I’ve just published a new vlog on my YouTube channel, featuring my favourite sewing and knitting related things for November, and my own current projects and plans.
Another week, another Linden!
This Linden features a very simple ‘hack’, and is my entry for the “Stitched with a Twist” Instagram challenge. I’ve been planning to make this Linden since last March when I spotted the sweatshirt below in an email from Uniqlo. I thought it would be easy to recreate using the Linden pattern with the simple addition of some gathering at the neckline (I also fancy recreating the dress on the right with Named’s Inari Dress).
The fabric is from Guthrie & Ghani, and was purchased during their Fifth Birthday Party back in April. I picked an especially drapey knit so that the neckline gathers wouldn’t be too stiff. The fabric feels lovely and has a great sheen to it.
I added 5 inches at the neckline of the pattern front to accommodate the gathering. To more closely imitate the inspiration image, I should have reduced the length at the hem and widened the neckband, but I didn’t think about that until after it was constructed.
We’ve been to a comic con today, and managed to capture some pictures outside, just in time, as it was getting dark. Birmingham was hectic, so I’m now recovering in my pyjamas, with a mulled drink, and a trashy Christmas film on Netflix. I might even get back to bauble knitting shortly for full Christmassy atmosphere.
Autumn is here and with it new Grainline Studio Lindens are entering my wardrobe.
I cut out and prepared (pinned all initial seams) two Linden sweatshirts during evenings this week, and then sewed both sweatshirts today. I managed to sew the first – pictured here – in a couple of hours this morning, meaning that I was able to wear it during a trip into Birmingham city centre this afternoon.
It’s pictured here at Ikon Gallery where we caught the final day of an exhibition of recent work by Polly Apfelbaum. I must admit that half of the incentive for visiting was seeing the exhibition before it closed, and the other half was getting blog photos in such a great space!
The exhibition was very accessible and interactive, with visitors invited to walk over the woven rugs included in the exhibition on the condition you removed your shoes.
This particular Linden is made with fabric purchased as an offcut from Birmingham Rag Market, and was the remaining metre of fabric I had left after making a Freya Dress.
I had a go at making Named’s Talvikki sweater earlier this week, and am not convinced by how it looks on. I’m having a break before returning to try altering it, but it was very satisfying to return to a pattern I know well.
As a reminder (if only for myself), I make the Linden in size 2 in thicker fabrics, but in a size 0 in thinner fabrics – including this one. I also always cut the neckband one size larger, to avoid pulling, and have found it to make all the difference.
My Linden is pictured here paired with a Seamwork Oslo Cardigan which I made for myself in 2014 when it was released with the very first issue of Seamwork. The weather has been very mild here in the UK for the last few weeks, and this kind of casual jacket is currently perfect outerwear. By the time it gets cold I might have all the supplies ready and be prepared to sew coats.
Recently, I got the opportunity to try out Craftine Box a sewing subscription box based in France and now available in the UK, which is released every two months.
I’ve recorded a vlog with an unboxing and some footage of my finished project. I’d also recommend having a look at their Blog if you’d like to see inside some more recent boxes (mine was the February edition). In the time since I received my box, Craftine have begun providing two sewing pattern options inside each box which is a great feature, as it’s twice as likely you’ll be interested in making an included project!
This is a great simple dress pattern, which I’ve now made successfully in woven and knit fabrics. I have another version of the Grace Dress to blog, as I sewed two at once this time. If I make it again I’m going to try the capped sleeve version, for a slightly different silhouette.
I’m in the second week of a new job. I was exhausted every evening of my first week – it was a relatively quiet start but something about being in a new environment is so tiring! I’ve got more energy this week and am using the time saved from my much shorter commute to get more done in the evening, such as blogging and vlogging. In my previous job I never had enough energy after the commute home to sew in the evening, so I’m hoping that will change and I might make progress on some of the sewing projects I’m really excited about very soon. I also have lots of (Christmas) knitting planned!
Despite living in Birmingham for my entire life my new job is the first I have had based in Birmingham City Centre, which, consequently, is also where these photos were taken (in The Custard Factory to be specific)!
Disclaimer: I was provided with a free Craftine Box; all opinions expressed are my own.
Malhia Kent are a French company who produce woven fabrics for fashion houses. They also have a store in Paris (my personal favourite) where you can buy the fabrics as a consumer – and if you stick to the remnant fabrics they work out very reasonably priced (if you’d like to see inside the store, I previously included it in a Paris fabric shopping vlog).
