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True Romance

| beautiful crafts for your home |


Pretty makes

• Camisole & French knickers • Vintage style eiderdown

Satin & silk floral corsages


• Sweetheart jacket • Knitted pompom throw

Tula Pink Search for ‘Bumblecomb Quilt’ in the discover section on for the free project download featuring Tula Pink’s Bumble collection.

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1/6/15 11:36 AM

Editor’s letter Welcome to the true romance issue.


ove it or loath it, St. Valentine’s Day is hard to ignore, but with some careful handling it does open the door to some gorgeous ideas. But before the cynics amongst you start to pack up your creative kit and head for the hills, the makes this month cast little more than a gentle glance towards romance. Our opening project this issue is the irresistible (and aptly named) Valentine’s Paper Cut (page 10) by new contributor Rhiain Bower. We’ve been making the most of the creative talent right here in the craft office with latest recruit, Martha Bamford, taking us step-by-step through the art of paper folding with her Sweet Little Origami Hearts (page 12), paving the way for Emma Herian’s Romantic Floral Corsages (page 16). However, romantically inclined or not, I defy anyone not to be seduced by April Carter’s White Rose Cake (page 18), and with Mother’s Day looming, here’s your chance to have your cake and hopefully eat it, with a Mother near you. Not all projects need to be useful, and sometimes simply being beautiful is enough. This month, Jemima Schlee has created some heirloom embroidery, which will also take you through some basic stitch know-how, and leave you with something to treasure with her Brightly Coloured Embroidered Birds (page 38). And on a final romantic note, if the notion of making lingerie instantly conjures up images of ill-fitting garments that really shouldn’t see the light of day (and not for the right reasons), then think again. Lingerie designers, Laura Stanford and Katherine Sheers take time out to dispel my misgivings in this month’s Meet the Makers (page 60) and show you just how achievable it is with their beautiful Satin Camisole & French Knickers project (page 58). So, with more projects than ever, I will leave you to chase away the winter blues as you make and create ’till your heart’s content… with just a touch of romance along the way.

CORRECTION Making, Winter issue 55. Pete Jones ( was responsible for all the main shoot and cover photography throughout this issue, and not Emma Noren as stated.

MAKING IS PUBLISHED 13 TIMES A YEAR BY: GMC Publications Ltd 86 High Street, Lewes, East Sussex BN7 1XN www.craft 01273 477374 ISSN 2042-8979 EDITOR Emma Kennedy E: DEPUTY EDITOR Sophie Harper EDITORIAL ASSISTANT Abi Cox

DESIGNER Claire Stevens PHOTOGRAPHY Pete Jones STYLING Emma Kennedy and Lisa Brown COVER STYLIST Emma Kennedy and Lisa Brown COVER IMAGE Pete Jones PUBLISHER Jonathan Grogan MARKETING Anne Guillot CIRCULATION MANAGER Tony Loveridge PRODUCTION MANAGER Jim Bulley T: 01273 402810 E:

DISTRIBUTION Seymour Distribution Ltd 2 East Poultry Avenue, London EC1A 9PT T: +44 (0) 20 7429 4000 USA DISTRIBUTION SOURCE Interlink T: 239 949 4450 PRINTED IN ENGLAND by PCP SUBSCRIPTIONS Helen Chrystie T: 01273 402873 E: Subscribe online at 12 issues (inc p&p) UK £59.88, Europe £74.85,

Rest of the world £83.83. Cheques made payable to GMC Publications Ltd. Send to The Subscription Department, 166 High Street, Lewes, East Sussex BN7 1XU T: +44 (0)1273 488005 ADVERTISING SALES Sophie Marsh T: 01273 402819 E:

Views and comments expressed by individuals do not necessarily represent those of the publishers and no legal responsibility can be accepted for the result of the use by readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. 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 permission of the Guild of Master Craft sman Publications Ltd. GMC Publications cannot accept liability for the loss or damage of unsolicited material. © Guild of Master Craft sman Publications Ltd 2011. Current subscribers will automatically receive a renewal notice (excludes direct debit subscribers).


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13/01/2015 15:05

making regular


FEBRUARY 2015 10

Valentine’s paper cut





making practical

making pretty

making know how

making inspiration

36 WRITING SET A crisp linen writing case to keep your billets-doux safe

10 VALENTINE’S PAPER CUT Tell your Valentine just how lovely you think they are

12 LITTLE ORIGAMI HEARTS Decorate a table setting

15 CLOCK PLATES Turn your favourite plates into a timeless treasure

18 WHITE ROSE CAKE 44 LEATHER PURSE & WALLET Make a matching purse and wallet in colourful leather

16 FLORAL CORSAGE Make delicate silk flowers to adorn every outfit

Woo your dinner guests with a delicate rose sponge

26 SWEETHEART JACKET 46 LEATHER LEAF BELT A sweet and simple belt


Use a sturdy coffee sack to make a practical log bag

54 RUFFLE-EDGED EIDERDOWN Opt for a cosy night in with luxury ruffle edged bedding

23 EMBELLISHED BAG Take inspiration from vintage accessories and fabrics

42 WINGED BROOCH Wear your heart on your sleeve, or bag, or hat!

40 VINTAGE WRAP Make faux knitted brooches

Use vibrant embroidery to create an heirloom

A silk bag for your smalls


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56 TOWEL RACK Add a pop of colour to your bathroom with vibrant yarn

52 POMPOM THROW A beautiful knitted throw

A beautiful silk satin camisole and French knickers set

Transform any gift into something sensational with a beautiful vintage scarf



A simple way to store belts, scarves and bags in your wardrobe

A sweet lightweight jacket

A beautiful crocheted scarf



66 MASSAGE OIL An easy-peasy love potion!

96 CRAFTY WALL STORAGE Make the most of available wall space to use as craft y storage for ease of use


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Meet the makers



making features

making regulars 4 NEWS & VIEWS 6 CRAFT CALENDAR 9 LIVING WITH ...Air Force Blue


28 TEXTURAL ILLUSIONS Diana Woolf talks to awardwinning ceramicist Annette Bugansky about combining two very different mediums


75 BOOK REVIEWS Top reads for the month

76 WEB REVIEWS 49 Q&A April Carter, artisan cake maker and decorator, shares her passion for craft and perfectionist tendencies with Abi Cox

Best of the web

78 GIVEAWAYS 80 MAKING ROOM Abi Cox visits wallpaper designer, Louise Body

60 MEET THE MAKERS Emma Kennedy learns the secrets of sewing lingerie with experts in their field, Katherine Sheers and Laura Stanford



Ruffle edged eiderdown


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05/01/2015 09:10

making regular

Printed Dress, LaRedoute, £27

MAKING NEWS The monthly round up of news and crafty happenings the Crafts Council and it’s many supporters wanted a serious campaign to secure the future of craft. The manifesto calls for five main areas of change to include: putting craft and making at the heart of education, build more routes into craft careers, bring craft enterprise into education, invest in skills throughout careers and to promote world-class higher education and research in craft. You can read the full manifesto and show your support at su

