Birthdays have always been moments of reflection and re-investing in my life going forward. Walking, writing and making are ways I celebrate. Making a birthday garment has been a way to stop…focus on the self now: honing the voice, simplifying …and editing to the essence of what can be.
This purple shirt a beautiful cross-dyed linen and 2 scraps of solid purples for accent. When I knew I wanted to wear it, Katherine Tilton’s Butterick Pattern, #5891 was the perfect shape.This beautiful shirt is a new beginning for a collection of companion garments including this first one: An Ashland Vest in Kantha. I used the body of the pattern then draped a different collar, to add my spin to the design. How much accent and where is a conversation I’m always having with fabric as I make. It is also a memory of deep friendships as I smile, remembering a birthday weekend and shared Paris buttons! I am settling into what life brings me and finding joy and balance there.
If we want our work to be a reflection of who we are, it has to come from the heart and soul of our inner lives…not just techniques learned. In your Making, consider how you respond to your materials. Can you give them equal influence, like a dance partner? Making is about a relationship, between you and what attracts you. It is about the feel in our hands, what we can imagine it becoming and how it will look and feel when that dance leads us to the next pairing. Trust. You have what you need inside…. ready to engage and explore a new idea, material and design. Life is so full of things we cannot control- so how do we learn to be there…ready to step forward and dance? Take a deep, deep breath and know we are enough! Learning to let go as we make teaches us. Sharing our voice can be different every time, whether we are making a quilt. a meal or a garment. My goal: That I show up in my work. |
I know many of you and I’m proud to be in this tribe, Diane
My stitched dragon is part of a bigger past story-
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Weaving a winter rug has been my go-to inside project this month as I watch the snow outside. Recycling materials is a great place to start! So before that bag of clothes goes off to the Goodwill, a weaving project might inspire you to pick through that bag one more time. Making your weaving materials-Weaving a rug with recycled materials reminds me of making potholders with those fabric loops we made as kids! YOU determine the feel and look of your project by how wide or narrow to cut the strips. Chunky and fast, this one is made from a blue knit sweatshirt and a grey wool skirt. Most fabrics can be used for weaving materials, just consider the feel. Tee shirt knits are soft, stretch into place and and will be soft to walk on. To make a continuous strip, start at the bottom, cut a teeshirt or skirt around and around in a spiral to create a long ‘yarn’. For this rug the width cut was 2-3”. By overlapping the ends and holding with a few stitches you’ll create a continuous strip.
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This reversible silk brocade FAULTLINES vest is the perfect accessory for several holiday outfits and quick to make- It will make your look, from casual with jeans and high tops to elegant entrance piece. The pattern pieces can be flipped if you have a pocket or wear a small bag on one side. I love this design for showcasing small vintage treasures or embroidery. With some basic layers, Fautlines can add the polish!
SO many great versions in lots of our wardrobes already. Here are some yummy, remake sweater versions created by talented fashionista Gayle Ortiz….probably cashmere!
What else is tucked away in the recesses of our stashes?…maybe something dull that can be brightened and folded into whatever celebrating we do this season. In my life, it is a lost ….and now found, pair of red suede shoes!
Stenciling is my go-too…so I know I can make magic there. It was fun and easy to upgrade these shoes with metallic, pewter (by Jacquard ) fabric paints. The secret is a dry sponge and some masking tape to create those crisp clean edges. A thin, black line around the top edge gives a nice finish. Printing different width strips definitely adds interest to my new look. Wanna see more stenciling tricks? See my streaming video on stenciling. Lets get to it!!!! I’m already looking for my next pair, Diane
Copyright (C) 2023 Diane Ericson Design. All rights reserved. |
NEW Again from the Archives-
Alot of you have been asking us to bring back your favorites for my original ReVisions line…. so we are bringing back the best sellers as PDF downloads! Preparing the designs for re-release, my fall projects have included editing and creating new illustrations to update the patterns as they are converted to PDFs for my website. The most recent online additions are my SnapDragon and FaultLines patterns. I hope you enjoy making and wearing your versions as much as I am!!
Your way into new designing can start anywhere….The SnapDragon pattern started with a desire to use snaptape in a fresh, creative way. This melton wool SnapDragon is a staple in my wardrobe. The basic jacket silhouette, with darted and non-darted versions, keeps inspiring new garments. I love it as vest with the sleeves and lapels attaching with snaptape to change the look. The layered, collage lapels can be worn in various ways and easily swap out to create another looks. To make these collage lapels: The wool pieces are layered, like mosaic tiles onto both sides of the lapels, then machine stitched in place before creating more dimension by cutting holes. That detail technique was repeated at the sleeve ends.
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What a gift this time of year is in SO Oregon…..Fall color is changing the landscape and inspiring new color combinations in my work. Play with what is opposite on the color wheel for some new inspiration: Blue (in all its variations) is across from Orange (in all its variations)…violet is across from yellow and green is opposite red.
Dive in…so much to explore!
Although I love this beautiful linen print, using both sides of this piece really make the tunic and highlight my design choices and technique. If draping on a dressform is new for you, I highly recommend it: weight and drape, bias and straight grain…all inform the making of a garment in ways that working on a table surface does not.
Even after a lifetime of garment construction and making patterns, draping is always calling me into the fluid process that brings unexpected magic into view.
I’ve learned how to respond instead of lead…..one of the biggest lessons for seasoned makers. The world opens anew when we set our toolkit of styles and construction techniques aside…it can be waiting in the wings as we need to reach for something there.
2024 Design Outside the Lines Retreats-
Work is underway to share 2024 retreat information on my website in Nov. The line-up of guest teachers is very exciting and I know it will inspire us in the studio times we can share here in Ashland, Oregon and in Taos, New Mexico.
San Fransisco Bay area Artist & Designer, Carol Lee Shanks will be back in Taos with us in the June DOL Session. Join her exciting shows and inspiring events this Fall season. See her website for more: carolleeshanks.com
A page from Carol’s fall journal—————
Harvest-
“I awoke to the radiant, full Harvest moon this morning, a symbol of fullness, a time to gather. Changes in the light and the crisp air against my skin feel refreshing and new. I’ve been working on a pair of fleece pants, stitching stripes into the blank cloth shape with yarns that compliment its’ cozy brushed surface. This cloth and these yarns are from animals lovingly raised on California farms. I think of the ranchers and the sheep, the rabbits, llamas and farmers as I stitch away. Next I will explore a California grown cotton knit. I may even take up natural dyeing.”
Carol Lee Shanks • September 29, 2023
We sat with handwork in Taos then….and as I hear her voice now, Carol reminds me to go slow and savor what is at hand. Time to make that one special fabric that is calling us now….no time to wait, enjoy rich hues in your life, Diane
Copyright (C) 2023 Diane Ericson Design. All rights reserved. |
I’m thrilled to announce our DESIGN OUTSIDE THE LINES RETREATS and guest teachers for 2023! Plans are underway to welcome 4 talented guest teachers who will join us in our creativity-packed studio sessions in Ashland, OR and Taos, NM. All sessions begin on sundays and conclude at noon on fridays.
Location: The historic Ashland Springs Hotel. A special group rate is available at the hotel for these Ashland Retreats.
Location: The Historic Mabel Dodge Luhan House and Conference Center. *Note: Lodging and most meals are included in the Taos retreats.
See these links to register and for additional information on my website about the studio focus and each guest artist/teacher joining us there. Registration is now open and a deposit will confirm your place in the workshop.
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Our winter weather in Oregon is unpredictable and I've made a new wool layer for everyday wear. Using The Ventana, a favorite pattern, I'm creating several, new vest pieces. It is a classic, earlier design in my pattern collection. As this new year begins, it's just what I want to wear....this one above, in a luscious, double-sided wool knit, highlights the tucked design on both sides in the construction. A warm layer, perfect over my shirts and tees, they will carry me through spring to warmer weather. Here are some Ventanas I had made over time in various fabric combinations that might inspire your New Year sewing.
This linen and silk taffeta version was fun to make. Each pattern piece was lined and turned first. Next, each piece was pressed then tucked and pleated. The last step was overlapping the seamlines and sewing the garment together at the shoulders and sides... A wash and toss in the dryer relaxed the vest and gives it the look that finishes this piece.
This Japanese, jacquard woven wool/ silk fabric was such a beautiful piece to use and enjoy as this Ventana. When working with a double-sided piece, consider the design options a fabric like this gives. This piece, was lost in the fire with most of my wardrobe in 2020. As I look at this photo...I am not only reminded to USE all of the beautiful materials we are holding.....I am also grateful I made and enjoyed wearing this beautiful piece.
None of us can go back....but there are garments that create new MAKING adventures going forward. How about a vest AND a separate shrug-style garment with the sleeves as a layer? This vest is made from a beautiful piece of Italian, wooI knit with a felted-feel so the raw edges are used as the finish on the garment.
Enjoy the Making, Diane
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Whether it’s a vest layer or a 3/4 coatdress, this is a favorite year-round, garment design! With a collection of O’Keeffe's in my wardrobe, I’m already dreaming of more variations in pieced wool, stitched kantha cloth and eco-printed summer linens!