I got carried away in the €1 remnant bin on a couple of previous trips, and decided to make a Karri dress with the remnants on the pattern’s release (back in 2016!). I finally saw that plan through to completion just before spending a weekend in Paris last month, where I was able to photograph the dress outside the Malhia Kent store. I would, inevitably, have come home with more €1 remnants but never managed to pass the shop except when it was closed for lunch / the day.
The bodice of the dress is constructed from 8 different fabric remnants. Understandably, the remnants vary in size, so cutting out was a process of trial and error as I placed the pattern pieces on various remnants and figured out what would fit, and how it would look together. I decided to make the top of the bodice, the sleeves, and the centre back symmetrical, and then use contrasting remnants for the other pattern pieces.
The skirt of the dress is in a black wool fabric purchased in Barry’s Fabrics. I did cut out a skirt in some larger Malhia Kent remnants, but the clash of colours and prints was overwhelming so I sewed that up separately as a skirt. The wool for the skirt has a glittery silver effect running through it and is more pronounced on one side, so I alternated between the two sides of the fabric when cutting out to continue the contrast effect of the bodice.
The fabric for the skirt was a good reminder to treat fabric with appropriate care. Despite it being a wool, I risked throwing it in the washing machine on a low heat, and it shrunk considerably and changed consistency, coming out of the machine much thicker due to felting. The fabric was still usable – just different – but the shrinkage meant that fitting the pattern pieces on my fabric was more effort than it needed to be. On the plus side, the felting that had taken place meant I didn’t need to hem it.
I was planning to work on an outfit to wear to the Sewcialite Soirée (which takes place next weekend), but I’ve been having an exceeding lazy weekend and haven’t even made it as far as my sewing machine. Friday was my last day in my current job (after 5 years) and I had a lovely leaving do on Friday night where I had a few drinks, and subsequently spend Saturday napping and recovering. It’s finally dawned on me this weekend that I won’t see those work friends on a daily/regular basis from now on (boo hoo), but I am looking forward to a new work challenge from tomorrow.
I might see if I can summon up enough energy to do some knitting for the remainder of the evening. Enjoy your Sunday evenings all.
This is my third and final blog post about my outfit for the Refashioners 2018, which was inspired by Dior’s Bar suit, focusing on the process of refashioning a hat.
A number of hats were paired with the Bar suit when it was shown in the 50s, and in photographs since, but I wanted to recreate the hat from the photo which inspired this refashion (more info in my original blog post).
The inspiration hat was made of straw, and seemingly had a flat circular area at the top, and a wide, slightly curved brim. Given the ‘basket’ style of the hat, I decided that my best bet for a second hand material for refashioning was a woven bowl.
I spotted the bowl above in the window of a charity shop while on holiday with my family in Dorset and decided to give it a try. You can see from the images above that the original bowl was too large, flat, multi-coloured, and also far, far too heavy, to be used as a hat without refashioning.
Once home from Dorset, I took a stitch-unpicker to the bowl. A stitch-unpicker was the ideal tool, but due to the thickness of the material I did break at least five before I finished unravelling it. The trick to not breaking the stitch-unpicker was to keep it as flat as possible against the side of the bowl, but it was easy to forget, lift it up slightly and snap the blade.
As you can see in the photos above and below, the bowl consisted of long strands (of straw or similar) which were bound into a bowl shape with lots of small curls of raffia (or similar material). I cut through and removed the curls, released the long strands and loosely tied these together, until I reached a point where I had a small circular base remaining which I thought would serve as the top of the hat.
With the bowl sufficiently deconstructed, I bound the long strands with garden twine to give structure and create a long curved material which would form my hat. I then threaded more twine through a knitters needle and used it to sew (through the existing twine) the hat together.
After that, it was just a matter of trying the hat on and altering accordingly; I made a number of tweaks before I was happy with it, including reducing the circumference of the flat circular top of the hat, and removing quite a bit of depth from the bottom.
Now that we’re back from photographing the outfit in Paris (photos below), I have put the hat back to work as a bowl (which it still works as, thanks to the flat base)! The jacket and skirt fit into my daily wardrobe, and the shoes and petticoat will also be worn although less frequently. I’m pleased that I was able to make a dramatic outfit, but also that it consisted of components which will get regular use.
Thanks again to Portia for inspiring and challenging us through the Refashioners series