Beatrice Boucle le Coat, Phase Eight, ight, £160

Bow Gloves, Dune, £39

OUR FUTURE IS IN THE MAKING G At the end of last year the Crafts Council took k action on behalf of creative industries in the UK for our future generations. The Education Manifesto for Craft and Making was launched at the House of Commons in November 2014 and we’re calling on you, our lovely crafters to get involved and show your support. Fearing for the future of craft and design since witnessing a decline in craft-related courses included in the curriculum over the last five years,

Leather Bag, DESA, £299 Ladie’s Stalis, Lotus, £59.99

One to watch: Jesse Wine


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This month we’re loving… Marsala

London-based ceramicist Jesse Wine uses traditional techniques to explore process and chance with clay. Choosing not to record his methods, he mixes glazes and oxides together and fi res his work at different temperatures to achieve a work of happenstance. As a result, the fi nal work consists of lopsided vessels with shiny metallic glazes to self-portrait heads sporting a variation of contemporary accessories, belts and bobble hats. Already making a name for himself, Jesse’s unique take on pottery has propelled him into the spotlight with h his own exhibitions and numerous features in n art publications over the last two years, and 2015 looks ooks set to be an even bigger ger year for him. Jesse is currently exhibiting his work at at the Baltic Centre in Gateshead until 22 February, and will be participating in the British Art Art A rt Ar Show later this year. m

Picked as the colour of 2015, marsala hasn’t been an instant hit with everyone, but we’re here to turn the loathers into lovers and tell you all what a good choice it really is. If you’re a crafter of any description, this colour really is the ultimate choice for versatility, as it looks chic in any fabric or material. Easily lightened with creams and other neutrals, but equally dressed up with darker tones, this colour will look great throughout the year and appears to complement all skin tones. Outfit-wise, keep the colour to one or two key items, rather than donning the head-to-toe look.


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Ridiculous? Never. Outrageous? Of course! This fabulously styled standing stag candleholder combines the humorous with the grand, where the deer’s antlers are ready to be crowned with tall candles (the taller the better) to create an incredible candlelight display. We can’t imagine a more fitting guest to have at our Valentine’s table; just be careful he doesn’t steal the limelight.

What you’ve been making & doing this month Spring is in the air Lottie has made this adorable little dress preempting some warmer weather for spring. We absolutely love the little duckling fabric she’s used. Lottie Hall via Facebook

Glentory Black Stag Candelabra, £404

SITE FOR SORE EYES Maya Donenfeld is many things; a mum, an artist, a maker, gatherer, and reinventor to name but a few. Blogging from rural New York, she shines a light on the benefits of living a life closer to nature and shares the creations she makes that have been inspired by her surroundings. A fun and friendly place to find yourself, mayamade has introduced us to all sorts of arts and crafts that are made accessible to everyone, so go and have a read and thank us for the spring in your step later.

Granny squares forever The granny squares trend is still hugely popular and you can see why with this gorgeous blanket crocheted by Helen for her daughter’s bedroom. Helen Burridge via Facebook

Bunting bling Holly has been working hard to create these sweet bunting necklaces; a great way to experiment with silver clay – they make gorgeous gifts too. Holly Kearey via Facebook

Light up your life

BEST OF BRITISH... Creators of The Great British Bake Off and The Great British Sewing Bee are at it again, this year launching the yet to be titled potter-based competition. Having called out for applicants at the end of 2014, the new BBC2 show appears to be barking up the same tree as its hugely successful counterparts by scouring the craft world for talented and lively characters with a passion for pottery. Filming the first series this spring, we are yet to find out who will be the show’s judges and presenter, but wouldn’t mind betting we’ll be seeing more of an interest in the craft by the time the series screens later on in the year. But will it hit the right chord with the audience? We think it may well do a better job than The Big Allotment Challenge, but will it ever reach the heady heights of Bake Off stardom, or attract a celebrity spin off like the Sewing Bee? Watch this space.

We can’t get enough of Lucy’s lampshades, she’s been busy making these Scandi-inspired shades over the winter to meet all her orders. Lucy Levenson via Facebook Have your say on the forum at or join us on Facebook and twitter. On Facebook search for Making Magazine, and on twitter we’re @MakingMagazine

Email your news, views and pictures to: Or do it the old fashioned way and write to us at: Making Magazine, 86 High Street, Lewes, East Sussex BN7 1XN


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08/01/2015 11:14

making regular

Craft calendar FEBRUARY 2015

Your guide to the best events and workshops around the UK

FEBRUARY 1 LEEK’S TOTALLY LOCALLY SUNDAY SUPPLEMENT MARKET Join in on the Totally Locally Leek maker’s market. Independent shops, cafés and pubs will be open in this monthly event, made to inspire the community to shop locally. Leek Market Place, Leek, Staffordshire

FEBRUARY 2–4 CHINESE BRUSH PAINTING Paint spring flowers, birds and simple landscapes using the ancient art form of Chinese brush painting. You will be using the traditional ink stone and ink stick, as well as watercolour paints. Practise a variety of brush strokes and produce several compositions in this freestyle method of painting. Denman College, Marcham, Abingdon, Oxfordshire 01845 391991

FEBRUARY 6–8 THE STITCHING, SEWING & HOBBYCRAFTS SHOW Join the largest creative crafting show in the North West for their spring event of 2015. With a variety of must-see features, and all the ideas and inspiration you could ever dream of! EventCity, Phoenix Way, Manchester 01425 272711

FEBRUARY 6 RUSH WEAVING Learn how to make hats, bags, baskets, tablemats or floor matting using English bulrush. You will practise techniques such as plaiting, knotting, stringing, pairing and stitching.


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West Dean College, West Dean, Near Chichester, West Sussex 01243 811301

FEBRUARY 7 WOMEN FASHION POWER: EMBELLISHMENT TECHNIQUES Explore the embellishments used over the past century to express power in this one-off fashion workshop, in partnership with the Fashion and Textile Museum. Design Museum, Shad Thames, London 020 7403 6933

FEBRUARY 8 CANDLE MAKING Candles are not only a perfect gift, but also a wonderful way to give ambience and fragrance to your room. This one day course will show you the three main techniques: container candles, pillar candles in moulds and dipped candles with beeswax. Rowan Tree Studio, The Old Granary, Burscott, Higher Clovelly, Bideford, Devon 01237 431942

FEBRUARY 11 CROCHET GRANNY SQUARES Join one of Tea & Crafting’s most popular workshops, and learn the first steps needed to create a wonderful crocheted blanket – great for both beginners and intermediates. Tea & Crafting, 30B Camden Lock Place, 2nd Floor, London 020 7097 1314

FEBRUARY 15 INTRODUCTION TO UPHOLSTERY Learn the basic techniques to breathe

new life into your old furniture on this one-day course. Bring in some fabric and a piece of furniture and the rest of the tools are provided. Miss Maker’s Sewing Room, Top Floor, Hartley Antiques, 63 High Street, Hartley Wintney, Hampshire 07968 063304

