Bustle & Sew Magazine Issue 97 February 2019 Preview

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A Bustle & Sew Publication Copyright Š Bustle & Sew Limited 2019 The right of Helen Dickson to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, without the prior written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

Every effort has been made to ensure that all the information in this book is accurate. However, due to differing conditions, tools and individual skills, the publisher cannot be responsible for any injuries, losses and other damages that may result from the use of the information in this book.

First published 2019 by: Bustle & Sew The Cottage Oakhill Radstock BA3 5HT UK www.bustleandsew.com

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Welcome to the February Magazine The earliest signs of spring are visible in my garden and across the countryside surrounding my little cottage now. There are snowdrops and hellebores too in shades of purple, pink and creamiest white while the sharp green spikes that will become daffodils before too much longer have pierced the frosty soil and are standing bravely awaiting their moment of glory next month. There is activity in my garden too as the birds begin to pair up and begin nest building -rather like the two little vintage bluebirds in this month’s issue. We have cactuses too, and a zebra, as well as two very talented makers, lots of lovely traditional British bakes and much more besides.

I do hope you’ll enjoy this month’s edition - and if you’re a subscriber then please watch out for the March magazine arriving in your inbox on Thursday 28 February.o e you’ll enjoy this month’s edition, and just a quick reminder that the March issue will be published on the last Thursday of the month - in this case Thursday 28 February. So if you’re a subscriber watch out for it arriving in your inbox then!

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Helen xx

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Tips for Stitchers It’s often helpful, especially if you’re working with fine or slippery fabrics to bind the inside ring of your hoop in order to maintain better tension for a longer period of time.

Binding a hoop isn’t absolutely essential for most projects, but taking the time to do this does have a number of advantages. When you bind one of the rings - I usually bind the inside ring - the tape will “grab” your fabric, so adding a little extra friction that will help to keep it taut for longer. The binding will also add a protective layer between the hard hoop and your project that will make the hoop less damaging and less likely to mark your fabric.

Binding your hoop is very simple, and once it’s done then you normally shouldn’t have to do it again.

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Between this month’s covers …

Tips for Stitchers

Page 4

Nature Notes: The Fox

Page 46

February Almanac

Page 6

A Little Look at Sashiko

Page 47

Mini Cactus Planters

Page 8

Vintage Fiction: A Valentine’s Tea Party

Page 48

Lovely Idea: Pompom Forest Animals

Page 50

Meet the Maker: Sarah Made That

Page 51

Embroidered Sugar Mouse Softie

Page 53

A Little Look at Hand Embroidery Threads Page 11 Meet the Maker: Mrs Moog

Page 13

Sunshine in the Kitchen Citrus Marmalade Page 15 All of Me Loves All of You Embroidery

Page 17

A Little Look at Muslin

Page 55

Heavenly Hedgerows

Page 19

In the Kitchen: Conversion Tables

Page 56

Templates

Page 57

English Paper Piecing Behind the Hexagon Page 20 Lovely Idea: Raccoon Softie

Page 24

Poetry Corner: Wintertime

Page 25

Lovebirds Hoop

Page 26

The Language of Flowers

Page 28

Valentine’s Day

Page 30

Baby Bear Cushion

Page 31

Taste of the Season: Leeks

Page 34

Rosie’s Recipes: Great British Bakes

Page 35

Taste of the Season: Mussels

Page 42

Tropical Zebra Hoop

Page 43

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A little look at Hand Embroidery Threads To create a beautiful piece of hand embroidery you must choose not only the right fabric, but the best threads too. The most commonly used are cotton, silk and wool - readily available across the globe. Let’s take a look at these three (and more) ….

Stranded floss

good idea to invest in a shade card as the colours displayed on your screen are by no means guaranteed to be accurate.