Belted? What? ! …Don’t see yourself in a belt? This just might be the exception that will give you a fresh silhouette. The secret is only belting 1/2 way around the body. Here are my 2 ‘belted’ versions: 1 belted in front, and 1 belted in back.
The Wool Coat belted, across the coat front has a metallic fabric accent inspired by Georgia O'Keeffe's leather belt with silver accents (shown above).
Made in wool suiting with white linen asymmetrical collar and front facing, I have translated some of the design ideas into my O'Keeffe version for you. The asymmetrical collar and front facings give the option for a more dramatic look to the coat. I chose to create bound buttonholes, giving the buttons and front closure more interest. Love this belt? Me too!! See my video clip on how to make your own O'Keeffe Belt.
By leaving 3" openings in the side seams, 3"-4" down from the underarm seam, you create an opening for the belt.
Belt in back…This Coat-Dress, in a combination of washed linens and features one of my Wing n’ A Prayer Fabric Panels. The Bird Panel inspired this combination of fabrics. 14” of the bird panel length was used for a back focal detail with the rest of the panel used for front collar and front facings.
After feeling the coat on, I knew I wanted to add a lining for a smooth interior finish. See my Linen O'Keeffe Coat video for more construction details.
Have a lovely Holiday Season.... maybe wearing YOUR new O'Keeffe! Diane
]]>The 2023 dates for Taos retreats are June 18-23rd and Sept. 17-22nd. Updated info for those sessions will be posted in the coming month if you'd like to join us.
Ladders have been a strong metaphor image for me over the years…and more deeply after my fire experience. Variations on Kiva ladders stand tall all over New Mexico…and they are part of my current MAKING stories.
A French-Fold Shrug, made from a beautiful hand woven cotton from the Common Thread Store in Taos, New Mexico, was calling for some unique detail when ladders crossed my mind.
Needing a bit more room across the back, I pieces my fabric in 2 directions then left it open down the back where the opening was the perfect place for a ladder!
To make the poles of the ladder, I bound the open back edges first. Wanting the ladder to be more organic than ‘slick’…..I used a crinkled linen and made the vertical pole fabric wider at the base then narrower at the top. Hand tacked on the inside finished these first pieces. Your ladder could be made with ribbon or cording, seamed and turned with no raw edges showing for as more refined look. Cross pieces can finish on the inside or outside.
To make the crosspieces, my strips were topstitched in wavey lines and the ends cut and not finished to mimic rough wood. I smiled, adding a ‘branch ‘ coming out of one pieces as I sewed the pieces together.
The handwoven is a bit stiff, so when the back was overlapped, the shape of the ladder changed. Although I the look of the open ladder was appealing on the back…it also needed some fabric to stabilize the shape.
Looking for ways to repeat a theme, the short bits of ‘branches’ seem just right on the front of this French Fold Shrug. So much of unique design is about the details.
Here is a link to another ladder variation in a post this past year. Such a good metaphor for that climb to the top we all seem to make in our own way as life calls us out.
I'm wearing my fall, linen version of the O'Keeffe Pattern as the days are cooler. This one feels like the perfect layer for a thin T or a warmer turtleneck. Here is a link to a video clip about making this design with some of the details you'll want to consider.
Find your theme and play with how it can unfold in your new work. Diane
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The high desert of Northern New Mexico has inspired many artists including Georgia O’Keeffe. I imagine her stepping out into that expansive landscape, painting satchel in hand, wearing her iconic clothes. In her minimal, curated wardrobe, this might just have been her favorite coat...the same one in many solid colors.
When Georgia found a garment she liked, it often became her basic which she repeated in a variety of colors. Her wrap coatdress, with the accent facing and collar, was one of those garments in her wardrobe. I am inspired and appreciating that sentiment as I explore my O'Keeffe Pattern and various ways it is becoming a basic wardrobe piece. Designing options for any season: Long or short, collar? collarless? wool, linen or gauze? prints, solids or collaged?…How will we modify this garment design as the seasons change?
A sewing pattern is a ‘start’ …..waiting for us to tweek them with new ideas and details….so let’s walk through some of the ways to play with your O’Keefe design.
Consider your design options. Vary the hemlines: shorter in the front? longer in the back, shorter in front? Maybe a 3/4 or cropped? Full length coat? Maybe a dramatic diagonal hemline?
The garment BACK is full with lots of ease. The pattern includes ways to add or decrease the fullness in the back. The pattern back can also be cut on the bias. With lighter-weight fabrics, the bottom hem edge can be on the fold and the pattern piece cut out doubled. To do this, decide the finished garment length BEFORE you cut, so the folded edge is at your finished hemline. Once cut out…the fullness in the back can be controlled with added seams, or pleats held with hand-stitching, ties or buttons.
Collage & Piecing- Seeing the basic pieces as potential for collage often inspires my fabric combinations. Piecing fabric to make yardage is a wonderful way explore your design style as you begin to create an O’Keeffe.
The white shirt is pieced with various textures and combines unexpected raw edges with clean finished lines. The combo of the fabrics with fabric pen drawn details, some hand stitching in a single black sewing thread and black elastic ties is eye-catching.
The House Fabric, by Miles Frode is in our fabric collection. The cotton weight fabric combined with a stripe sleeves and trim, forest green back and bold orange bits makes a playful coatdress or shirt version.
Inseam pockets are included in The O'Keeffe Pattern and your combination might inspire more pocket ideas. The extra snaptape was the perfect trim for the oversized pocket placed on an angle on the linen version below.
There are 3 collar variations included: a stand collar, an accent collar (and front facing ) for a contrasting fabric, and a bias, v-neck shawl collar version. There is a neckline facing if you want to go collarless. The v-neck shape might be perfect for a lightweight garment with piping or a short band accent there.
For warmer garments, the stand collar can be bias, folded or scrunched down.
The Accent Collar above, is inspired by the pop of color we see in some of Georgia’s garments. The shawl collar can also be cut shorter (as shown in the pattern). The fit of the shawl collar on the neck edge is determined by 2 things: 1. The size that was cut out, AND the pressing you do to curve it before attaching it to the garment. Spend time here…perfecting your technique for personalizing a neck edge is worth it.
For my cropped versions, I cut the original shawl collar shape, played with it on the dressform wearing it, then cut the raw edge down for shorter, 1”-1 1/2” finished bands.
Hand and machine stitching can add finishing details to The O’Keeffe. In the canvas version above, both were added to accent the printed front bands, and more black hand-stitching was added at the seams and to hold the pleats in back.
In contrast, on the sleeves of the white shirt, a single black thread in a running stitch was just enough. From snaptape or frogs to elastic loops or a whimsical collection of buttons ...let the overall feel of your garment suggest your choice of closures. A more classic approach might just call for bound buttonholes.
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In the spirit of the artist, consider a bold color, accent facing, a single dramatic button or pin...or wrapping yourself with a vintage, concho belt.
Is that sage I smell? ...I would join Georgia now for a day of painting on the mesas she called home. Diane
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Time to hit the refresh button on your fabric printing? Fill in your stencil collection with our Aug Stencil Sale! Wanna join me in the studio? New on my YouTube Channel, see my Tips & Clips Video Series for some quick techniques to spark your fabric printing time in the studio. Join me to create beautiful surface design on your fabric stash. Whether you want a summer apron or a transitional fall shirt, I’ll share my favorite creative ways to use a stencils and inventive printing tools to express your own style.
Versatility is a key advantage to adding stenciling to your surface design toolkit. The neck edge at the top of this post and the shirt below were both printed with the same stencil with such different results!
If you are selecting new stencil designs to add to the workhorses you love, here are some things to think about-
#1- Look at the overall shapes included in a design INSTEAD of what the image might be. Although you might have originally chosen a stencil for the shell shapes, how might those same shapes spark your imagination in some different directions? This is key to creating a wide variety of designs you can print with them!
#2 Start by asking yourself are the shapes open or small and detailed? Are they geometric or organic? Are there interesting parts to use without printing the whole stencil everytime?
See you in the Print Studio! Diane
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The River Tunic is a perfect canvas for that washed, linen garment you want to live in now. The magic of this basic, no-waste, shape is how it can work with the design ideas you want to explore. Sleeves, sleeveless, bias-cut, short or long- there are so many variations to create! From pockets to pleats and asymmetrical hems variations, this pattern can give you the confidence to push your boundaries. PDF and paper versions are available.
Getting Started- There are more River Tunic Posts with lots of design ideas to explore on my website to get you started creating a whole collection of River Tunics! Here are 2 of my new summer ones. Both different, but both started with neck holes.
These new garments are a combination of recycled garments, linens and some new fabric. The pink and grey plaid, a lightweight linen from MarcyTilton.com, was perfect and relaxed after a wash and dry. The combination of the embroidered striped dress and the plaid was appealing the minute I saw them together. The neck area was cut out of the dress (start bigger than you think…you can always cut it down) and placed on the dressform. After cutting out the River Tunic shape, a ’T’ shaped cut was made in the plaid to indicate the neck opening and placed over the embroidered neckline piece.
