SEWING APRONS

SEWING APRONS

 

I was fiddling about with some blue gingham material, cotton, attempting to make an apron for William, my grandson. The joins where the halter and waist ties join the body of the garment were messy and I couldn’t seem to resolve this. Also I had appliqued a W in red and this had not worked well. Then I had a bright idea. I would make it double and reversible.

I ditched the blue gingham and chose a plain black cotton and a grey cotton with sailing boats on it in black and gold.

I measured the width of the body of the apron at the top of it, the waist and the hem. I drew on a piece of paper half of the apron, drawing a curbed line from the waist to the top. I had folded the material so I placed this half pattern on the fold and cut it out. Then I cut 3 pieces 4” wide and about 15” long. I cut the black out first; then I cut the other body out of the printed boat material. I did not need to cut out the ties and neck piece in this material, but I cut out a pocket with a boat on it to go on the black apron. I also cut the black side 2” longer than the printed so that there was a black border on the hem of the grey material. It didn’t take a lot of material. I reckon half a yard of each would probably have been sufficient but it depends on the size of the wearer.

Then I sewed down the side of the tie pieces, and sewed one edge; the neck piece could have both ends left unsewn. I sewed a hem on the top edge of the pocket and ironed down the edges. Then pinned it carefully in position and sewed it down. I then placed the two apron sides, right sides together, and put the unfinished edges of the ties  between the sides of the apron and pinned them in place. I then sewed right around the entire body of the apron, leaving a space on one side of about 3 “ through which one can pull the apron and ties so that it is the correct way round. You then sew up that small section by hand.

This makes an attractive apron, thicker than normal to withstand spillages etc.

There should be some link in colour, pattern etc between the two fabrics. It was fun to do.

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DOING IT IN GROUPS

Recently we set up a new group, where we meet once a fortnight in each other’s homes for two hours of sewing / knitting / other craft work.   I find this very enjoyable for a variety of reasons.

Firstly, it’s nice to meet in a relaxed setting with friends.    You hear people’s news on an on-going basis.  Not everyone can attend every time, so the dynamics are always subtly different.

Secondly you don’t often set aside 2 hours of peak working time to concentrate entirely on your work so you make encouraging progress.

Thirdly it is amazing and stimulating to look at the truly lovely things that others are producing.   My colleagues’ work makes me feel that my efforts are somewhat bodged and pulled together affairs;  but I love watching them progress.   We have people just learning new skills, and we have extremely accomplished craftswomen.   There are beautiful quilts being made, a gorgeous patched silk jacket, articles for babies, tapestry work, knitted garments.   During the few months the group has been operating, I have completed:  a quilt and a bag to hold it for Dana, a nightdress for Erin, the dog blanket dress, a yellow and black quilt for Rory and Sarah’s new room, a mat made of African animal pictures, 3 cushions with the same animal for Ewan, curtains, 2 cushion covers and a tie-back for Elisabeth, a Harris tweed bag for Joanna,  a cord and plaid handbag, a pair of man’s pyjama bottoms, and a black and yellow dress.   They haven’t all been made at the group meeting of course, but I usually show my colleagues  (hoping they don’t examine the stitching too closely!)

You can always ask for advice; borrow a pattern;  acquire a nice button or a ribbon from somebody else’s collection;  borrow a craft book;  use their pinking shears etc.   Also if you feel so inclined, you can just go and sit with your work in your lap, and let 2 hours slip past while doing nothing at all.   How often can you do this in pleasant, easy company?

THE DOG BLANKET DRESS

IMG_2144THE DOG BLANKET DRESS

Persons of my former acquaintance (low life types of feeble intellect and little discrimination) have occasionally had the temerity to suggest that yours truly is a silver-tongued deceiver who could with artful cunning apply a positive spin to any chosen subject, or conversely ruin some poor innocent’s reputation with a few well chosen, carefully planted, deceptively mild phrases.   You, gentle reader, being an intelligent person of taste and sound judgement, know that this accusation is a foul calumny, and that your humble correspondent deals only with shining truths and accurate analyses.