FEBRUARY 16 SURVIVE & REVIVE: HAND ALTERATIONS Revamp and mend pieces in your wardrobe. Learn a range of essential hand alteration and up-cycling techniques in this short two-hour session. Saturday Sewing Session, Studio 6 Fairbank Studios, 75–81 Burnaby Street, Chelsea, London www.saturdaysewing 020 7352 9020

Southend Road, Howe Green 07973 920046

FEBRUARY 22 BEGINNERS QUILTING Create a gorgeous baby quilt, perfect as a gift for a new baby, or an indulgent snuggle quilt, ready for those cold winter months. This class teaches you step-by-step, throughout three once-a-month sessions. Ministry of Craft, Fred Aldous Art, Craft & Design Materials, 37 Lever Street, Manchester 07850 894752



FEBRUARY 19 CHILDREN & TEENAGERS: MAKE A SHOULDER BAG Treat your children with the chance to make a lovely versatile reversible bag. This class teaches hand and machine stitching, as well as the skills required to measure and make patterns. Bristol School of Sewing & Textiles, Unit 4, Midland Road Business Park, Midland Road, Staple Hill, Bristol 07804 347992

FEBRUARY 20 ART CLAY SILVER JEWELLERY Create your own jewellery by learning the basics of working with silver clay. Using just 5g of Art Clay Silver, you will design and create your own unique pendant. The Make It Room, St.Anne’s,

This beginners’ course takes you through the basics of how cold process soap is made, making at least one simple and one more advanced soap using colours and fragrances. The Soap Kitchen Plus, 11a South Street, Torrington, Devon 0844 880 5381

FEBRUARY 28 SMALL HADSTITCHED LEATHER GOODS Discover the basic skills of leatherwork crafting. You will learn to make a belt and a simple coin purse, as well as techniques such as dyeing and preparing leather. Artison, High Burton, Masham, North Yorkshire 0845 686 0089


08/01/2015 11:15

O r ve 20 0 ex rs to bi hi Olympia Central, London 5th – 8th March 2015 Buy tickets at:

The Dressmaking Studio Over 150 Workshops The K&S Homestyle Theatre

p lus

galleries, demonstrations and inspirational features

Knitting • Sewing • Dressmaking • Quilting • Crochet • Cross Stitch • Interiors • Textile Art • Crafts For more information and to book tickets call: 0844 848 0159 UPPER STREET EVENTS

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Fabrics supplies by The Eternal Maker

Products to help you with:

1/6/15 11:31 AM

21 Kensington Gardens, Brighton, BN1 4AL 01273 603771

a handpicked collection of fabrics ... delivered to your door 008_MMK_057.indd 8

1/7/15 9:36 AM

making regular

LIVING WITH AIR FORCE BLUE Each month we focus on a colour and bring you the perfect shade. This month we’ve gone for a dusky medium blue from Fired Earth. By Abi Cox 1 ith spring just around the corner that inevitable need for a fresh look is creeping up on us. With this in mind, we’re leaving wallpaper for a few months and looking again at the paint colours coming out for the new season. This month, we’ve chosen a soft blue reminiscent of tropical waters and sunny skies to remind us winter will soon be at an end! This particular shade by Fired Earth is inspired by the Andaman Islands in the Bay of Bengal, evoking the calm and ttranquility of the luxurious archipelago. archipelag Despite the dusky tones, this blue retains an element of warmth, meaning it’ll bring light and m ambience into the room.



Our pick: Andaman Sea LIBRARY CHAISE LONGUE £935, 0345 257 2627

POLS POTTEN P OILY BOTTLE £49.20, £49.20 0800 5 587 7645

This lovely mid blue makes a perfect pairing with a fresh OLIVE GREEN and a crisp WHITE for a modern country cottage feel. But we’re taking inspiration from Pantone and have gone for the colour of the year, MARSALA, with accents ts of PALE BLUE and STONE TONE k. for an exotic look.

HANDWOVEN WOOL WOO THROW £120, 020 7268 3315


FABRICS 1. Pencarrow: NCF4043-12 by Nina Campbell, £61 per metre N 2. Kirkham: NCF4081-01 by 2 Nina Campbell, £64 per metre N Both fabrics from Bo w


Wades Lantern

LUNA STRIPE RUG £239, 020 8207 0208

ANKARA CUSHION £29, 020 7268 3315

on wall walll paint (also available in Eggshell) Find these colours on Andaman Sea Matt Emulsion is priced at £35.50 for 2.5 litres. For more information call stockist number 0845 293 8798

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Blue Grass

Terracotta Warrior


08/01/2015 11:17

making pretty

VALENTINE’S PAPER CUT Make your Valentine a beautiful paper cut to tell them just how lovely you think they are. By Rhiain Bower 1 YOU WILL NEED • • • • • • • • • •

Template on page 84 40cm x 40cm white card 40cm x 40cm coloured card/paper Pencil Scalpel Cutting mat Rubber Spray mount (or other adhesive) Light box (optional) 40cm x 40cm frame

2 1. Start by tracing the template on page 84 onto white card; try to keep it fairly faint as any remaining lines will need to be rubbed out later. Depending on the thickness of your card, you may want to trace using a light box (or against a window if you don’t have one).


3. Finally, cut along the outside lines and carefully lift the cut pieces away, gently rubbing out any remaining pencil marks. Apply adhesive to the back and fix the cut out onto your coloured card before placing in a frame.

RESOURCES Cutting mat, scalpel and spray mount: Picture frame:


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2. Once traced, begin to cut along the lines with your scalpel, holding it like a pencil to give you the most control. It is best to cut out the design from the centre first, and may be easier to leave the cut sections in place until the whole middle section is finished, to give the cut out some strength (images images 1–3).  1–3


05/01/2015 09:13



making know how


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05/01/2015 09:14

making know how












Make pretty little paper hearts to decorate a romantic table setting. By Martha Bamford • A piece of origami paper

1. Cut a piece of origami paper into a rectangle, twice as long as its width. Fold the top left corner of the paper to meet the centre bottom, and unfold again. Repeat this on the remaining three corners (image image 11). 2. Turn the paper over, and notice how the folds of step 1 form an ‘X’. Fold the paper over the middle of the ‘X’ of each side, and unfold again (image image 2 2). 3. Turn your paper over. Pinch in the crease made in step 2 on either side; this will naturally cause the paper to collapse in to form a triangle. Press this down and repeat on the other side (image image 3 3). 4. Take the far right hand corner and fold the top layer of the bottom half down to the lowest corner of the paper. Repeat this again with the left hand corner. Turn the paper 180 degrees and repeat with the remaining two corners (image image 4 4).

6. Fold the eight side edges of the central squares in to meet the newly formed diagonal creases of each of the four squares (image image 6). 6 7. Lift up the first fold made in step 6 and tuck your finger into the fold, puffing it out and collapsing it into a kite shape (image image 7). 7 8. Repeat step 7 on all eight folds and flatten out to create a flower shape (image image 8). 8 9. Turn your work over and fold down the top corner to meet the bottom corner (image image 9). 9 10. Fold in the left and right corners of the paper by one third towards the centre (image image 10). 10 Turn over to reveal your heart.

