Buckleberry will become as loved as the Velveteen Rabbit.

Hmm, I think I might try a pillow for the new mom from the left overs of this fabric to put behind her back in the rocking chair. One side cabbage rose and the other side - well this might require another little shopping trip; there are so many ways to go: corduroy, satin, velveteen, and on and on......

So till next time, keep stitching....

Sunday, March 2, 2014

A Growth Tuck Hem

I had a note from a student asking about hems. She was not sure how much to turn up on a pre-constructed bishop she had purchased. I quoted her measurements according to the Canadian Standards for Infants but it seemed like she would be turning a huge hem for a 6 month old child's garment. So I suggested a growth tuck hem.

A growth tuck hem is machine stitched (some of you will cheer!) that allows the mom to let down the hem of the dress as the child grows taller and does not require re-stitching (do I hear another cheer?)
This is accomplished by the creation of tucks above the hem which are stitched with a basting length stitch so the tuck is easily removed and the dress lengthened.

I would strongly suggest that you work this all out with a long piece of paper, pencil and ruler so you know how much fabric you will need before you cut the skirt of your garment. This is the best way to eliminate errors!

So here is how you would go about it.
Working from the wrong side of the skirt, turn up the hem allowance. For ease of calculation I have used a 4" hem. Very lightly press with your iron. 

 
Next, fold back the hem to the wrong side. Lightly press and pin. Be very accurate!
 
 
Take the garment to your machine and stitch the width of the first tuck. For ease of measurement and calculations I have chosen to do 1/2" tucks.
 
 
Use a regular stitch length for this tuck.
 
Back to your ironing board for a quick press. First in the folded state and then open up so you are sure there is no fabric creeping up under the tuck.
 
Now fold back the hem and measure 1" from the machine stitching of the first tuck to the fold of the second tuck. This must also be very accurate - each step takes precision or you will have 'wonky' or 'wavering' tucks.
 
 
When you have measured, lightly pressed and pinned the fold in place, it is back to the machine to stitch tuck #2. This tuck is also at 1/2" on your seam guide. (Now I know that my needle stitches ever so slightly to the left of exact Center Needle Position so without an adjustment I will get a very slightly larger tuck but I can live with this. All it means is that you will not see the stitching of the first or second tuck when I am done.) 
 
So back to the machine and stitch tuck #2. This time switch to a basting length stitch (e.g. 5) so the tuck can easily be removed in the future.
 
 
Return to the ironing board to press and measure for Tuck #3. Don't forget to check there is no fabric creeping up any of the stitched tucks.
 
From both sides now....
 
 
So when you are finished three tucks should look very much like this:
 
 
The last two tucks are sewn using a long stitch (e.g. 5) so they can easily be removed starting from the top tuck.
 
Be sure to tell mom what to do. Years ago I made a little dress for my niece and my sister doesn't sew. When I saw the dress a months later to my horror, my sister had picked out the bottom tuck, let down the hem and re-stitched it at half the original width! She said she didn't know any better and had had a rough time reworking the hem. So what seems so simple to a sewer.....
 
If you anticipate the tucks are going to be let down then suggest that mom not press them every time the dress is pressed. Those press marks are hard to remove at the best of times.
 
There is nothing saying that you can not space the tucks. This is another reason for working everything out with paper - you can test what space you have in the skirt and what effect you can achieve. Just remember to keep the width of the tucks in proportion to the size of the garment.
 
You might consider adding touches of embroidery on the tucks themselves or the spaces in between if you are spacing the tucks. Or perhaps you know the tucks are never going to be released and like doing 'shark's teeth'. You can create some very attractive designs with this detail. A set of tucks can be strictly decorative and set apart with a row of two of lace insertion.
 
There are so many ways of utilizing these wonderful tucks. I hope this inspires you to be creative with your hems.
 
So till next time, keep stitching.....
 
 
 

Monday, February 24, 2014

Antique Bonnet

I wanted to share with you this time one of the bonnets in my collection.  I have a number of antique items in my drawer and this weekend was going through them looking for inspiration.

As with most antique pieces there is always something on can draw on or learn a trick or two.

 

This delicate bonnet has seen better days but the embroidery is still in tact for the most part.
Believe it or not all the embroidery on the bonnet and the ruffle around the edges was done by hand on a very fine batiste. It looks like a fine Pearle cotton was used to make the embroidery bolder but strong at the same time. 
The main part of the bonnet has been embroidered to look like what we would call today an "embroidered edge" about 6 1/2 " wide with a picot edge. You can not really see the edge because of the ruffles.

Hopefully with enlargement you can see some of the details more clearly.


The picot edge is visible just above on the inside. The bonnet lining is attached with a somewhat waddy seam but the edges just peek out.