It has occurred to me however that I may have – inadvertently – presented you with a picture of myself as an accomplished and successful dress maker.     In this scenario, completed projects are  disgorged by my sewing machine with all the ease of an aeroplane ejecting parachutists.   According to this legend, emerging from my sewing room is an unending triumphant procession of elegant dresses for me;  silk dresses for my  granddaughters, velvet capes, quilts to go on their beds, pretty pyjamas and dressing-gown for all the ladies of the family, kilts for the boy, handbags to order, curtains, cushions, throws and mats for new houses, aprons for all and so on, all articles greeted with cries of delight by the grateful recipients.

Well, yes.   But we can all make mistakes; it’s neither easy nor invariably successful.

The week I’ve been making myself a cream wool dress.

I’ve adapted the pattern to my exact requirements – it’s a shift, very plain, with a zip at the back.   I’ve made three versions;  a brown wool with faint white stripes;    a greenish plaid;    and a sleeveless red linen version.   They’re all reasonably satisfactory and I’ve worn them a lot.

I had bought the cream all wool tweed fabric at a wonderful mill in Oxfordshire while staying with my friend Elizabeth nearby.   I did wonder if it was the right colour, weight and texture, but concluded it would be OK and proceeded to make it up into a classic shift, with a V neck and three quarter length sleeves.   It took ages.

I am NOT pleased with it.

The material looks like a dog’s blanket.    When I press it, there is an aroma of sheep.   The material is several shades of yellowish cream away from the winter white I need.   Although exactly the same as earlier models, it makes me look fat.   I’ve fiddled endlessly with it, and still the neck won’t sit right.    Although I know that the shoulders and arms are both exactly the same length, the way it sits on me it looks as if one sleeve is longer than the other.   It’s a DISASTER, darling.

I consider taking it to my lovely craft group and lamenting my failure to them.   They are all proper ladies.   They wouldn’t laugh.   They’d all do their best to help and encourage me.   Plus, one of their number is that magician, Alison, who can make anything out of anything and the insides of whose garments are as beautifully finished as the outsides.    But I’m sick of the thing.   I don’t want to work on it, talk about it, even think about it any more.

You can generally incorporate anything into your wardrobe, even if in its basic state it doesn’t suit you, by judicious selection of things to wear with it.   After extensive, time-consuming and messy trials, I discover it only looks tolerable with one garment – a very long, lean-line, creamy white knitted alpaca coat/cardigan (purchased from the Alpaca shop on the A 22.)   The reason this suits it is because it HIDES most of it.   With a black and cream silk scarf (a gift from Nan Wylie) to give vertical emphasis and conceal the neckline, and a cream necklace of biwa pearls, made by Joanna and gifted by John, plus black leather boots and black leather gloves (bought in Biarritz) it looks tolerable.

However it only looks OK if I keep the coat on.    This combination is too hot for most interiors, and not warm enough for outdoors.   The coat is too long to wear anything over it.   In addition, though I’ve lined it, it’s itchy.   Basically, it feels like you’re wearing a hair shirt.

The white knitted coat has shoulder pads, and as I wear it with other things I need to retain them;   they are not detachable.      The  dress has shoulder pads which I included in a vain attempt to make the neck and shoulders look OK.   They are inside the dress, attached to sleeves and shoulders and between the fabric and the lining.   To remove them would require a major reconstruction.   In consequence, the outfit looks like something General Patten might have worn.

I present myself in my entire ensemble to my husband who looks at me cautiously.   He can see I am not happy.    He is deceived by the outer accessories and assures me that it is fine.   I remove the coat and scarf and I see him hesitate.   Then he says it’s not too bad;  I’ve spent a lot of time on it.    I can see he’s looking at my derriere.   He says, maybe it’s not the most flattering garment you’ve ever made…   can you take it in around the hips?   I think, what he actually means is, it makes your bum look HUGE, and I feel, with frustration and fatigue, positively tearful.

John takes me out and we buy a grey dress and jacket.

So what should I do with the Dog Blanket Dress?   No self respecting dog would have anything to do with it.

FANTASY MAGAZINE

FANTASY MAGAZINE

For the past year I’ve subscribed to Sew magazine, but I won’t be renewing my subscription.