Stranded cotton thread - popularly referred to as embroidery floss - is by far and away the most commonly chosen fibre for hand embroidery. It’s easy to find too as it’s sure to be in stock at your local hobby/crafting or haberdashery store. There are also hundreds of online suppliers to choose from - though if you’re planning to purchase online it’s a

Whatever the brand - and do choose carefully as some of the cheaper brands are not nice to work with - your stranded cotton floss will consist of six separate strands that it’s really easy to separate. To separate the strands pull the required length from the skein (there is a right and wrong end to pull - the right end is usually found at the end of the skein

Cotton

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closest to the numbered band. If you pull the wrong end you will end up with a nasty tangled mess!)

When you’ve cut your length pull the threads apart gently at the centre allowing them to gently untwist from each other.

Perle (or Pearl) Thread This is a tightly twisted, lustrous thread that isn’t divisible. This tight twist gives it a more textured effect than stranded floss and the stitches tend to look more “plump” against the background fabric. It

owes its lustrous, pearly finish to a process called mercerization. As you can’t divide this thread it is available in different weights or thicknesses. The four generally available are 3, 5, 8 and 12. 3 is the heaviest and 12 the finest thread.

Silk This is the most luxurious of all the embroidery threads which has an unmistakable sheen. There are two types of silk thread generally used in hand embroidery - spun and filament silk.

Spun silk, which is made from broken and leftover cocoons, behaves most like stranded cotton floss. It’s lovely to stitch with but can be a little expensive so it’s worthwhile shopping around.

Wool

especially popular at Christmas time!

Wool embroidery threads are generally known as crewel or tapestry threads and have been in use for hundreds of years - the Bayeaux Tapestry is a very well known example of embroidery with woollen thread! If you’re looking for a slightly fuzzy, more textured finish then wool is a good choice. It’s also hardwearing, so is great to use for items such as rugs and cushions.

Narrow weights of metallic thread can be stitched directly to the fabric in the same way as other fibres. while thicker or wired varieties should be couched to the surface of the project.

Other threads As well as the three most commonly used fibres there are other choices available to the hand stitcher:

Metallic threads Metallic threads can be used to add that little bit of sparkle and glitz to your project - and are of course

Metallics are available in floss, single ply or pearl cotton varieties. They can be a bit tricky and springy to use - the best tip I was given was to chill them in the fridge for a few hours before use - this does seem to make them easier to work with!

Ribbon Many different types of ribbon that can be used for embroidery. They may be silk, cotton or synthetic and are available in varying widths, from a narrow 1/8” to ½” or wider.

They’re great for adding texture and dimension to your work.

Sunshine in the Kitchen: Making Citrus Marmalade

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English Paper Piecing: Behind the Hexagon

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Stitch something for the one you love this Valentine’s Day and make Jenny’s gorgeous Racoon softie.

Scrabbles is available in two sizes and is the cutest little Racoon we’ve ever seen!

Look! a lovely idea -------------------

Racoon Softie

Click HERE to visit Jenny’s website and download the full tutorial!

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Though the first signs of spring are beginning to appear in the hedgerows, February is still a winter month as this extract from Robert Louis Stevenson’s poem reminds us…..

Wintertime “Late lies the wintry sun a-bed, A frosty, fiery sleepy-head; Blinks but an hour or two; and then, A blood-red orange, sets again.

Before the stars have left the skies, At morning in the dark I rise; And shivering in my nakedness, By the cold candle, bathe and dress.

Black are my steps on silver sod; Thick blows my frosty breath abroad; And tree and house, and hill and lake, Are frosted like a wedding cake.”

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The Language of Flowers

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Rosie’s Recipes: Great British Bakes

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Mum and I have always been great fans of the Great British Bake Off, though our love of baking started long before then - Mum learned from her own mother in childhood and then passed her knowledge and skills onto me. I’m pleased to say that my own little boy Freddie, who’s just 3, also loves to bake, though he hasn’t progressed beyond jam tarts and cookies just yet! Anyway, we thought it would be fun to dip into our country’s rich heritage of traditional bakes and I hope you enjoy our selection.

Victoria Sponge No collection of British recipes would be complete without this classic (that’s Mum’s version on the previous page). It’s named after Queen Victoria and is normally sandwiched together with jam and perhaps butter cream. In the summer though, Mum and I love to fill our versions with berries and cream - in addition to the jam of course!

