November 13, 2017

More Quilts in the "Something From Nothing" Series

Here come the next three Something From Nothing quilts.  The series is all made from unwanted materials, primarily out-of-date decorator sample books.  (To learn more about the whys and wherefores of the series, visit Something From Nothing, and also follow the links at the end that will take you to other posts about quilts in the series.  You can find the whole set on my website.) 

Cathedral - 32" x 44.5"
This was shown in last weekend's annual Fine Art of Fiber exhibit at the Chicago Botanic Garden.  (Photos of all the entries in the show are on the FAOF website.)  All the fabrics in this quilt are different colorways of one print, no other fabrics have been added!  It was one of those quilts that mostly fell right together as I started playing with the fabrics.  Yes, there were a few sticky, problematic places.....but once the work-in-progress had hung on my design wall for long enough, the sticky places seemed to find their way to coming unstuck.


And these next two are, as you can see, the outliers of the series as far as shape and size go.

Right Side / Wrong Side - 10" x 93"
I had separated out a pile of fabrics based on some navy and antique gold prints.  I began to realize that, handily, they all had interesting reverse sides.  From there, I found other reversible fabrics and experimented with layouts to find the best way to juxtapose and emphasize the two sides.  I just couldn't leave any of the fabrics out, so now it's a ceiling to floor quilt!

Tiny - 5.25" x 5.25"
This was originally made as a nametag to wear to needlework guild meetings.  But once I put it on, it felt too big and heavy.  So I un-embroidered my name and found another fabric to applique in the middle.  And now it's the tiniest quilt in the series!

So maybe you are now wondering what I ended up with as a nametag?   It's a Something From Nothing, too!  It's the embroidered corner of an old silk hankie.  There were tears in the rest of the hankie, but happily the main embroidery was intact.  I think someone had picked out a monogram, because there were lots of stitch holes in the center diamond.  So I added my name, and a few extra leaves to balance out the way my name fit in the space.  It's only 4" x 2.75".   I love pansies.  I'm quite happy with it!

November 7, 2017

19th Century Toddler's Outfit - Addendum

Here's to the wonders of social media, especially in the hands of antiquers!

I recently posted about this mid-19th century toddler's outfit, and now have added info to share.  

Addendum 1.  Quilt historian Martha Spark got all excited about the outfit.  Here's her response:
I would agree with you that the cut and construction of the dress looks to be c1860s, with its plaid fabric (the era of “all things plaid” after Queen Victoria & Prince Albert acquired Balmoral Castle in 1852) and the GREAT document fabric inside the sleeves (looks to be a Vermicular print, popular in quilts the 1840s-50s). Another fun little note on the fiber content of the plaid you so cleverly identified (wool & cotton) can be called delaine, a semi-translation of the French, mousseline de laine, i.e. woolen muslin.

Addendum 2.  The next day, I came across a post on instagram from a button collector "buttondowndesigns".  She's on instagram, web, and facebook.   She showed a set of calico china buttons, one of which is exactly the button on the little dress!  She says the buttons date from 1840s and 1850s!!!  So I googled - they are a specific type of china button called calico buttons after their delicate patterning.  There were 300+ calico-pattern designs manufactured, and collectors are all about trying to find them all.  How cool!

For more info on these delightful little buttons:
The China Button Exchange
china button books and resources, and general button history

November 1, 2017


A quickie little post to share just this one fabric.

I found it on a 1960s scrap quilt.  As I've written before, I'm not in love with the mid-century modern look in quilts, furniture, clothing, etc.  But now, I'm getting lots more quilts from the 1950s-70s showing up here for repair.  So I need to like them!  I discovered one aspect of the era that I totally enjoy - the wealth of conversation prints.  Like this one, they are so very clever.  If I saw this at a store, I'd buy some!

October 16, 2017

Sweet Butterscotch Quilt

This quilt belongs to a friend of mine.  It's a late 19th century quilt.  I found the block in Barbara Brackman's Encyclopedia of Pieced Quilt Patterns.  It's called New Album, published by Ladies Art Co., pattern #36 (LAC started publishing in the 1890s, and 36 is a fairly low number).

(Note: There is info on finding the book on Brackman's blog.  It's now available as an eBook.  It's an invaluable resource!  It's also available on paper via my favorite used book resource, AbeBooks.  I have no connection to AbeBooks.  So far, I have found their condition notes to be accurate.)

The quilt is a great collection of mid- to late 19th century prints and colors, including a great butterscotch yellow print in the alternate squares. 

Here's the back fabric. 

There were a couple of older repairs, which I, of course, found especially interesting.  These were done with a reverse appliqué sort of technique, which I like to use all the time.  The patch fabric looks like a very faded version of the original fabric.  I wonder what the story behind that is!

I turned to Barbara Brackman for information again, this time to her great fabric history book "Clues in the Calico".  In the 1800s yellows, dark yellows and yellow-oranges were dyed either with antimony or chrome.  When the dyes were printed in a tiny texture on white as in this fabric, the result is this softer color often called butterscotch.  Brackman says the butterscotch print style was popular from the 1840s to 1890s.

This is the kind of quilt that I always want to call a very quilt-y quilt.  It's the sort of quilt I imagine everyone has in their mind's eye when they first hear the words "old quilt."  It's straightforward, scrappy, and just plain cozy!

October 4, 2017

It's a Wedding Dress!


My daughter Katrina came to me last spring, asking me to be an advisor for a wedding dress one of her best friends had asked her to make.  Of course I would!  We have known Hannah, the bride, and her family since the grade school years. 

What ended up happening was two long and intense and super fun weekends of dress planning and construction.  And after that, a most wonderful wedding! 