The cover of the latest edition features a girl in an unflattering dress with a shrug jacket of the kind that you know will neither be comfortable nor stay in place, and a child in an unattractive dress and cape.   It also has pictures of a reversible tea cosy;  a hand embroidered cake ribbon, and 25 Christmas articles.   Ugh.   I wouldn’t give any of those things house room, let alone waste time making them.

You can bet your computerised sewing machine that if a dress looks ill-fitting and badly cut on the model it’s going to look a complete mess on you.   What on earth would you want with a reversible tea cosy?   Or indeed a teacosy at all?   I hate old, stewed, tepid tea.   If you don’t drink it while it’s still hot enough, throw it out and make fresh.    Similarly with embroidered cake ribbon.     Are you going to use the same one year after year?   And 25 Christmas articles?  As if we didn’t have enough already.

But the final insulting straw  is a closing page article, part of a series by Anthea Turner, badly written and boringly executed.    Does this magazine for a moment suppose that its readership is going to accept Ms Turner as an example of good taste, good behaviour, intelligence, a model of a successful home-maker?   If so, it’s sadly mistaken in this (about to be ex) reader.    I wouldn’t dream of wasting any time whatsoever on anything even associated with Ms Turner.

It’s easy to criticise, but what would I like to see in the magazine?

I think I’d like it to concentrate on sewing for wardrobe.   I’d like for example a series of articles, with well fitting pattern, on dresses, from winter woollens this month, party dress next month, wedding guest outfit in June ,summer dress in August.     I’d like it to do a series on lingerie  and night attire, as the catalogues call the category, – pretty, lacy camisoles and slips in silk, mohair dressing-gowns for winter, men’s easy to make pyjamas.   I’d like it to offer say 12 patterns from the commercial books per month, with discount.    I’d like it to have an item for sale every month at a good price, perhaps a scissors set, a book, a dummy…   I’d like it to take one fabric per month (offered at discount)  and show 6 different looks from it – say, for example a white spotted voile.   You could have a full skirted sleeveless dress;  a dressing-gown and pyjamas;  a child’s dress mixed with lawn;  a ladies blouse;  a cotton dress with sleeves and yoke of the lawn.   Or say an ocelot faux fur fabric would lend itself to a child’s coat; a hat and scarf;  little girl’s coat with collar and muff;  a woman’s gilet;  a woman’s velvet serape lined with the ocelot plus hat; a cushion.

You could do a series of technical instruction: how to fit a zip;  do a buttonhole, and then garments that featured that work.

You could ask readers to send in photographs of their work and there could be a prize awarded for the best each month.

Although it would be a sewing magazine, you could have one easy article per month on knitting or crochet – so, a baby’s layette;  a mohair shrug for a woman;  a crocheted fine wool baby’s shawl, a pet’s crochet blanket.  You would always try to offer the materials and pattern.

You could do a monthly quilting picture – let’s say of a seasonal flower, which could be assembled into a large quilt or used individually.   Similarly you could do one a month embroidery project – flowers in a square perhaps;  initials;  the leaf of a tree, so people had the option of doing a one off, or of collecting them into quilt, wall hanging or bedspread.    Ideally these motifs would also be usable in clothing patterns, say the flower element on a quilted waistcoat.

In these times of recession, you could show how to make some hit of the moment fashion item much more economically;  and you could  show how to remodel a second hand or older garment into something new.

Someone could review a different sewing machine each month, sewing the same things – a sample with buttonhole;  a piece of machine embroidery;  a cuff decorated with automatic stitches;  a piece of quilting, so over the months you could see the comparisons.

But nothing ‘twee’.   No crinoline ladies.   No handkerchiefs embroidered with Mother.   No napkin rings with people’s initials.     No tea cosies, egg cosies (? You just eat the egg), no mysterious things divided into fiddly sections for putting bread into, no toilet rolls covers in the shape of a lady,  no sausage dogs, no bell pulls, no cushions with witty messages.     We wouldn’t ask Anthea Turner for any contributions.

I’d buy it.

(If any gentle readers care for any of the above articles I’ve disparaged, then you should just dismiss this blog as a rant of personal prejudice.    Having good taste (and who’s to say what is and what is not; it’s all personal preference) – having good taste doesn’t matter.    Having good character does.)