Working on a dressform it's easy to see the amounts and angles to cut away. Once the seam allowance was clipped and the edge pressed under, it was machine sewed around, then serged inside. Some topstitching by hand around the edge makes a nice transition on this one. Check: Neck done! A single inseam pocket was added then some bands of the embroidered fabric at the bottom before sewing up the side seams. Take time here as you make- I want the bust and sleeve around the bicep to be rooming, so I pin and try on…By comparing those areas to a similar style garment in my wardrobe that fits in those areas helps me decide where I want the side/sleeve seam to be. As you can see, I have cut off quite a bit on this one. Get it right! Otherwise you won’t wear it…so it is worth the time to explore what a good fit feels like on your body.
The sleeveless tunic, in pieced vintage linens and red accents started with making the fabric. You know I am crazy for this process! This is a great way to express your own style through the infinite combinations and shapes possible! Each seam can be different: serged, lapped? maybe with a loose edge? All of these decisions will create more interest in your fabric. Notice the fresh way the large and small rickrack was added in this piece: How will you update your favorite notion?
By laying the folded tunic on top of the River Tunic Pattern, it was used as a guide to decide where to cut or add fabric for the width and length of this shorter, sleeveless version.
This neck hole is asymmetrical after cutting a generous opening. Some strips, bits of the linens, rick rack trim were added across the neck opening to bring it in and add more detail there. An oversized pocket was created with a linen napkin.
Pleats and tucks can be magic in a design. Adding a small pleat in the bottom of this pocket gives more dimension and shaped softness. Responding to the flat neck area…..A pleated strip with a finished edge was used to stand and drape on part of the neck edge. All the edges on this tunic were finished then overlapped and topstitched on the sides.
Finishing Tips- Pressing really brings out the details in the vintage linen tunic. My favorite way to refresh the pink plaid one is to hit it with a quick shower on a hanger and let it dry that way…the fabric drapes naturally and it looks refreshed everytime I put it on! Perfect for a river trip today right?
I'm making and packing more of these tunics then heading out to enjoy some summer adventures.
Enjoy your day and celebrate nature..maybe we'll meet in the River? Diane
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I’m in love with my new shirt!!! It started out as a kantha throw (106”x86”) and after working the puzzle to create a reversible garment, there is only one 3”x 5” scrap left!! Here are some things I 've learned along the way and some notes about my details.
The word kantha means “rags” in Sanskrit, reflecting a tradition of creating ‘new fabrics’ from layering old ones to create new fabric. The layers are held with rows of humble running stitches, usually in white cotton thread. From old fabrics to new and thick layers to thin, start by considering what you want your garment to feel like. The throw I used was old, soft and 3 layers of thin cotton. It had just the feel I wanted to wear. With lots of sources out there, I appreciate the time Marcy Tilton and her team take to describe and gage the weight of each Kantha piece in the collections they sell in their online fabric store.
Getting Started- Working with a pattern? or draping? I find myself doing a combination of both: moving back and forth between draping my ideas on the dressform, then checking in with a pattern when I need too. For this shirt, I worked with The Cacicedo pattern. See these posts for more shirt variations with the Cacicedo Pattern.
Maximizing what you have to work with means looking at the finished edges and how they might be utilized in the design. A finished edge was used down the front /collar edge here. The front is overlapped then hand stitched down as a last step. In cutting out the most important pieces first, I’m willing to piece the rest as needed.
Spend some time in front of a mirror, looking at the 2 sides and what combo you envision for your finished piece. I love having a soft, quiet side with a hint of another color here and there…then the blast of the dramatic red and white side as a very different option….it really is 2 very different garments!
Start with what you know- Starting with the neck edge and shoulder seams is a good place to start figuring out what kind of seams and stitching to use. Remember: you are working 2 finished sides at once, so how will that impact each decision you make? The seams in my shirt are mostly overlapped ( instead of right sides together), with the raw edges turned under then hand stitched on both sides. Since the shoulders are holding up the garment, they are also machine stitched.
The armhole/shoulder area usually determines my choice of patterns. I know I can make square armhole in this pattern work on both sides, and I like the basic pieces. On the green side, the armhole seams are turned under and topstitched in place. On the red side, the armhole edge, left loose from the sleeve is turned and finished. On that side, the sleeve looks a bit like a second garment underneath.
Maximizing what you have to work with means looking at the finished edges and how they might be utilized in the design. A finished edge was used down the front /collar edge here. The front is overlapped then hand stitched down as a last step. In cutting out the most important pieces first, I’m willing to piece the rest as needed.
Finishing starts now- Consider how construction (machine and or by hand), is in keeping with the fabric you have chosen and your style. Most of this garment is hand sewn with a similar white cotton thread used for the original sewing. That felt important, and very much in keeping with my aesthetic. How will you stitch and work your Kantha?
Grainlines & the Silhouette- Changing the direction of the garment pieces will shift the way the silhouette hangs and moves on the body. With Kantha cloth, if the running stitches are going in different directions, it can add interest to the garment. To add more shape to the back of this shirt, a horizontal cut was made 3/4 of the way across the back and a triangular wedge ( LOVE the contrasting green on the red side!) was added to hold the shape in place. Adding this angle, changes the grain and adds fullness to the shape of the lower back. The side panels, hem add-ons and cuffs show the change in fabric direction with the stitching across for contrast.
Consider balancing the design with small detail pieces in the contrasting color. In this garment: small pockets ( mine are topstitched on each side), more hem piecing, a turned edge or a bit of edge on the sleeve folded to show, it all adds a bit of color pop to each side.
The Scarf-With a nice long strip left, it was an obvious scarf. I like both sides, without the scarf, and it's the perfect accessory for the red side.
....... It feels SO good, I wanna wear it everyday!
Let's Make!!! DIANE
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New stencils, fresh off my design board, are inspiring new ways to play and create.
The beauty of a collection is that there are so many creative directions to play with Uganda, Warrior Women and the Kenya Stencils together offer a lot new design possibilities. In my own printing, sometimes one stencil is the focus..and images on another stencil provide the perfect companion shapes. The photo below shows the whole collection. Printing with each stencil opens new possibilities and ways to combine the 3 sets of images in the Africa Collection.
The Images are one way…and the way you combine them on fabric is another….endless options really. The combinations I am starting with here are the first layer of design thinking and play. Layering your printed surface with stitching and sewing techniques, threads and other details will always take your printing to another level and make it more personal.
Working on commercially printed or striped fabrics adds another layer of appeal. Above, Women Warrior Stencil in knits and dark fabrics give an entirely different feel to your project than the printing on the stripe. The Uganda Stencil was added to the hand-painted fabric by Miles Frode below. I worked it in white and grey fabric paints to soften the original shapes and LOVE the effect! The periwinkle linen below was stenciled with the Uganda Stencil with a mixture of silver and grey paint- the shapes remind me of a school of fish wiggling up the fabric panel. If you are a garment maker, notice how draping pieces on a dressform gives scale and design placement on the body. Remember open space is an important part of your design.
After printing the border on this white linen piece below, I know it will make a beautiful summer shirt!
I love creating designs to support your creative process! Take a look at the stencils in action in these short videos. We're looking forward to seeing what you design with the Africa Collection!
Enjoy, Diane
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The process of working with one pattern creates challenges I enjoy. Smart sewing means doing more with everything... so let's start the New Year expanding your creativity and strengthening your sewing/designing skills!
Here is how this experience is playing out in my MAKING this winter.
Thank you Jean Cacicedo for sharing your awsome design with us! I’ve just used it to create a new coat, vest & a shirt. In general, the shirt is the smallest garment, the vest a bit larger and the coat the largest ( think inner to outer layers). I am working with the large (coat) and medium ( vest/shirt) sizes. Starting to design shirts from the Cacicedo Coat Pattern, I created Design Experience 2.0 , a guide for ideas and design changes to adjust the Cacicedo for a more fitted shirt.
The COAT- is Cashmere with hand-knit elements and stitching in wools, silks and mixed fiber yarns. The Coat was a delightful collaborative project with my friend, Dona Zimmerman (who created Websters, the awsome yarn & art to wear store in Ashland, Oregon). So many beautiful things in a collaboration….from design thinking to sharing technical making aspects. I’m not a knitter and learning so much working with Dona.
VIDEO -Think about creating this stimulating process with another maker in your life. See my video with Dona about the coat / link.
THE VEST- is melton wool with hand-dyed silk noile, kantha and other textured pieces used as collage elements and binding. THE SHIRT-is a cotton blend commercial print with a pin-stripe suiting on the sides, sleeves and collar facing. The pin stripe fabric was re-purposed from a pair mens pants.
COLLARS: So many ways to shape, rearrange, add texture and interest to a collar. You may have your own ideas about this already! The collar on the coat was used as is in the pattern: a full shawl collar. It’s cozy as a wrap that can stand or foldback and roll and soften the look down the front. It is part of the main pattern piece and easy to construct.
The shirt collar was shortened by 3” at the back, and tapered down the front, like on the vest trimmed collar shown below. Not sure how much collar I wanted or how it would lay, I cut it from the coat pattern and decided how much to trim once I saw it on the dressform. A facing was cut to fit the collar shape from the suiting for contrast. Tucks and gathering at the outside edge of the collar would add some nice shaping too. Love the resulting scrunched shaped of the shirt collar!