Here's the production team:  bride, mother of the bride, and my daughter.  It really did take all four of us for all the brainstorming, remembering of details, and the actual cutting, fitting, and sewing.  While we all know how to sew, not one of us is experienced with this kind of fancy gown.  We each had a different skill set to bring to the project.  The bride's mother did double duty, also keeping us fed with her delicious culinary skills.  We just had the best time!

Planning started with Hannah searching online for style ideas.  Her ideal was to use organic and sustainable fabrics, but she was having trouble finding an organic lace that she liked.  Then her mom offered up her own wedding dress which had tons of lace.  The idea of re-purposing the lace fit Hannah's sustainability wishes just fine, and we were off to the races!

Here's the original 1980s dress.  The lace had been chosen by the bride's grandmother, so using it brought another generation into the process.  How lovely!

Our first sewing session was in mid-May.  Hannah and Katrina no longer live in the same city, so their old hometown here became the rendezvous point.  Here's how we started - patterns, laces, and fabrics - many choices to make.

We ended up choosing the strapless gown from one pattern with a trim of old lace at the hem, and a short tunic from another pattern, to be made from the old lace.

First step was to make a muslin for fitting.  That was made with organic voile.  Measuring, twiddling with the sizing, and then cutting and stitching. (Yes, folks, those are soup can pattern weights!)

The fitting went smoothly enough that we were able to use the muslin for the lining of the actual dress.  Cool!

Next step was a shopping spree for the appropriate foundation garment which turned out to be a basque.  We also bought silk to make the actual dress.  And then made the dress "again", this time with slippery silk and boning in the bodice.

Stop the presses!  The silk dress with the voile lining was too sheer for comfort.  So we took the satin underdress from the old dress, took off the deep lace flounce, cut off the bodice just under the armholes, and stitched it into the bodice seam as well.  This almost made the dress too tight, but when we put the original darts back into the old satin, that helped the fit a lot.

We also cut a fitting muslin for the tunic from an old sheet.  Katrina took that back to Philly with her to stitch up before our next production session.

So by the end of four 12-hour days, we had a lined dress mostly constructed.  It was ready for the (dreaded) zipper, hemming, and adding lace at the hem....  and figuring out how to keep the strapless bodice up securely....  Just a few more little things....  Oh, and also there'd be making the tunic...

We met again two months later.  The zipper went in mostly easily (do zippers ever go in totally easily?!) and "just" needed some hand tweaking at the bottom.  We decided on using lots of snaps to keep the dress up, i.e. snapped it right onto the basque.  We also added ribbon hanging loops.

We did some fitting with the tunic muslin, including noticing that the shoulders were too wide.  I pulled out a great book that I bought at a rummage sale - Fantastic Fit For Everybody: How to Alter Patterns to Flatter Your Figure by Gale G. Hazen.  We made tucks as the book suggested in the muslin, and the tunic looked great!  The muslin then was taken apart and became the pattern for cutting the lace.

Next step was cutting the lace pieces.  We wanted to cut so that the lovely scalloped edges at the bottom of the old tunic and the tightly gathered skirt flounce would end up at the bottom edges of the new tunic and it's sleeves.  The blue outlines below show how we placed the pattern pieces.  We cut the sleeves out of the old tunic front and back, and the bodice pieces out of the flounce that had been taken off the old underdress.  (Imagine that the old gathered lace flounce had become a long piece of flat lace underneath all three bodice outlines.)  In both cases, there was just barely enough fabric, sometimes just a 1/2" to spare at a couple of corners.  Phew!

We even managed to arrange the pattern pieces so that the scallops met gracefully at the side seams!

Constructing the tunic was tricky because the lace has subtly different right and wrong sides.  We also made a narrow silk binding for the neck edge, and attached button loop tape to the back closure.  I found just enough tiny antique mother-of-pearl buttons in my button boxes. 

Then the hem.  I did this to myself.  I came up with the idea that we could attach the scalloped edge of the old lace flounce to the voile lining, ending at the target length for the dress ... and then hem the silk dress a little shorter, so it would look like there was a lace petticoat showing at the bottom.  Lovely idea, but entailed yet more head scratching and math!

We put the bride up on a stool and measured for both hems.

The lace went onto the voile by machine.  We needed about 130", and the old flounce gave us only a few extra inches.  We figured that we'd never get the scallops to join neatly there, so Katrina just stitched the strip on.  It ended up only about 1/2" off, i.e. as good as a match.  We figure that Hannah's grandmother was watching carefully over her lace and helped it all work out for us - her gift to the wedding! 

Here's Hannah, a little astonished to see an actual bride in the mirror!

Then Hannah took the dress home to hem the silk by hand and put all the tiny buttons onto the tunic.

And voila!  A wedding!  This was definitely the most fun, most creative, and most heartwarming sewing project ever!

September 23, 2017

Creative Quilt Ties

What really intrigued me about this quilt were the "ties".  Instead of the usual yarn or thread knotting, this quilter "tied" her quilt with oversize lazy daisy stitches!  Sometimes, she used a contrasting thread that lets the stitches really show.

Here's the stitching, front and back.  Very clever, don't you think?  And the brocade on the back is really lovely! 


Sadly, this quilt is another survivor of doggie chews.  I patched tears and pulled together open seams.  The fabrics are mostly rayons; the pattern is bow tie.

I'm showing a couple of close-ups, because the colors are so subtle that the patchwork doesn't show well in a full shot.

The family thinks it came from the Georgia-Florida side of the family.  The owner's mom probably had it as a girl in the 1940's, so it possibly was made and given to her by a relative during her childhood in Florida.