RESOURCES Origami paper:


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5. Lift up the first fold made in step 4, and tuck your finger into the fold, puffing it out and collapsing it into a square shape (image image 5). 5 Do this with all four folds.


05/01/2015 09:15

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1/6/15 11:44 AM

making inspiration

INSPIRATION Turn your favourite plate and a vintage clock face into a timeless treasure. By Lisa Brown YOU WILL NEED • • • • •

Plate Clock mechanism Vintage clock face to fit your plate Drill Diamond core drill bit to fit your clock mechanism – we used an 8mm bit • Masking tape • Pencil and ruler

or if not stop and spray intermittently; this prevents the bit from overheating. Stop drilling as soon as you feel that you have gone all the way through the plate. Wipe the plate clean and remove the masking tape.

3. Push the spindle of the clock mechanism through the back of the hole in the plate. 4. Position the clock face and attach the hands by following the instructions supplied with the clock mechanism.

RESOURCES Clock mechanism:

1. Place a square of masking tape onto the centre of your plate. Using a ruler and pencil make a mark to indicate the centre of the plate. Place the plate on a horizontal surface on top of a thick layer of newspaper. 2. Attach the diamond core drill bit to your drill. Position the anti-slip guard plate over the mark on the masking tape and hold firmly in place. Position the drill bit into the hole in the anti-slip guard and hold it at a right angle to the plate. Begin to drill slowly without applying any additional pressure. When you feel the drill bit has made a slight depression you can then continue to drill without the anti slip guard. If you have someone to help you, spray the drill bit with cold water as you work,


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05/01/2015 09:17

ROMANTIC FLORAL CORSAGE Create a bouquet of delicate silk flowers to adorn every outfit. By Emma Herian 16


making pretty YOU WILL NEED • Pattern templates on page 85 • 25cm silk fabric in salmon, pink, cerise, green • 25cm organza fabric in pale pink • Scrap of silk fabric in dark brown • Florist wire • Tea light and saucer • Small bowl of water • Pinking shears • Scissors • Glue • Needle and thread • Brooch back

1. Using the petal templates on page 85 cut out five of each size from the salmon silk fabric and the pale pink organza fabric (image image 11). 2. Place the tea light on a saucer, light the candle and have the small bowl of water nearby. Take one of the silk petals and carefully hold over the heat of the flame, letting the heat gradually melt/singe the edges of the petal (image image 2 2). Work the heat all the way around the petal and you will find that it will naturally start curling. Be very careful not to get the fabric too close to the flame; you should always have a bowl of water at the ready for any mishaps. 3. Repeat the same process in step 2 for the organza petals but further away from the heat. When finished, blow the candle out and put the petals to one side. 4. Using the pinking shears cut out six large leaf shapes from the green silk and with normal scissors cut thin strips of green silk. With the strips gently tease the edges to fray and then twist. Keep twisting to give a rough shabby look, then put to one side. With the leaves, take two and glue a length of florist wire between them and allow to dry. Repeat to create three leaves in total and snip off any excess wire (image image 3). 3

shears then with the normal scissors snip in to the fabric to create a wispy look (image image 4). 4 Light the tea light and carefully singe the cut ends over the heat of the flame so they curl, then blow the candle out. Once cooled, roll the piece of fabric up tight and add a dab of glue to hold the loose end in place (image image 5). 5 6. Start bringing the corsage together by double threading the needle, tying a knot at the end, then sew through the trunk of the bud made in step 5. Take one of the smaller salmon petals and wrap around the bud, attaching with the needle and thread. Gradually build up so that all five small petals are arranged and attached in a random way. Keep the needle and thread still attached at this stage (image image 6). 6 7. For the next layer take five of the smaller organza petals and fix together at the centre with a dab of glue (image image 7 7). Once dried, thread through the centre onto the needle but just before pulling up to the main flower add a few dabs of glue, allow to dry in the cup of your hand.











8. Repeat the same process with the next layer of the salmon petals and attach (image image 8). 8 For the remaining larger petals continue in the same fashion but combine the two fabrics so that you get a mix of shade and textures, creating a big blowsy flower. 9. Start adding the three green leaves by sewing onto the back of the flower along with the shabby green strips; if needed, add a dab of glue to get the right positioning (image image 9). 9 Once dried, tweak and bend the leaves and allow the strips to hang down. 10. Decide how you want the corsage to sit when worn and sew on a brooch back to the reverse. Cut a small circle of the green fabric and with a dab of glue stick over the sewn area (image image 10). 10 Once you’ve made one you can now go on to make one for each outfit!

5. To make the centre of the flower cut a 15cm x 5cm strip of the brown silk fabric with the pinking

1. Check which fabrics work well for this technique; some will melt very quickly or may not curl. 2. Try turning some of the fabric petals over for more texture and tone.

RESOURCES Silk: www.fabric Pinking shears:


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05/01/2015 09:20

making know how

WHITE ROSE CAKE A truly lovely cake for any occasion, woo your dinner guests with delicately rose flavoured sponge. By April Carter YOU WILL NEED For the cake • 2 x 13cm round, deep cake tins • Cake board or stand • 125g unsalted butter • 250g caster sugar • 1 medium egg and 3 medium egg whites, lightly beaten • 225g plain flour • 2tsp baking powder • ½ tsp salt • 180ml whole milk • 1tsp rose extract

pale and fluff y. Add the eggs to the mixture a little at a time, until they’re well incorporated. Sift the flour, baking powder and salt into a bowl. Add half of the flour mixture to the butter mixture and beat until just combined. Add half of the milk and the rose extract, continuing to beat, and then add the remaining flour and milk. 2. Divide the mixture evenly between the prepared cake tins. Bake in the oven for 45–50 minutes, or until a skewer inserted into the centre of each cake comes out clean. Allow the cakes to cool for 10 minutes in their tins, then turn them out on to a wire rack and leave to cool completely.

For the rose buttercream • 375g unsalted butter • 600g icing sugar • 150ml double cream • 2–3tsp rose extract • Pink paste or gel food colouring

3. While the cakes are cooling, make the rose buttercream. Using a stand mixer or electric hand mixer, beat the butter for 3–4 minutes until pale and creamy. Add the icing sugar and cream and continue to beat for another 2–3 minutes until smooth. Add the rose extract gradually to taste.

For the crystallised rose petals • Fresh, pesticide-free edible rose petals • Egg white • Sugar

4. Level the cakes by cutting off the domed tops and split each layer in half so that you have four layers in total. Fix the bottom layer to the cake board or stand with a small amount of buttercream and spread with a generous amount of the buttercream. Add the second layer and repeat, and repeat again with the third layer, finishing with the final cake layer. Cover the cake with a thin layer of buttercream and chill for 30 minutes or until firm.