On the vest, the collar was shortened by trimming as indicated above. The new 2" standing collar is one layer and finished with binding around the edge continuing down the front.
The COAT has an added yoke across the top of the back, left open for dimension and movement. An extra piece was added under the arms then the sleeves were added, leaving the underarms open repeated that movement and silhouette interest. The armholes were bound with silk bias to finish. The larger knit pieces on the front of the coat, were attached then left open on some of the edges for movement as well. The coat was cut open down the side front to add inseam pockets on both sides (in the pattern). Not wanting to stitch the outline of pocket shapes on the front of the coat, accent hand-stitching with the yarns were used to close the pocket and some invisible handstitching (that disappears in the thickness of the cashmere) to stitch the rest of the pockets edges closed on the inside.
With the coat open down the sides, the addition of a large tuck on the bottom on each side adds a nice angled shape to the edge of the coat and drops the center front.
After cutting out the vest piece and sewing the shoulders together, The VEST was cut (from the back edge of the armhole) down to the bottom ending 3” from the hem. When the side dropped it revealed the perfect place for a collaged pocket!
The dropped shape became a diagonal flap as it folded over. The back pocket panel was collaged with complimentary fabrics, lined and topstitched in place behind the diagonal opening. Here's my favorite finishing technique for shaping a pocket in wool: To emphasis the shape of the pocket, use a damp washcloth, heat it (with hot water or the microwave), then fold it into the shape of the pocket and place it inside, tight into the corners. Let it sit until cool at least afew hours. Once the cloth is removed and the pocket is dry….it retains the dimensional curved shape of the pocket. The added collage shapes were hand stitched in several places around the vest. The vest hem was cut with pinking shears.
The SHIRT side panels, cut separately and on a slight bias, are a soft 'A' shape. The sleeves, left open under the arms, continue the pin stripe suiting down the sides to finish with print fabric cuffs.The mens suiting on the side panels gives the silhouette a soft fullness relating to the scrunchy collar. The added width was tucked towards the bottom of the front and back edges on the sides. Working my way down the sides, any extra length isn't cut off until the hem. Consider the weight and hand of a garment when deciding on the amount of hem it needs. This shirt has a 2” hem, which adds weight for a nice hang. The inseam pockets were kept in the shirt version too. Often the decision to hide a pocket (inseam) or make it part of the garment surface, is part of the overall design. Think about how the eye will move and what can be highlighted about the garment. A bold pocket statement Is sometimes the perfect anchor for a design…like on the vest version.
COAT & VEST: The binding, on front edges of the vest and coat, are on the bias and ENCLOSE the raw edge: Machine sewing in place then steamed, wrapped around the raw edge and hand stitched for an invisible finish. Another option would be to stitch the binding on the edge and steam the coat and binding edges back. This leaves a larger ‘facing piece’ on the inside, and just a small edge of the bias (looking more like piping) on the edge. It is a lighter weight look and also works well. SO many options in our tool kits! The more technical things we know...the more we can use them in creative ways. Although I considered a collection of buttons, a beautiful shawl pin closure was the right thing. I love the combo and patina on the metal with the fabric and yarns. The addition of the poka dot silk scarf is a beautiful, soft finish.
VEST: Making the binding out of the scraps was first, even with smaller pieces you mostly want bias…although where the lines are straight (down the front) various grain directions can work. Prepping the armhole-If you are busty, this process will make a big difference. Whether you are adding a sleeve or a binding, it is part of a successful armhole. EASE Stitching: To keep the armhole from gapping, especially along the bust edge, sew a running stitch, along the garment seamline, then pulling the thread to draw the fabric in and steam the fabric to hold the ‘cupped’ shape where needed. This can replace the need for a dart. Try on to confirm shape. Next apply the bias: With some tension on the bias strips, pull and stitch the bias in place. Steam the bias binding in place then wrap around the edges of the wool and hand stitched (or stitch in the ditch) to finish. The bias should be slightly ‘tighter’ than the surface you are sewing it too for as professional finish. Collage shapes were hand-stitched in various places around the vest for design balance and interest to the front edge.
The button collection on the SHIRT was inspired by the shapes in the fabric design. Instead of making buttonholes to fit the odd shapes in the button collection, this front shirt fronts were overlapped and the buttons sewn on through both layers making the shirt a pullover. Creating multiple garments with the same pattern is one of the best ways to grow our work. Jean's Coat Pattern is one I will continue to enjoy working with in the future.
A shout out to all the enthusiastic & talented INDIE pattern designers- Thank you for share your creativity & love of sewing with our growing community!
.....And sew on, Diane
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Some days we just need fabric in our hands….no big project, just an afternoon to drop into that place MAKING takes us. We have learned how to ‘get away’ by going inside. In this is the season of nesting, our interior lives invite us back.
As I sit, making my first tea new cozy, I am appreciating the memory of my tea pot collection and each individual tea cozy I had made for them. I had rebuilt a cabinet to display my collection with drawers for the tea cozies. Starting over after the fire, this is the first tea cozy! I have learned to appreciate and feel grateful for the joy that collection brought me.
I had gifted a friend with one of my favorites. After the fire, she re-gifted me that tea cozy. Although grateful to see it again, I was initially horrified by its condition! OMG …..not just a shelf ornament, she had used it!......ALOT!
Day by day, it’s transformation started to mean more. Now, I feel a deep satisfaction everytime I look at that tea-stained cover. I’m honored knowing it had been part of her REAL life… and I’m reminded of the Velveteen Rabbit story: proud to be included and of service!
Maybe you have ‘velveteen rabbit’ pieces in your life too? If you’ve been saving the good stuff, what would it be like to use them? So whether it’s a set of dishes, a special fabric or a tea cozy….they are all waiting to have experiences to share in the future.
The opportunity to give & receive has been profound for me this past year. We all need both experiences....like breathing in and out. Receiving is also a gift.
Sometimes special things are meant to be shared….so in the spirit of the season, imagine if we all passed on something special to another, maybe we would create a shift in the world? I want to believe we would.
Appreciating each of you,
Making tea & looking forward to reading The Velveteen Rabbit again, Diane
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This one started with an interesting machine embroidered square scrape. After cutting it in half and reconnecting it to make a longer rectangle, I was inspired by the cutout along the edge to add the tie pieces and a few more holes. Using a variety of hand-stitches and a beautiful Habu thread, this has become a new favorite! A block printed lien piece of text, by Miles Frode, was a nice add.
I enjoyed re-connecting with the Threads staff last month for a podcast on Creativity and the meaning of Making in my life. Click the link to see it online.
Deep Breathing as cooler weather comes back to Southern Oregon and the fires here in the west subside. Grateful for the change & more handwork, DIANE
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My Capitola Pant Pattern (PAPER) is a winner and the perfect choice for these 3 Fall variations. To get the fit you want, start by taking a few measurements of your favorite comfy pants. How wide are they across your hip? stomach? and around the thigh and calf? An inseam measurement will give you a good sense of the leg length too. By comparing your measurements (remember to divide the waist, hip and stomach measurements in 1/2) to the Capitola pattern (PDF) piece out flat, you can easily adjust before cutting into your fabric. Follow the suggestions in the prep section of the pattern to get started.
Suggestion: No matter what size you are making, cut the pattern out on your size then all the way up to the xl waist fold cutting line. This gives the length needed to determine how much crotch seam it will take to the front, sides and center back for the finished pants to be really comfortable !
Once I determine that line in fabric, I make a copy of the pattern with MY waistline and fold-over …everyone's will look different depending on where your fullness is…This part is worth doing! See in the directions in the pattern for using your elastic to determine the perfect waist line and adjusting it in fabric once the pants are sewn up.
I have used the same pattern for a drapey soft pant, a more fitted spandex version and even some leggings! It is easy to do by pleating the pattern piece as shown in the directions. I mark my copies by stitching a piece of the fabric on the adjusted pattern piece, so it is always ready to drop onto a new piece of fabric and cut it out!
These pants were pieced, serged then washed and dried BEFORE cutting out with the pattern. By making 2 pieces, slightly bigger than the pattern piece, and serging around the edges there will be enough when they come out of the dryer.
This gives that soft, relaxed, rumpled look that some of us like. Once the pieces are cut out, handstitching is my next step…so easy when the pieces are flat.
A 2-3” hem/facing piece was added to this version for weight and finish at the bottom.
For this pair, a soft, lightweight cotton (see below) was added as the fold-over to hold the elastic…that way, whatever piecing is at the waist, it doesn’t add bulk. Sometimes darts can be added in the back to eliminate some of the bulk if there is enough width to pull them on.
These pants are cut out as a soft roomy version, with enough ease to drape nicely when finished. The fabric was washed to start. Once the pants were finished, they were wet and twisted…like wringing water out.
Each leg could be twisted in opposite directions or both legs twisted together. Next let them hang to damp, them shake them gently to start ‘opening’ them up.
Once they are completely dry, try on and determine placement for the ties and stitched details at the ankles. Repeat the same twisting process. In between washings sometimes they need a bit of water spayed on them and twisted for a while. Natural fabrics will relax, and will start to get a nice memory as you continue to do this.