Ingredients ● 150 g butter at room temperature, plus extra to grease your pans ● 150 g caster sugar ● 3 medium eggs, beaten ● 150 g self-raising flour ● Teaspoon baking powder ● Filling of your choice - try strawberry or raspberry jam or whipped cream with berries and jam - or even lemon curd if liked.

The choice really is limitless. ● Icing sugar to dust the top of the cake before serving.

Method These quantities make a 7” (18 cm) sponge. ● Preheat your oven to 170C (fan 150C), gas mark 3 and grease and line two 7” sandwich tins.

● In a large mixing bowl, either by hand or with a mixer cream the butter and sugar together until you get a pale mixture that drops off the spoon easily. Add the eggs a little at a time, beating the mixture thoroughly after each addition. ● Sift the flour and baking powder into the bowl, gently folding it in with a large metal spoon to keep your mixture light. The mixture should again drop off a spoon easily. ● Divide the mixture between the tins and cook on the centre shelf of your oven for 25-30 mins. To test if they’re cooked, gently press your finger on the top and it will spring back into shape. ● Leave the sponges in the tins for a couple of minutes, then run a knife around the edge and turn them out onto wire racks. Leave to cool completely. ● To assemble shave off the top of the bottom sponge if it’s very domed, so that the top layer can sit firmly on top.

Spread the bottom round with the jam or cream or other filling of your choice. Press the other sponge round on top and press down. ● Dust the top with icing sugar (it’s nice to do this through a paper doily so you get a pretty pattern in the sugar) before serving. ● Yum!

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A Little Look at Sashiko Sashiko is the traditional form of stitching from northern Japan and uses running stitch to create intricate designs – usually worked in white or cream thread on an indigo blue background.

Patterns were handed down by the women of the families in these fishing and farming communities – their sashiko designs created a unique and individual style. Sashiko was an artisan craft – invented to quilt together layers of fabric for warm clothing, recycling old and damaged textiles as part of the quilting, and also lending strength to working garments which were often subject to a great deal of wear and tear.

Sashiko developed over the two centuries between the early 17th and mid-19thcenturies (the Edo period) – probably beginning as someone repaired damaged clothes economically by using undyed thread on dark blue indigo cloth – then realising the decorative potential in the stitches they were making. At this time all fibres would have been hand spun, woven and dyed from natural fibres including linen and hemp. The thrifty communities would have continually

recycled – cloth may have begun life as a garment, then been repurposed into bags and aprons, finally ending its life as a cleaning rag – every thread created during what would have been a very labour-intensive process was far too precious to throw away.

By the early 20th century Sashiko was accepted as a winter occupation when the usual heavy snowfall in the north of Japan meant that work outside was very limited. Sashiko skills were vital for young women and girls to acquire if they wanted to make a good marriage – learning Sashiko helped to develop patience and perseverance – essential for a farmer’s wife.

Vintage Sashiko consists of two or three layers of fabric, with the best on top, and even the most complicated designs are achieved with simple running stitch. Modern Sashiko may have only one layer of fabric or use polyester or cotton quilt wadding.

As part of the recycling process vintage Sashiko uses layers of old or worn fabric instead of wadding, so it’s much flatter than our western quilts.

The stitches create a textured, flowing

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design sitting as they do on the fabric surface. The traditional indigo and white colours used give Sashiko work dramatic visual impact, though over time the creamy cotton thread often took on a pale ice blue tint due to the migration of the dye. These colours were used in response to Edo sumptuary laws which prevented the lower classes from wearing brightly coloured and patterned clothing.

Ordinary people could use indigo, with patterns no larger than a grain of rice or with stripes no wider than the width of a straw. This may be the origin of the idea that Sashiko stitches must resemble grains of rice. It is also said to represent snow lying on the ground.

By the mid-20th century however, increased prosperity, commercialisation and the introduction of man made fibres meant that, like other artisan cultures across the world, the way country folk dressed began to change and the art of Sashiko declined. Many garments were discarded, or destroyed in other ways. In the 1970s though, as western-style quilting became more popular in Japan, the art of Sashiko stitching was rediscovered.

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