1. Preheat the oven to 170°C/335°F/Gas mark 3. Grease the cake tins and line with baking parchment. Using a stand mixer or electric hand mixer, beat the butter and sugar in a bowl until


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5. Split the remaining buttercream into three bowls, leaving half of the buttercream white and colouring a quarter deep pink and a quarter pale pink. Spread the white buttercream over the top and halfway down the sides of the cake. With a clean spatula, spread the deep pink buttercream around the bottom quarter of the cake. Spread the pale pink buttercream between the white and deep pink colours, clean your spatula and smooth the cake, removing excess buttercream as you go. Decorate with crystallised rose petals.

CRYSTALLISED ROSE PETALS 1. Remove the petals from the flower head, trying to keep them in one piece. Pick out the freshest looking petals. 2. Working in batches, brush a thin layer of egg white on to both sides of each petal and sprinkle over the sugar to give each petal an even coating. 3. Set aside on baking parchment or a wire rack to dry with a crisp shell, uncovered, for several hours or overnight. Store at room temperature and use within a day or so of making.

RESOURCES Decorated by April Carter, £20, Hardie Grant Books, ISBN 9781742707723


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making pretty

MOHAIR SCARF This scarf is a real showstopper and guarantees plenty of compliments. It’s made using a mohair silk mix, which offers some beautiful colours to choose from. By Nicki Trench YOU WILL NEED • Debbie Bliss Angel (76% mohair, 24% silk) lace-weight yarn 1 x 25g (7⁄8oz) ball – approx 200m – of each of eleven colours: • 36 Heather (light purple) • 13 Coral • 28 Basil (dark green) • 17 Plum (dark purple) • 03 Charcoal (dark grey) • 12 Lime (pale green) • 06 Ecru (off-white) • 23 Kingfisher (teal blue) • 19 Rose (pale pink) • 14 Tangerine • 09 Aqua (pale blue) • 3.5mm (US size E-4) crochet hook

The scarf is made up of a total of 42 squares. Each square uses three different colours, chosen at random.

in next dc, 4ch, miss 4 ch, 1dc in next tr; rep from * 3 times more omitting dc at end of last rep, join with a ss in first dc. Round 6: Continue with third colour, 1ch, 1dc in same place as last ss, 4dc in next ch sp, *[1tr, 3ch, 1tr] in next ch sp (corner), 4dc in next ch sp, 1dc in next dc, 4dc in next ch sp, 1dc in next htr, 4dc in next ch sp, 1dc in next dc, 4dc in next ch sp; rep from * twice more, [1tr, 3ch, 1tr] in next ch sp (corner), 4dc in next ch sp, 1dc in next dc, 4dc in next ch sp, 1dc in next htr, 4dc in next ch sp, join with a ss in first dc. Fasten off.



pull yarn through work, yrh, pull yarn through first 2 loops on hook] twice in same st (3 loops now on hook), yrh and pull yarn through all 3 loops on hook to complete 2trCL. 3trCL (3-treble cluster): [Yrh, insert hook in st, yrh, pull yarn through work, yrh, pull yarn through first 2 loops on hook] 3 times in same st (4 loops now on hook), yrh, pull yarn through all 4 loops on hook to complete the 3trCL.

(Make 42) Foundation ring: Using first colour, make 4ch and join with a ss in first ch to form a ring. Round 1 (RS): 1ch, 8dc in ring, join with a ss in first dc. 8 dc. TENSION Cont in rounds with RS always facing you. Each square measures 13 x 13cm using a 3.5mm (US size E-4) crochet hook Round 2: 3ch, 2trCL in same place as last ss (counts as 3trCL), [3ch, 3trCL in next dc] 7 times, 3ch, join with a ss in top of first 3-ch. 8 clusters. SCARF MEASUREMENTS Cut off first colour. Finished scarf measures approximately 40cm wide x 183cm long. Round 3: Join second colour in loop on hook, 3ch, 1tr in same place as ss (counts as 2trCL), *miss 3 ch, [2trCL, 5ch, 2trCL] in top of next ABBREVIATIONS 3trCL; rep from * 6 times more, 2trCL in same ch: chain place as first tr of round, 5ch, join with a ss in top dc: double crochet of first 3-ch. Eight 5-ch sps. dtr: double treble Cut off second colour. htr: half treble rep: repeat Round 4: Join third colour in loop on hook, 7ch (counts as 1tr and 4ch), [1dc in next 5-ch sp(s): space(s) sp, 4ch, miss next 2trCL, 1tr in next ss: slip stitch 2trCL, 4ch] 7 times, 1dc in next st(s): stitch(es) 5-ch sp, 4ch, join with a ss in tr: treble 1. Sew in yarn ends after 3rd of first 7-ch. RS: right side making each square, using a yarn Sixteen 4-ch sps. yrh: yarn round hook sewing needle. Round 5: Continue with 2. When adding tassels to a foundation third colour, 1ch, 1dc in SPECIAL row, make sure that you pick up at least same place as last ss, *4ch, ABBREVIATIONS two loops of the crochet piece and not miss 4 ch, [1dtr, 3ch, 1dtr] in 2trCL (2-treble cluster): just one loop of the foundation next dc, 4ch, miss 4 ch, 1dc [Yrh, insert hook in st, yrh, chain, otherwise the loop will in next tr, 4ch, miss 4 ch, 1htr become loose and not hold the tassel securely.



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Arrange the squares in three rows of 14 squares each, in a random colour order. With wrong sides together and using light purple (36 Heather), join the squares together using a double crochet seam. First join the 14 squares in each of the three rows, then join the rows.

TO MAKE THE EDGING With RS facing, join light purple (36 Heather) with a ss in centre of 3-ch at one corner of scarf, 1ch, 2dc in same place, 1dc in each st and 1dc in each join along scarf edge to centre ch at next corner, *2dc in centre ch, 1dc in each st along scarf edge to centre ch at next corner; rep from * to end, join with a ss in first dc. Fasten off.

TO MAKE THE TASSELS Cut 50 strands 43cm long of each of these five colours – off-white (06 Ecru), pale green (12 Lime), light purple (36 Heather), pale pink (19 Rose) and pale blue (09 Aqua). Attach 25 tassels along each edge. Attach the first tassel in a corner dc of edging and then a tassel in every subsequent third dc to next corner, attach last tassel in corner dc.