This technique is an easy way to add several cool details BEFORE cutting out the pants! For these pants you might want to make a pattern piece for each leg. Leg #1 with Pocket- Holding the adjusted pattern piece up to yourself. Determine the line for the pocket to open on ( and on which leg). That line can be drawn across the pattern piece. Next, with the fabric panel lining up with the top of the pattern, fold a 9" pocket (which will take 18"s of fabric). Place the folded edge on the line drawn for the opening, *Next, pull the fold 2-3 " (towards the pocket) for a hand opening from the *edges of the fabric then pin the pocket line and where you want the pocket opening to be. Machine stitch from the inside, then topstitch on the outside.
With heavier fabrics, you have the option to trim away (on the inside) the areas as indicated below. It may not be needed with light weight fabrics. Once the pocket line is secure, cut out the leg from the pattern piece.
Leg #2 with Vertical Pleat & Layered Hem-Separate the second leg on a vertical line over the knee. Add seam allowances to both cut edges and set aside. The overlapping layer at the bottom is an inverted version of the pocket in leg #1. My flap is 5"deep which means 10" of fabric folded up. Fold flap in place and press. Next, cut the hem length of the pattern piece. Note: A hem facing piece can be added to finish both pant legs at the end if desired. Next add a vertical dart in the middle of the piece (where the side seam would be) and stitch it closed to a point at the inside fold line. The dart is optional, but accentuates the silhouette that the flap creates. Drop the flap back down and topstitch across the top of the flap to hold. Now add the center front piece and sew from hem to waistline. Next check leg #2 with pattern piece and trim the edges as needed. Press vertical seam flat and topstitch from top down.
More variations to come...I am wearing these out already! I hope you explore some design options with your favorite pants patterns to enjoy this fall. DIANE
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You have seen some of my layering River Tunics in the last Journal Posts. Here are some tips for making them work in your wardrobe. I’ve made friends with sleeveless! As we age, the way we feel about our arms can get in the way of light weight summer clothes. These sleeveless undershirts are a great lighter weight garment in single knits and lightweight cottons, that are fun and cool in the heat.
Here are 3 in my collection, with shaping tips & tricks to make them work.
White Tee: A ReMake with overlapping side. This tee is easily made from a mens tee shirts ( I go for an XLG to get max length and width through the hips and hem). The neck edge is already finished so This garment just needs the sides and armholes re-made. Here is the quick sew of how it works:
Side Seam: The sides are cut open down side seams to start. BASIC RULE: Think about which side of the seam to cut on based on which edge you want to stabilize. Cut this seam open on the back side, along the seamline. This keeps the front edge more stable and lets you stretch the back (along the cut edge) if needed.
Removing SLEEVE: For this one, if the armhole edge is in a good place for you, cut the sleeve off on the sleeve side of the seam. Leaving the sewn seamline attached on the garment side of the tee. Cutting on the sleeve side of the armhole seam keeps the armhole edge from stretching…especially in a single knit that wants to roll.
Need DART SHAPING? This is a great way to shape the armhole edge and add some bust fullness instead of a dart: Stay Stitch, with a needle and thread, along the seam line. (where bust dart would happen). Next, gather fabric on the thread then press curved shape. See above how much can 'ease in' with out actually creating gathers. A pressing ham is also good for steaming the shape of this bust/armhole area.
Cut armhole shape you want, then add binding or ribbed piece: See above: A folded piece of ribbing from the short sleeve fabric was used. With side seams open, finish armhole edge with binding or ribbed piece. Ribbed piece should be shorted than the armhole edge and pulled slightly tighter to fit while sewing. See above how the tighter edge piece is pulled and pinned before sewing. This creates a nice curve after sewing and serging to finish the inside.
Next, working on the sides: Drop fronts down as needed, overlap fronts onto back at side seams. This is one of my favorite maneuvers!!! Shown on the ironing board above, it smooths the armhole (for fuller busted shapes) and creates more fullness at hip and hem area. This overlap can be stitched from inside or as a topstitch, leaving an asymmetrical hemline and slits for more movement at the bottom. Done! The original hems were used so this one's ready to wear!
Any tee shirt pattern can be the start for this way of making an under-tee. This one started by piecing some small scraps to use at the front/neck edge. The pieces were serged together. Note: Single knits are more stretchy…the smaller the pieces are, they can use in any direction to create more interest. If it is TOOOOO stretchy, knit interfacing can be fused to your pieces first.
A Creative Strategy: One of the best changes you can make to give your creativity more range is: to elliminate the mental 'yes or no' questions that start with ‘Can I…….’? because 9 out of 10 times I bet we hear the answer as NO in our heads. Rephrasing the questions you pose to yourself, is an opening to more successful problem solving. It will make your creative process more dynamic and may surprise you with what you already know, but haven’t yet accessed.
SO a question about the direction to use a knit is transformed to: If I want to use this knit with the lengthwise grain in this direction, what do I need to consider? Making the assumption that YOU CAN is 3/4th of making progress!!!!! Honestly. It is you in there, not a pedantic, perfectionist teacher. The more you make, the better it gets and the more technique and skills you will acquire….but that only happens if you are interested and stay with it. We each have your own learning style…and trust me, as someone who did not want to learn sewing in the traditional way: YOU…in all your uniqueness is a gift! The work you create will be a celebration of that.
The Asymmetrical Neck Opening was cut then 2 bands used to finish the neckhole. At this point, I put it on the dressform ( or myself) to see where more fabric is needed for the length garment I want. This pieces being bigger will drape more …so consider how they will hang over time.
If you have worked the front and back separately, add a piece of stay tape ( a piece of selvedge was used here) to the seam to keep the shoulder seam from stretching as you sew and wear it. The pieced neckhole was laid on pattern pieces to check the shape and ‘true-up’ the armholes and any edges I want from the pattern.
Finish the Armholes-This garment has ribbing (a folded piece of the knit in the stretchy/crosswise direction of the fabric), serged on and drawing in to finish the armhole edges.
Adding length: YES, knits can be in different directions! ...especially if it is a stripe (and I want it going up and down on the body instead of around). Adding longer pieces for the front and back came next. Adding more flared shapes on the sides gives more options. I can decide when I try on the garment how much fullness I want in the lower part of the garment and hem before I sew it.
Raw edges/selvedges? This stripe piece, used the fabric across the grain. The selvedge was used for a finished hemline with slits on one edge and a clean cut raw edge was used on the other hem edge.
This Black Woven Cotton Undershirt is a ReMake. Purchase as a set the lightweight back, bias garment was layered over the second green layer garment. loved the look but the black piece was a questionable fit (ONE SIze FIts ALL…who are those people!?!?!?)
Even with the bias creating more stretch…not nearly enough to be a good look. I was open to a knit or a woven black fabric-it just had to be lightweight. The back bias garment was opened down the sides and a with a thin single knit cotton tee added as side pieces. A contrasting print fabric could be another choice for a fun summer top. My choice was something that would blend in and not be the focus of the overall silhouette.
Here are the shaped pieces added at the sides. The tee was sewn to the front edge and serged..then draped onto the dressform to see where the second seam needed to be in the back. I am usually very picky about fabric combos...for this one, being an underlayer and black, gave more room for choices.
I love the trimmed edge on this one. It is a cotton, novelty mesh knit. A 3-4" strip was cut then zig-zagged to the inside of the hem. The edge was shaped by trimming afterwards for the desired look.
I love the look of the small piece added to the neckline! That small bit at the neck was hand-stitched on: details are everything…..think of them as spices that can make a favorite dish…they mean alot and finish your piece.
Check out more details and ideas on the Video about these undershirts-I am already picturing winter versions of this for my new wardrobe!
Happy end of the Summer Sewing!! Diane
Try-on, pin side seams and sew them last. …pick a shrug …and go!
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Inspired by generosity and beauty, that day, the woman set out on a splendid journey of making'.
I'm at the beginning of a collection of these for every season! Here is my pattern (med/lg) so you can join me in the making.
Added Surface Design-
The painted, cut and stitched fabric for this piece makes it! The initial painted and stamped circles were added in silver metallic (Jacquard Fabric Paint). Once dry, the paint seals the edges and can be cut out in any shape. Some of the holes were left open and some were used as frames with bits of cool fabric and trims added from behind and stitched in place. Strips of cotton were rubbed with the same paint for the ties.
The facing rectangle is 4-5” wide and the length across garment. I use a lightweight cotton fabric for these summer weight garments. Scooping the back neck as shown in the sketch, creates a more comfortable neckline.
More hand stitching was added to finish along the side slits across the pleat and along parts of the front edge and armholes.
We will have a folder on my facebook page for all the cool shrugs we make this year, so add a photo of the ones you create there!
Combos for reMaking is never-ending. Once we’re hooked…one piece always seems to lead to the next!
This sleeveless tunic combines: Painted linen, a dress shirt, a printed tee shirt, a pin stripe shirt, some grey linen fabric, embroidered pieces and an unsuccessful skirt project.
This kind of garment construction is a fabric puzzle with a variety of ways it can evolve. Working on a dress form is key to this process.
Where will you start?
• Sometimes randomly cutting garments into a collection of pieces in various sizes, opens the way to just starting. I suggest starting with pieces that are different lengths and widths and let the finishing details on the garments you cut be part of the new pieces: ie button tabs, cuffs, collars, front panels with pockets etc. You can always cut them down more later…so start with some generous size pieces.