The ruffle is actually a hand embroidered galloon (embroidery with two finished edges) with scalloped edges that has been gathered onto the bonnet edge. The tiny hand gathering stitches are still there but the ruffle has been attached by very fine machine stitching - the only machine stitching I can find on the actual bonnet!


The circle back of the bonnet which you can make out here is composed of two pieces of the galloon whipped together. On the outside edges of the circle, the embroidery of the galloon has been folded over so it can be seen on the outside and probably to make it easier to set the circle into the bonnet. The lady who made this little bonnet obviously was creative in her use of what she had at hand. We can do the same with our sewing just like she did.

This circle and rest of the bonnet are lined with very loosely woven fabric. The same was used for the ties. These were machine stitched on the edges and the hem. But the lining was lovingly attached by hand and shows a lot of wear.

So what can we learn from this little bonnet? Be creative with what we have at hand. You can make or buy a wide edge and a piece of galloon to make a little bonnet of this sort. There are lots of patterns out there with a circle back and a CB seam or a horseshoe shaped back that would work for this type of bonnet. Keep the fabrics light and fine.

With all the incredible embroidery machines we have today, if you can not find the kind of materials you need to make this bonnet, if you have one of these machines you could certainly make a stab at creating your own! 

You could join two 1" embroidered edges together with a mock rolled seam to make a 'galloon' and then gather that to the bonnet edge. With some creative stitching you would never know and the 'galloon would be quite secure!

Hope you like my little bonnet and will try making something similar or at least be inspired by
some of these techniques.

So until next time, keep stitching.....

Tuesday, February 18, 2014

Fabric Ratios


An interesting question came up last week in a pleater class. How do I know how much fabric I need to be able to smock something? My first instinct was to respond at least 3 times fullness. But with a moment's though I knew that isn’t true for every fabric.
Whether you are smocking or just gathering fabric for regular sewing you might be interested in these findings. 

You see the thinner (or finer) the fabric the finer the pleats so the more you need. Conversely, the thicker the fabric the fatter the pleats and the fewer you need to cover a space. 

If you have a selection of fabric in your stash to test you could make a chart for reference. This might prove very handy if you like to mix up your fabrics and take creative license with the patterns you make up!


I chose a commercial pattern for a little child’s yoke in size small for the comparison. It was a straight yoked garment which measured 7” from side seam to side seam. The pattern of course is 'on the fold'. If you were comparing for a garment like a bishop which involves flaring the pleats the results would be different again. But we are comparing only straight gathering.
 
So here I have taken four popular fabrics for smocking: a soft batiste, a silky broadcloth, a deceiving flannel and a 21 wale corduroy. I pleated a depth of 6 gathering threads and the full width of the fabric (45” for all but the broadcloth which was wider). I marked of every 7" and put a pin in that valley so you can easily see the ratios I photographed.

The batiste:

45" less a seam allowance at each end - 6x fullness

Here is a full 45" width of batiste pleated up and it fills the 7" but is very condensed - perhaps too full to be able to smock and have the stitching look it's best.    


 
5 x fullness - not bad for picture smocking.
4x fullness  - still lots of fullness in the skirt and perfect for smocking

3x fullness - getting a bit thin good for geometric smocking
 


2.5x fullness - you can't go any less and still be able to smock

 

 The broadcloth:
6x fullness - really packed!



5x fullness - still quite packed but great for picture smocking and a lovely full skirt!
4X fullness - looks perfect for any smocking
3x fullness - very good for geometric smocking and still a fairly full skirt
2.5x fullness - getting a bit thin, geometric smocking only
 
The flannel:
This felt not much thicker than the broadcloth but the results of the pleating showed it was indeed a thicker fabric. Just goes to show you that things are not always as they seem.
5.5x fullness - wow look how wide that is!! Only 4x can be used.

3x fullness - pleats are still very packed
2.5x fullness - still good -compare with the batiste!
2x fullness - still very good for most smocking, but skirt getting skimpy
 
The 21 wale corduroy:
I love using pinwale corduroy for children's wear. Today knits are very popular and can create very beautiful garments but I didn't have anything readily at hand to test so was left with the pinwale corduroy. It has its own challenges and makes for an interesting base for your stitching.
4x fullness - pleats are really packed and the skirt would be really full

3x fullness - perfect for smocking & skirt would be nice and full as well

2x fullness - still good for smocking and still adequate fullness for a skirt
 

Of note is the  fact that this testing was done with a 16 row Pullen pleater. Not all pleaters take up the same amount of fabric in a pleat. Differences inn rations will thus appear between pleaters. For example, the Sally Stanley pleater takes quite shallow pleats compared to a Read so the Stanley pleater will give you more pleats over 45" of fabric. Worth knowing!

Hope this has proven interesting, thought provoking and/or helpful.

If you ever wondered why a pattern didn't afford you enough fabric to smock or the reverse this testing might provide you with some answers.
Any other questions???


So till next time, keep stitching.....