RESOURCES Crochet Basics by Nicki Trench, £14.99, CICO Books, ISBN 9781782491422


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making pretty

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making pretty


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making pretty 1

A collection of lace, ribbon and beads are used to make the pretty floral decorations to embellish this bag, made in sumptuous velvet and lined with a vintage scarf. By Vanessa Mooncie • Pattern template on page 84 • 30cm x 60cm main fabric • A pretty vintage scarf to line the bag • 30cm x 60cm sew-in fleece interfacing • Sewing thread to match the fabric • Stranded embroidery thread • 15cm sew-in purse frame • 120cm purse chain • Scissors • Dressmaker’s pins • Tailor’s chalk • Sewing machine To embellish the bag • Remnants of fabric, felt, lace, ribbon, beads, bead headpins • Round nose pliers

1. Place the main fabric pieces with right sides together and sandwich them between the fleece. Place the lining pieces with right sides together. Pin and stitch the lower edges of both the lining and main fabric pieces between the dots, along the 1cm seam (image image 11). Trim and notch the curves. 2. With right sides together, slip the lining inside the main fabric bag. Working on one side at a time, sew the top edges together between the dots. Leave an opening of around 8cm on one side to turn. Trim and notch the curves (image image 2 2). 3. Turn the bag right side out. Turn under the raw edges of the opening and sew together by hand or machine (image image 3 3). 4. Work on one side of the bag at a time to attach the frame. Mark the centre of each side of the bag opening with tailor’s chalk. Using three strands of embroidery


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thread, knot the end and fasten to the centre of one side of the bag opening. Pass the needle, from the inside of the frame, through the central hole to the front. Pull up tight on the thread and then tuck the top of the bag into the frame. The pointed end of a small pair of scissors can be used to poke the edges into the channel, but take care not to tear the fabric. 5. Working from the centre to the hinge, neatly stitch one side of the opening of the bag to the frame. After stitching through the final hole by the hinge, work back towards the middle by sewing between the previous stitches (image image 4). 4 Keep checking the bag is right inside the frame. Fasten off on the inside of the bag where it won’t be seen. Repeat for the other side of the opening to attach the first side of the bag. Attach the other side of the bag to the frame in the same way. 6. Pick out floral and paisley patterns from pieces of lace and cut them out (image image 5). 5 7. Cut a 4cm x 60cm strip of fabric. I used satin fabric and also cut strips from the leftover pieces of the vintage scarf that lined the bag. Adjust the length and width to make a larger or smaller rosette. Fold the fabric in half lengthways and tie a knot in the end. This will be the centre of the rose and the foundation to start forming the petals around. Wrap the folded fabric around the knot, stitching it down at the base to hold it in place. Twist and fold the fabric to form the petals, stitching the fabric to the base at the same time to secure. Fold the end of the strip of fabric under, and stitch it to the base to finish the rosette (image image 6). 6 8. Make felt flowers by cutting five individual petals from felt. Sew them

together and stitch beads in the centre (image image 7). 7 9. Thread beads onto the headpins and use round nose pliers to curl the end of the pin into an eye. 10. To make the honeysuckle flower, cut a 4.5cm diameter semicircle. Prepare three beaded headpins (see see step 9) 9 for each flower and stitch them together in the centre of the long, straight edge of the semicircle. Fold the felt in half so the straight edges meet, encasing the beaded wires. Sew together the straight edges to form a cone shape. Cut five petal shapes and stitch them to the top of the cone. To make the stems, add a few beads to doubled thread secured to the top of each honeysuckle before stitching the flower to the bag, so they hang freely (image image 8). 8



11. Turn under the raw ends of the ribbon and fold the length into loops. Stitch the top of the loops together to hold them in place (image image 9). 9 12. Lay the lace on the front of the bag and arrange the flowers over it, tucking the ends of the beads and ribbons under the floral decoration. Pull the lining out through the opening of the bag to prevent catching it in the stitches when sewing the decorations on. Stitch everything neatly and securely in place (image image 10). 10 Finally, attach the chain to the frame of the bag.




Fabric and thread: Vintage silk scarf: Felt: Bag frame and chain: Woven interfacing:




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Tips 10

1. Before cutting the fabric out, check for tiny holes in the scarf by holding it up to a window. 2. The rosettes can be made using lengths of ribbon instead of strips of fabric. The ribbon won’t need to be folded, but choose the width you would like your ďŹ nished rosette to be. 3. The fabric can be glued to the frame to hold it in position, making it easier to stitch in place. Working on one side at a time, apply fabric glue to the channel of the purse frame. Insert the top of the fabric bag and allow the glue to dry. Attach the other side of the frame in the same way and allow to dry before stitching.


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making know how

SWEETHEART JACKET Pretty lining fabric and pocket detailing makes this lightweight jacket ideal for lunching with the girls or dining out with a date. By Jeanne Spaziani YOU WILL NEED • Pattern template on page 87 • 1.2m x 1.4m wide fabric (linens, medium weight wools and wool blends, firm cottons) • 1.35m x1.14m wide lining • 25cm of light-weight fusible interfacing • 3 x 15mm–20mm buttons • Sewing machine and general sewing equipment

The included jacket pattern template is sized to fit body measurements of bust: 86cm–89cm, waist: 69cm–74cm, High hip: 83cm–86cm, nape to waist: 40cm. See the template on page 87 for the actual pattern measurements. All jacket sewing is done with right sides together unless stated otherwise. 1. Cut out all fabric, lining and interfacing pieces. Fuse the interfacing onto the outer heart pieces, one belt piece (which will now be the outer belt), and onto the front and back neck facings. 2. Make the button loop by pressing the raw long edges of the loop strip in towards the centre and then pressing the strip in half down its length. Topstitch along the edges to close. Fold the completed loop in half so the two ends lie side by side and lining them up with the jacket seam allowances (so the loop is facing away from the front edge) baste it onto the outside of the right front jacket piece at the loop notches. Alternatively a short piece of cord can be used to make a loop. 3. To make the heart pockets and back belt: bag out the fused heart shapes with their linings. Leave about 4cm open along one side of the hearts to turn them through. Trim the seam allowance down to 5mm, clip or notch curves as needed and carefully turn right side out. Press the edges so no lining shows along the outside edges. Make the belt in the same manner, leaving a 4cm gap along the bottom edge to turn it though. Slip stitch the openings on these three pieces closed. 4. To construct the jacket body join the side fronts to the fronts and join the side backs to


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the centre back. Press all seams open and clip or notch curves as needed. Join the shoulders together and press open. Staystitch the neck and down the fronts to the curved hem. Join the side seams and press them open. Tack the completed heart pockets in place on the jacket fronts. Working from the inside, hand sew the pocket hearts in place with small stitches very close to the edges. A small backstitch works well here catching only the pocket linings so that no stitches are visible from the outside. Alternatively you could machine topstitch them in place along the edges – it just depends whether you want to see machine stitching here or not, as it won’t be visible on any other part of the jacket. 5. To construct the lining, join the fused front facings to the front linings, then join them to the side front lining pieces. Sew the lower section of the centre back pleat closed on the dotted lines. Fold and staystitch the pleat at the top and press in place. Join this lining section to the back neck facing and then attach the side backs. Join the completed front linings to the back at the shoulders and side seams. Press all seams open. 6. Place the lining into the jacket with the right sides facing. Be very precise about matching the top points of the splits. Keeping the seam allowances free, pin and sew from the top of one side back split down and across the centre back hem up to the top of the other split. Then starting again at the top of a split, join all the rest of the jacket edges together matching balance notches and seams. The seam allowances can be trimmed to 5mm curves (notched/clipped as needed) and then the jacket body turned right sides out though an armhole. Working through an armhole the back neck and the front edges can be machine under-stitched to help the lining roll away from the edge. Press all the edges carefully so no lining shows from the outside. 7. Join the top sleeves to the matching under sleeve in the fabric and lining. Press seams open. Run two rows of easing stitches over the sleeve head of the fabric sleeves where indicated on the pattern. On the sleeve linings staystitch