My Start- This garment started by placing the collar on the dress form like a front edge down the front. Once there is a start there, it evokes the question: ‘What will go with what I have so far?’ It can be helpful to keep some running notes as you work…you never know what will become key to your process and how you will work on future pieces.
To get the process moving, I often serge 3-4 pieces together, thinking about amounts of each I might want to use in the garment. Making, until something says ‘yes!’ is part of the process.Once a few pieces are in place on the dress form, time to build from there: adding for width or length, looking at the direction that will be most flattering, and in this case how woven grain and knit might play out when the garment is worn. Because I usually want one, pockets tend to show up along the way. This one with a tuck, and wide, bias top edge is a nice detail on this garment.
At mid-stage, SCALE of the pieces becomes part of the story. If things feel to large (or bold), I can piece into them or create more seams to create a better scale of elements on the body. Remember, you're not making a duvet cover!…so big quilt squares may not be the best look!!
Repeating what is there-One you've got some aspects of a successful piece, the details you are drawn to can be repeated throughout the piece. For this one, black stitching thread on the machine was just that. The way things are stitched and the types of stitches used can create a cohesive story as you make. Stitching irregularity contributes to the casual feel of this piece.
Details & Stitching-
The second collar/neck piece was cut from the hem of one of the garments. It is a nice scale for the neck edge. I noticed the bottom of the finished collar band and the pieces I added below it ‘created ‘ the perfect buttonhole! Since I hadn't started with trying to match buttons in the beginning, I am now open to what buttons will complete the look of the evolving front edge.
The bold, stripe button is the perfect accent and the smaller shirt buttons fit right into the buttonholes in the shirt tab I used there.
Hand-stitching can be used as a finishing tool. For this piece, I combined grey and white embroidery threads. They can be used to ‘soften’ an edge, bring more attention and balance, or create a focus with a contrasting colorful detail.
Overall theme & flavor of the Garment: Refined and casual: some rough edges, some finished- always going for an interesting story. Each of us, at every age, has a unique style shining through. Re-Making is a playful celebration of the individual.
Making we discover the magic in our fingertips.
Diane
Wanna see some video? Click this link to see more about these pieces.
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By now, you know I am all about the River Tunic. My favorite silhouettes are the ones I know I will continue to make every season- in every fabric, changing the lengths and adding a few new details each time. I am making summer weight one now.... here are 2 fav’s just added to my wardrobe.
In Linen- With a few wacks of my scissors, this pulled-thread shawl/scarf is transformed into a new layering garment!
1. Folding the shawl and cutting the basic shape is the start. The neckhole center is marked by cutting a small ‘+’ shape in the center (big enough to drop over the neck on your dressform). By draping it on the dress form, you'll get a better feel for the size of a neckhole before cutting it out. This one has a simple bias strip to finish the neck edge on the inside.
Details- Adding some tufts of the cotton fringe to the center front of the neck edge feels like garnish on a dish! LOVE the way it looks and relates to the rest of the piece, creating a quiet focal point there.
Think about how you might expand the feel of details to companion garments- Here, I used some of the same fringe pieces and some Habu linen thread to detail the bottom of some linen pants.
Not sure where this fabric started life…but it is now one of my layering tops. Again, cut in the basic shape of the River Tunic Pattern. Wanting to use the selvedge edge as the bottom, it was cut with a shoulder seam across the top.
One garment informs the next: The shape of the neckhole is just right on the first garment...so it was duplicated on the green one.
This garment asked to be hand-sewn…I used a beautiful, knitted linen thread (HABU.com) . Using a few different stitches, it has a casual, inviting feel. The hemstitch is in a matching sewing thread.
A bias piece around the neck edge was sewn with the linen thread. The underarm seam is left open to allow the fabric to move more. Notice the difference between adding a tie to the top of the sleeve (optional). The tie seems to lift the silhouette and is more in keeping the airy feel of the piece. Leaving the threads hang at the end of a seam as I worked kept my options open. It lets me continue to ‘see’ how that small lovely thread is integral to the design. I liked seeing more of it than in just the stitching, so the ends are left with knotted tails on the sides and the ties holding the tucked sleeves.
Finishing: To iron or not to iron. Each garment and material requires a different finish. In this case, a light steaming, on the dressform is called for. Usually not even touching the fabric, just holding it afew inches away, the garment settles into its new shape though the clouds of steam.
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Remember it is always about the fabric!! Use the stuff you love…no practice sewing anymore…use the good stuff now.
See my short video on these 2 pieces here.
Enjoy the Gifts in Your Hands, Diane
]]>Okay, I still have Cicada design love in me! ....and I want to share some cool ways to create more with one, favorite stencil design.
Surface design is very personal...and stenciling can be a signature technique where sharing images and the way you print them elevates your design experience. For more printing ideas & printing technique: My Stenciling on Fabric Video is streaming online.
3 more directions the Cicada Stencil has inspired: a collage pin, a bag and a cool evening wrap.
Here is an easy way to build a shaped fabric piece with structure. Using recycle plastic has become more important...so this is a small way to do your part..
Starting with my Cicada image printed in metallics on black linen, I cut a curved piece of plastic (from a yogurt container), the shape I want the pin. and added a layer of batting in between. The black linen is wrapped around to the back with curved edges clipped and sometimes afew stitches taken to hold it in place, then fastened with some dabs of craft glue around the edges.
Adding Decorative Elements- I love finishing with bits of this and that....in this case, the Cicada called out for legs ( from knotted rolled elastic), and some found metal pieces from my stash. As you can see, there is a little bit of 'everything metal' to choose from. Mostly I sew (yup, through the plastic where needed) the extras on. You might be adding beads -consider seed beads along your edges. A pin back or stick pin finding can be added to the back: make sure it is glued to the plastic-OR sewn to the fabric. I usually finish with a piece of ultra-suede or leather-cut slightly smaller than my original pattern used to cut the plastic). Playing with some of the variations with printing first can inspire the direction your finishing takes you....Below is the Cicada printed twice, creating a more complex image to start with.
LOVE this BAG!! Here, the Cicada image is integrated into the overall design of the a Raven Bag. After printing the Picket Fence Stencil lightly in the background, the Cicada was printed on top. Dragging a dry brush of white paint over the image was the perfect way to soften it. It is always about the fabric combo...so spending time bringing your favorite pieces can really make this bag personal. The bag can have a longer cross the body strap shoulder strap, multiple pockets and several options for creating a second look in the pattern.
This synthetic black feels like raincoat fabric and took the painted images beautifully. A partial printing of the Cicada created a beautiful border design here. Fabrics with a smooth surface will yield such different results than textured one...so printing on lots of different types of fabric will build your confidence and mental design file. The Jacquard Lumiere Paints (metallics) are so beautiful to work with...I never tire of the magic that appears when I print.
This piece...which went in the fire...along with the bug pin- were such fun to make and are still with me as I envision what the next variations will look like.
Trust & Love the Make!! Diane
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Brood 10, the Cicadas that appear in the eastern United States seem to have landed here! This shrug, started with the River Tunic Pattern and is a fun, timely piece to step out in. If you are already playing with this pattern in your wardrobe, here are the tweeks I added to create my linen Cicada stenciled topper.
Getting Started- Using a piece of linen printed with some disappointing surface design, it was the perfect piece to build on. Extra white linen pieces were added.
A commercial print with an interesting texture would make a great back ground for the Cicadas too. Next, cut out the front and back. My basic garment measurements are shown above. Mine is seamed across the shoulder foldline, allowing for the faced openings shown in the sleeves. The front was cut open up the center fronts were folded under for a long 'V' neckline opening.
A Folded Pocket (above) is a quick and easy way to add a pocket! My garment has a short one, 5" deep. Just like it sounds: the fabric is folded in a big horizontal pleat to create a pocket. A=top edge of the finished pocket B=bottom fold of the pocket and C=top placement line of the pocket on the garment. Bring line 'A' to meet 'C' to create the pocket. Press and sew part way across the fold, leaving only the opening for your hand, unstitched. The sides of this pocket can be sewn from the inside instead...and sides of the pocket closed there too. FYI: If you don't know about the Just Pockets Pattern....it is a good one!
Printing-This is the perfect time to print! Since the stenciling will call attention to the images, when the garment is cut out first, you can do some placement of images that will be most flattering. In this case, I wanted the Cicadas to 'be crawling out of the pocket, so they were printed before the pocket fold was sewn in place.
Ask yourself: How does the imagery relate to the garment and silhouette? In this case, I left several openings on the sleeves...and accentuated them by adding bugs coming out or or crawling into the openings of the garment.
Construction- This being a light-weight, summer shrug, The openings: on the sleeves, deep v-neckline and open underarms all relate.
A back neck facing (shown in hatch marks above), was cut in linen, then rubbed with the Citron green Lumiere Paint. The back neck was cut in a curve and finished with the facing once the shoulder seams were sewn. The hem edges are finished with torn cotton gauze strips that are serged to the linen, then the serging is pressed up. The lighter fabric on the hems gives a nice transition.
Buttons?- Loops? ....GRASS?!- To my eye, buttons would be distracting on this composition. In the video below, you can see how the grass 'was made' with fabric paint from the light weight cotton gauze. It can be helpful to play with trims or closures with the garment on. I considered having a bunch of grass coming out of the pocket with the bugs, but after moving it around, settled on using the rolled grass pieces as a trim/accent on the ends of the sleeves and as ties on the front of the shrug. Pretty fun the way they fit with the theme!
Oh, more Cicada ideas have come to the surface ...maybe more later, Diane
]]>I never got to share the last pair of toddler pants I printed with Cicadas.... so as they make their way to the surface again....here is a fresh pair with some how-to direction for creating your own.
Layered Printing- Stenciling with a sponge you can create different textures, adding sheer layers and print partial designs. Below, a light application of white was printed with a dry sponge through a paper cut out first.
Once dry, the 'stitches' were added with a Jacquard Fabric pen. It would be fun to stitch them with a contrasting embroidery floss too.
Using the Cicada Stencil, the noisy bug was printed on top of the patches once the under layer was dry. The finished design is very fun and could be added to a favorite shopping bag, pocket on a jacket or backpack. You're the designer! Want more bugs?! See my collection of bug stencils. For more ideas for printing with a stencil and drawing with fabric pens, see my streaming videos.
See you in the garden! Diane
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This IS my new favorite jacket in my ongoing Make a Wardrobe from Scratch project this year. ReMake is attracting more of us daily-sometimes we intuitively know what works and what doesn’t. In re-making this grey, linen jacket, I applied some of the design changes that make my garments work better on my body-type. Being able to translate those concepts and techniques to the next Remake can make it a winner too.
Here’s the transformation & my checklist of the things that make it work.
Using the same dress form, you get a feel for the original length and the shortened, finished design I am wearing. Even though I want to cover my bum, it doesn’t have to be with my outer layer. I find the shorter jackets with longer under pieces ( tee shirts, tunics etc) to be less bulky and more flattering on a lot of us.
Pinterest is a great place to explore different silhouettes on various body types. It’s a good place to start your own folders of ideas for garments ideas, and looks you’d love to wear.
Just because you can...... every remake doesn’t have to be a major project, showing every cool thing you know how to do! I LOVE to remake too… once I thought about the different ways I could transform this piece…I went with the idea of a simple 2-hr project.
Work from the top down: Neckline, shoulders, bodice, sleeves, front & back details, hems then finishing details and buttons/closures. Even though the embroidered pocket or the cool buttons draw you into a project, this sequence below is a good checklist for changes to consider as you create your new piece.
Overall Silhouette: Start with the big view, what do I love about this piece? What do I want more of? What do I want to accentuate/downplay? Am I going to add more fabrics? or another garment? more hardware, trims? Jot down whatever comes to mind, and check in with your list later in the process when you are on pause.
#1 Neckline/Collar: Do I want to cut the collar off? or What about it do I like?I s it to big? change the shape? pleat it? cut part of it off? remove it add binding/facing? fold the points back? Add a new collar? Once the garment came together (and I didn’t need the collar for other details, the collar was folded in half, steamed in place with machine stitching added in several places to hold it down.
#2 Shoulders upper bodice/sleeves: Is it ‘my’ size? Are the shoulders in a good place for the shape of the garment? Should I re-cut the armholes and sleeves then reset them to be more fitted? All questions you might be asking too. When using mens jackets, casual and kind of baggy works sometimes…but I often deconstruct them and recut the upper bodice, shoulders and sleeves and reconstruct that part of the garment with pattern pieces for a similar style.
#3 Sleeves: Too big? (remove some) Too small ? (need to add some). How that happens can be related to the design options you choose to repeat for the rest of the garment: ie: I added a pleat in the middle of the jacket, so pleating other parts of the jacket could be a theme used to add a pleat to the outside of a sleeve to make it narrower or shorter. Sleeve length is usually last as I look at he overall silhouette and try the jacket on. Pin them up if you think you might cut them off…but hold off to make a final decision 'til later. This did not have cuffs, but cuffs can be removed completely, or sewn back on higher up to remove some sleeve length in an inconspicuous way. Sometimes I add a new, contrasting sleeve then replace the original cuff.
#4 Linings: Is it a good one? Does the jacket need it? Will I use it ? How does it impact the way I remake ? This jacket does not have a lining…just facings (which I make a note of in case I need extras fabric).
#5 BIG pockets…especially 4, WITH FLAPS and buttons are a NO-GO on my bust! If you are small chested, you might love the added fullness and emphasis of these..even swapping out for more decorative buttons and adding a contrasting topstitching can add more focus! The other issue with these pockets= the symmetry….none of that says ‘I will look great on a 40” D cup bust! I removed one of the small pockets on the top and ALL of the flaps.
Seam Ripping: As you start, notice if the garment was dyed before or after construction leaving un-dyed areas or faded spots to contend with after you remove a pocket..doesn't mean you can't do it…just another design challenge, maybe with in a very conspicuous spot. Once the pocket and flaps were removed a good steaming with an iron usually helps close the original stitching holes.
#6 Hem & side seams: Most garments feel snug around the hips for me…so opening the side seams is one of the first things I do so when I try on the garment, it relaxes and hangs better, spreading at the sides. 2 pocket flaps were added to each side of the slit…a nice way to add weight at the sides too.
#7 Hems: Symmetrical? asymmetrical? How long do I want the longest points and where …and where to shorten a garment? Sometimes shortening garment at the front takes some of the weight off and creates a more flattering line. Always remember there are options here.
My decision to create a spiraling tuck in the middle of the jacket was brilliant if I do say so myself! Way more interesting than a straight line and it brought the original hem up and kept the lower pockets in tact with no extra work there. The pleat was pinned, pressed, then stitched through all layers: from the front edge, angling down (around the body) ending at the other center front edge. Ah so good when that happens!!!
Remember, everything doesn’t need to be nailed down= A garment is meant to move on the body…so leaving pleats loose, and the side flaps open…and the collar edge open part of the way around are all ways to repeat a design theme.
#8 Details/Finishing: Stitching accents? By hand or machine? New buttons? Oh yeah, swapping out the buttons can give a fresh look to your new garment. On this jacket the original buttons were re-sewn on with white embroidery thread.
2-3 things are enough: Once there are 2-3 things working, figuring out ways to repeat them will strengthen your design eye. Editing your techniques, finishes, hand stitching/or no etc. will help create a beautiful piece and give you the confidence to start on another remake project! See you at the worktable.
My recovery update: My recent life experiences are definitely informing how I feel creating my future. I am working to shift the need to feel grounded in a place (a home) and to be more at home in myself first…no matter where I am. Stenciling the small houses inside my this collar will always remind me of that. Diane
]]>I love the strip ticking for a canvas weight I-Ching Vest. The pattern is available in PDF and Paper. It is perfect for gardening or workshop time.
The combination of the utility weight fabric, the cotton measuring tape trim and topstitching (using a a triple-stitch) in black thread make this design a great combo. the machine blanket stitch was also used. Consider using the strip in different directions to add interest as I did here: turning the stripe horizontally on one front piece.
Although the garment was cut out following the pattern pieces, once the shoulders were sewn, the shoulders were pleated to bring them in to be 6 1/2”-7”. Working on the dressform, large tucks was folded on both shoulders, each side is a bit different, since the curved pleats are different on both sides of the fronts.
I used topstitching along the lines of the stripes (as indicated by the blue arrows), to hold the deep tucks in place. Notice the topstitching does not go all the way around the armholes…its just used, as needed, at several places, leaving the other edges folded or loose and giving this garment more dimension. The armholes was deepened ( to 10”) by ending the side seams lower. for a guide to cutting some of the armhole edge away, see the reversible vest version of the I-Ching in the Stitching Stars at Night post
Open slits at the bottom of the side seams, stitched with the black thread, accentuate the uneven hemline, which is fun to reshape to work with the design of the garment in progress.
Love this cotton trim that has a measuring tape printed on it! It was used as a collage element here and there. Short pieces were stitched on the front. By leaving the ends 4-5” long, the tails could be knotted and used as the buttons when pulled through the buttonholes.
Ravel Trick: To keep the ends of the trim from raveling…I often dip, or paint both sides of the ends with acrylic paint (as was done here). Once the paint is dry, I trim the ends to finish.
I wanna see yours....so make one!!! Diane
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Kantha, literally ‘patched cloth’, is traditionally made and stitched in workshops of women in India, Bengali and other countries in that region. A testament to our passion for making something useful and beautiful out of discarded items, the craft of creating kantha cloth is universal.
I am appreciating the Kantha fabric, in shawls, yardage and treasured bits & pieces you have all shared with me after the fire. Here are some spring layers I've just added to my new wardrobe using this fabric with such a rich history.
Reversible Cropped Vest-I seem to reach for this short layer in silk and cotton daily…one side or the other just works with everything! The Faultlines Pattern is perfect for small pieces and the angles are so flattering. The pattern pieces can be placed in various directions to feature stitching in either direction.
Knowing It would be reversible, I decided to hand-sew the vest together. The outside edges were turned, pressed and sewn first. After the shoulders were connected, the neck edge has a pieced binding piece that ends with a jog…just because.