the entire armhole and pre-press the armhole seam allowance back. Bag out the sleeve hems with the corresponding sleeve linings. Notch the curves at the bottom of the splits and press carefully with right sides out. 8. Leaving the jacket body lining free, pin the fabric sleeves into the body armholes matching the balance marks. Draw up the ease in the sleeve head to fit and sew the sleeves in place. Stitch the underarm section again 5mm into the seam allowance. Trim close to this second line and clip front and back armhole curves to release. Press the seam allowances towards the sleeves. Notch out any lumps in the sleeve head seam allowance. Turn the jacket inside out and tack the jacket lining to the armholes. Pull the sleeve linings up to meet the armholes. Pin, clip curves as needed and slipstitch the linings in place catching both the lining and fabric seam allowances with your stitches. 9. Sew a button in place on the left front. Pin the belt in place on the back of the jacket and attach it using the other two buttons, sewing them on through all layers.

RESOURCES Linen: Cotton Toile de Jouy used as main body lining: lining Wooden buttons and satin acetate lining used to line the sleeves:

CLIPPING CURVES & NOTCHING CURVES To get curved sections to lie flat and eliminate lumps after seaming or bagging out edges the rule of thumb is to clip, i.e. snip straight into concave curves (inner facing curves) so they will open out and release the curve, and to notch into convex curves (outer facing curves) i.e. snip out V shapes so the curved seam allowances will close together thus eliminating the little folds that often cause lumps.


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making feature

Textural illusions Diana Woolf talks to award-winning ceramicist Annette Bugansky about combining two very different mediums.



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and eventually ended up at the BBC. Here she became the Head Tailor in charge of both menswear and womenswear and her portfolio included costumes for the Royal Ballet and English National Opera. A glittering career as a costume designer seemed assured, but instead Bugansky, who is clearly not someone to rest on her laurels, decided she needed a change and headed off to Central Saint Martins to do an arts foundation course. “When my children were born I wanted some more creativity in my life and wanted to look at other areas of design and craft,” she explains. Bugansky started off in the textile department at St Martins, but she soon came across ceramics and says, “this changed everything for me.” She had immediately fallen in love with clay, enjoying its responsiveness and malleability. “It was just lovely as a material. It gave me so many surprises as you could bend it, mark it and create different patterns and textures with it,” she enthuses. Her love aff air with clay translated into a ceramics degree at St Martins, followed by an MA and altogether she spent six years studying ceramics at the college. “I am very technically driven and love to know how things are made so once I started that was it really,” she says. It was towards the end of her time at the college that she started experimenting with textiles in her work, with the light bulb moment coming when one of her

nnette Bugansky’s latest creation is her yarn ball yarn bowl. Commissioned by the independent shop Knit with Attitude, it’s a ceramic bowl designed to hold a ball of yarn complete with a matching lid with a hole to pull the wool through as you knit. But what makes this so intriguing is the fact that the surface pattern of the bowl echoes the pattern of the yarn ball inside, with individual strands of soft wool seemingly coiled into a hard ceramic ball. And this contrast between the soft and hard, ceramic and textile is what Annette Bugansky’s extraordinary, awardwinning ceramics are all about. In spite of her highly successful career as a ceramist, Bugansky started off her professional life in the textile industry. She comes from a long line of tailors, dressmakers and milliners and it seemed inevitable that she would follow the family tradition, learning the tools of the trade at a very early age. “I have always sewed and I used to sit on my father’s tailor’s table doing my running stitch from about the age of three,” she tells me. She picked up a huge amount from both her master tailor father and her mother (who she says ‘was crazy about knitting’) and then went on to study fashion design at the London College of Fashion, adding design to her already impressive technical skills. After graduating she worked for Jean Muir before setting up her own business making bespoke wedding dresses


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05/01/2015 09:27

I ”

tutors suggested she combined her two strands of expertise – ceramics and textiles. Although she had spent six years studying ceramics, Bugansky had never given up on textiles and was still very much in the textile zone, making her bespoke wedding dresses and continually knitting for herself. The idea of combining her two interests seemed obvious and so she began to play with ways of capturing the textures and patterns of fabrics in her ceramics. She tried impressing textiles into clay but these were unsuccessful as they resulted in a negative version of the pattern. “I wanted the real thing – I wanted it to look like a fabric and a texture so I spent a lot of time experimenting with positives and negatives,” she explains. Eventually she perfected the technique she now uses, working out how to create ceramics that exactly replicate the pattern of textiles. “My greatest inspiration came from texture and textiles and how porcelain has the wonderful ability to capture the tiniest of detail,” she tells me. Ten years on and Bugansky has now made a name for herself thanks to her skill in reproducing her handmade textiles in slip cast porcelain. She has created a beguiling range of textured ceramic tableware, vases and gift ware and in 2013 won the Best New Product in the home category at Pulse London. And what makes her ceramics particularly eye-catching is their surprising combination of soft textile and hard ceramics: “they are not what you expect and they play with the senses; I really like that,” she laughs.


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The starting point for each is its basic form. These are fairly minimalist as her work is all about the surface decoration and she is careful not to detract from this by colourful glazes or complex shapes. The forms are carved out of plaster and then ‘dressed’ by Bugansky in textiles she has made specifically for that particular shape. This is the most laborious part of her making process but clearly the part she enjoys best. “I love making everything, but doing the textiles is the most creative part and that’s the bit I enjoy the most,” she says. Many of the textiles are knitted, but Bugansky also works with other techniques including crochet and embroidery. “Embroidery is more complicated than knitting as you can do knitting in the round, but with embroidery you have to have seams and so you end up with three elements to juggle – the ground fabric, the stitches and the seams.” Bugansky makes lots of different fabric samples, working out on a grid with a series of dots and dashes how many stitches and rows will make up each piece of fabric so it exactly fits the form. “All the pieces are mathematically worked out as the challenge is to make the fabric fit perfectly – it’s a bit like putting on a jumper.” Simple forms are covered in one piece of fabric, but more complex forms might need several panels of fabric and this is where her dressmaking skills come into play. Bugansky uses pattern cutting techniques to cut and fit the fabrics around her basic plaster form, treating it like a dressmaker treats a human body.