Next, the fronts and backs overlapped (instead of right sides together). With a vest, not every seam needs to be sewn to the ends…sometimes leaving edges open (as in the case of the back seam) adds movement & dimension, even to a this small vest.
Here are the fronts & backs- depending on what it is worn over, it can give alot of different looks so it will be a great layering piece for travel.
This Ashland Vest- starting with a double layer, silk shawl piece of kantha for a longer vest. Using the piecing as a guide, some of the edges became borders and the fabric is so light, adding strips for contrasting neckbands was added for weight down the fronts. I've added to my scarf collection too. A pieced length from the kantha fabric easily becomes a scarf which creates different looks when worn with the vest too.
Easy to fit: Leave the sides open, finish the armhole and side edges then try it on, overlapping the fronts where they need to be. Next, close the sides to get the perfect amount of overlap for a more flattering fit on this Ashland Vest.
I do this with most vest garments…they just look better. I used the fringe edge of the shawl for a yoke facing on the inside…it was the perfect way to finish some edges and add weight and structure to the back neck area. The Ashland Vest is available in paper or PDF.
Let the Kantha you are using be the guide about hand stitching or machine stitching…sometimes it will show …sometimes it won’t. You may want to use a combination…hand stitching as an accent to the original stitching in the fabric.
Who doesn’t covet small bits!? Loved the new distressed jeans I found….but to short on this tall girl. I serged a hem on some scraps and used a fusible to hold my new cuff pieces to the inside of the original cut-off hems.
The white stitching was used to reshape the fullness in the leg.….and these are the new favorites!! Love this detail idea for cuffs on a jacket too. A stash of small pieces has been perfect for bindings, covered buttons and pockets -see the holiday dress with added Kantha to my Building a Wardrobe from Scratch in Dec.
Wearing these casual garments feels like home...soft and warm, as I settle into my new life. Diane
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New! In my collection=The Paisley Stencil.
You may have heard me say, ‘HOW you print is just as important as WHAT you print’…Let’s explore that idea with the new Paisley Stencil.
Each of us has our own style….it shows up in everything, from the way we dress, arrange a room and MAKE. Whether your design eye loves a more organized, (formal) approach to elements…or a more casual display, you can create it with a stencil. Above, a silk crepe was lightly stenciled just using parts of the Paisley stencil. Stencils can be a subtle layer and add depth to a design: The silk organza piece below started with a commercial print ( a similar effect can be created with Eco-Dyes or DyeNaFlo, a Jacquard product). The Paisley stencil was printed on top with bronze and silver metallic Jacquard fabric paint mixed together.
Printing Play: Some small (12” x 16” is a good size) pieces of fabric is a good place to start. My first pass with a new stencil is: I want to see what It will do in various colors and on different fabrics. In my sample pieces pictured, you see silk organza, linen, cotton and an upholstery blend in solids, prints and stripes.
Working with dense foam sponges, the printing shows complete, clean elements and brushed, partial elements. My surface designs tend to be more organic and casual…however this stencil would lend itself to a tightly configured placement with each paisley ‘nesting’ close together.
Love the way this design presents as a layer on other prints. Stencils are the perfect way to tweek any design and add a new direction with color too!
The large paisley in the stencil was designed as a ‘frame’ …where you can feature another favorite design inside! The hot pink linen had the 2 stencils shown, layered to create the finished design. This means all the stencils (and rubber stamps you have can do double duty and create even more designs!
Stencils are a great tool for eco-dying design. Above, Marta Marthas used rice resist paste through the stencil, then dip-dyed in Indigo multiple times to create the color variations.
Stitching is always a great accent on stenciling…it adds the hand touch to any combination. Above I have added some black thread, so striking on hot pink linen!
Printing bigger pieces opens up more ways to use your printed fabric in combination with commercial pieces. On the left above, strips of printed fabric are combined with commercial prints and textures to create a piece of collage fabric for a potential garment. On these black paisleys, printed on cotton fabric, broad brush strokes in Citrine (a favorite green Jacquard color).
Want more ideas and techniques for fabric printing with stencils? Here is a link to my streaming Stenciling video, sure to get you excited about your next level of surface designing!!
Let's print fabric!!! Diane
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And so it is….the Year of the Ox begins. I'm ready for the world to unfold for us all in this new year!!!
Time for a new jacket, celebrating the spring, to wrap myself in. Hand-stitching in white sashiko thread on blue gauze with a light layer of batting was the evening project that called me as time moved us forward. Staying with the white, I found new ways to accent with multiple threads and cover areas with single threads like small lights in the night sky.
I do love traditional Sashiko stitching patterns…but what you see here is my intuitive calling to trust the direction my needle would take and add stitches where they feel right. I find this way of working more personally revealing...letting me feel a deeper way without the intervention of conscious thought and decision making. After a session of stitching, I get to be surprised by what had come to the cloth. I used my I-Ching Pattern for two, new garments. The jacket, is finished with a soft lighter blue cotton lining, and the grey vest is reversible with an ochre color second side. Here are some highlights about designing and making these pieces.
DESIGNING to CLOTH-
Materials are first…only work with things you love. The cotton/ gauze blue fabric was perfect for the jacket …and linen in 2 colors was just what I wanted for the vest. With a thin layer of batting for both the jacket and vest, it was a joy to hold and stitch in the surfaces.
JACKET- Using my I-Ching Pattern, I cut the jacket fronts and backs with batting. Sewn across the shoulders next and started stitching! Seeing it on the dress form after each stitching session, I found myself ‘looking for’ what was next. Soon I started trading off working on the bodice pieces and the sleeves too. The space on the back called for something bold…I soon knew I wanted a dragon there…watching my back and looking over my shoulder as I move out into the world again. As a water Dragon, these images and sketches would be enough to get me started.
Want to create a wavy shape in stitches? Here is an easy way to create a beautiful shape with dimension: Draw a curve with 3-4 pens in your hand at one time! It is very fun to create text too. Translated to thread, the curved shape was accentuated by using different thicknesses of thread.
Once stitching is complete: Each piece was lightly steam ironed on a towel, then compared to the pattern pieces and trimmed as needed. With the sides open, the sleeves are easily sewn in place and the lining finished at the armhole edges with the garment flat. I added a smaller version of the collar before finishing the front and bottom edges all around with the lining.
TURNING & PRESSING-
After stitching the lining all around, trimming the batting and clipping the edges and corners is super important and will reduce bulk along the edges.
After adding the sleeves and finishing the armhole edges while the pieces are flat, The side seams are sewn up continuing out the sleeve seam. The lining can fold over and finish this seam. After the sleeves are sewn to the garment the seam allowances can be pressed and enclosed in the lining.
Simple stitched ties are perfect for this jacket.
REVERSIBLE VEST-
The reversible I-Ching vest in grey and ochre linen is also lightly padded which gives more dimension to the stitching. The asymmetrical fronts add interest. I used the concept of Boro patches for my stitch design. Love the effect of stitching with different number of threads for design contrast on this garment.
The armhole edge was cut away (measuring out the shoulder seamline: 4 1/2" from the outside edge was removed for a deeper armhole as shown above. This garment was lined by sewing all around then turned (through the back, bottom edge before the hand-stitching was added through all the layers.
The side seams were overlapped last to make the final fit. I love the second color peeking along the edges from either side!
Staying with one pattern for multiple garments deepens our experience in unexpected ways....so this pattern is on my table for a spring shirt too! These new pieces feel so good in my wardrobe.
What will create more meaning and joy in your work? Diane
Doesn’t everyone need a flannel shirt?…and I’m talkin’ GOOD flannel. Remember: Garment sewing is all about the fabric that feels good to wear. This beautiful collection of blue flannels is from marcytilton.com. 3 is my magic number of fabrics for this combo sewing project.
YOUR BEST FABRICS-
There is no reason to use fabric you don’t love! your time and ideas are worth the good stuff…and the pieces you think you should save until you have the PERFECT idea…well lets me tell you…
Say what you want…but making the first pass at a pattern with funky fabric (just to try it out…) begs the question: Will you ever make the 2nd garment? The one you really want? …the one after the ‘test’ one?
MY SHIRT-
I started by sewing some pieces together and draping it on the dressform to get a feel for the direction of my shirt. I like the scale of the piecing and use the pattern pieces to cut out the fronts when the pieces are big enough.
For the basic shape, I used Lynn Mizono’s Vogue Pattern #1274 and then started making changes:
• Cut neckline front for a V with a smaller collar. I usually cut collars on the bias for a better shape and drape (no matter what the pattern piece indicates).As more pieces are combined, I fold edges and in this photo (above) was playing with the scale of the collar, what edges to place the trim fabric on and possible pocket shape and placement.
• Shaping the hemline: A try-on can inform the length and shapes at the hem. I keep my options open and wait to decide this until I get there. It will have alot to do with volume of fabric in the piece and the overall presentation of the garment on your proportions/stature.
TOO MANY IDEAS ?!!!!! The more you design, the more ideas will come to you everytime you create! It doesn’t mean they all have to be expressed in the one piece in front of you. I know, that’s a relief right?
…people who sew for a lifetime carry ideas and the joy of making from one garment to the next. Enjoy, Diane