Once the form is ‘dressed’ to her satisfaction, Bugansky then uses it to create a mould. She pours a layer of Plaster of Paris over it, and when this is dry extracts the original form leaving a mould, which perfectly replicates the surface of the textile covering the original form. She then pours liquid porcelain slip into it, leaving it there just the amount of time needed to form a thin shell round the edge of the mould, before pouring away the excess liquid. The ceramic shell is then dried and finally extracted from the mould and the result is a pot with every stitch and fibre of the original textile seemingly miraculously replicated on its surface. The final stage in the process is the fettling when Bugansky carefully cleans the surfaces of the pots, hand carving stitches over seam lines to hide any unsightly joins and working over any blemishes that might have appeared during the casting. The pot is then fired and glazed. She only glazes the insides of each pot, preferring to leave the outside plain. “The glaze doesn’t work on the outside as it fills up the depth of the texture and I like the contrast between the matt outside and the gloss inside,” she explains. The pot is then fired one more time, given a last polish and then is finally ready to go. The whole process is a real labour of love: “the design, development and mould making process can take up to two to three months and then the porcelain pouring stage can take up to another week and a half,” she says. You might be forgiven for thinking that once she has designed and made the mould, Bugansky has done all the hard work and can just continue


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churning out the same design ad infinitum. However, unfortunately the porcelain slip eats into the plaster mould and she can only use the same mould 20–30 times before the pattern becomes blurred and the mould unusable. There is also the issue of diluting her brand and Bugansky is very conscious of the importance of producing work in only very small batches. She has been approached by large homeware companies to produce larger batches, but after research into manufacturing processes has realised that large-scale production is impossible given her insistence on quality and hand-finishing. “Factories won’t do the finishing and won’t re-carve the stitches – they’re not set up for this. I had some work done in China and I was so disappointed by the finish and the material that I was completely put off by the whole idea,” she says. So given that she refuses to compromise quality for profitable quantity, what is the way forward for Bugansky? “I have lots of new shapes planned for 2015 – plates and platters,” she tells me, and she is also keen to develop her lighting. This is a range of porcelain pendant shades each worked with Bugansky’s trademark textile surfaces, which when lit create a lovely, warm atmosphere. Alongside these new products Bugansky wants to work on more collaborative projects with other designers and makers. The yarn ball yarn bowl is the latest example of this type of collaborative work, and others include making moulds for ceramist Aisha Al Saif and industrial designer Charlotte Kingsnorth. “The work is quite exciting

as it’s unusual and really challenging and that’s what I like,” says Bugansky, an artist who seems to relish being gently pushed out of her creative comfort zone. Along with these new projects Bugansky needs to leave time for her teaching. She is passionate about the need to pass on craft skills to a new generation and bemoans the fact that children no longer automatically learn how to do simple sewing at home (although, unsurprisingly, her three children have all been taught to make their own clothes). She is equally disappointed about the way crafts are excluded from the school


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curriculum saying, “If the less academic children had this type of lesson they would probably flourish.” Working to redress the balance, she currently teaches both ceramics and soft furnishing and fashion design and clearly gets huge satisfaction from working with her pupils. “I love to see people’s reactions when they see their achievements and I love the way they share and work together,” she enthuses. With such a generous and talented teacher, it seems clear that her lucky pupils will go far, as will Bugansky herself.


05/01/2015 09:28

making know how

POLYMER KNITTED HEART BROOCH Make the best use of your scrap polymer clay and make faux knitted brooches. By Amelie Harrison • 50g scrap polymer clay (in various colours) • 25mm brooch bar • 40mm heart cutter • Rubber pointed end clay tool • Clay extruder with 1mm hole disc • Pasta machine

1. Take any scrap clay and roll it into a log to fit into an extruder. Don’t mix the scraps into one colour; you really just want to make sure there are no air bubbles in the log and leave all the colours jumbled up. As the clay extrudes through the small holes in the end, all the colours will blend together and you get the look of a variegated yarn. Extrude as much as you can (image image 11). 2. Take all the extruded strands, fold each one in half and twist each one together. You need to be careful here as they do split if you twist too hard. You will need to twist them in opposite directions as well, so split your strands into two piles and twist one pile to the right and the other pile to the left (image image 2 2). Save two strands untwisted for step 5.

machine and roll the final sheet at setting 3 (or about 1mm thick). Lay the twisted strands down on top, placing a right twist then a left twist together. Press lightly to make them stick (image image 3 3). 4. With shape cutters, press out as many pieces as you can. I used a 40mm heart shape to make the brooches. To make best use of the sheet I cut as many shapes as I could from this sheet (image image 4). 4 Whatever is left over can be rolled back into a log with other scraps for the next set of strands! 5. Take the two saved strands and place them around the edge of the heart. You will need to make this a double layer as the thickness of the side of the heart takes a two-strand depth. So go around the heart once and then lay another strand on the top. Use a small rubber tool to gently push the strand against the heart so that it sticks. Start the strands at the point of the heart and cut the strands at an angle so the point still looks neat (image image 5). 5

6. Turn the heart over and place the brooch bar in the centre, making sure that the pin opening is facing down. Make a small rectangle of sheet clay 3. Make a flat sheet on setting 6 of a of clay with any pasta machine or complementary 1. This design works really well with 0.5mm thick. I colour. I used thicker strands, so have a play around used a scrap of purple, as with different sized extruder disc holes. old patterned that was the 2. I chose to leave my brooches in the sheet. Cut the prominent matte condition that they come out of rectangle to shade the oven in, as think they look more fit exactly over that came like wool in this state, but you could the brooch through when varnish them with (appropriate) bar with about I extruded the gloss if you wanted them 3mm on each side strands. Condition to be shiny. beyond the bar. Place this sheet with a pasta



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down over the bar and push a pattern of holes around the edge to make sure it’s secure (image image 6). 6 Bake following the manufacturer’s instructions.

RESOURCES Polymer clay, brooch back, clay extruder and shaped cutters:









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making know how


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1/8/15 10:22 AM

making inspiration

INSPIRATION Accessory hangers are a simple way to store belts, scarves and bags in your wardrobe and a fantastic use for fabric scraps. By Jemima Schlee YOU WILL NEED • • • • • • •

7cm x 23cm fabric 12mm snap fastener Shower curtain hook or butcher’s hook Sewing machine Sewing needle and thread Scissors Iron

1. Cut a piece of fabric 7cm x 23cm. Fold it right sides together so that it now measures 3.5cm x 23cm, aligning the raw edges. Stitch a 1cm seam along the long edge, leaving a 6cm gap in the seam roughly in the middle.

2. Press the seam open so that it runs centrally down the tube of fabric you have just created. Stitch 1cm seams across both short ends and snip the corners at 45 degrees, taking care not to cut the stitching. 3. Turn your work right side out through the turning gap and use a pin to tease the corners out to make them sharp before pressing them with a hot iron. Close the turning gap with small overstitches by hand.

RESOURCES Fabrics: and Snap fasteners:

4. Following the manufacturer’s instructions, fix the two halves of your snap fastener to the fabric strip, 1.5cm from each end.


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5. With your work wrong side up, fold the bottom end of the strip up 5cm. Stitch back and forth a few times 12mm–15mm above the fold, depending on the size of your hook – it needs to be a good, snug fit. Finish off all thread ends and push the top of your hook through the channel you have just created.


08/01/2015 11:21

making practical


making practical 3

WRITING SET A crisp linen writing folder with leather buckle to keep your billets-doux safe. By Jemima Schlee 4 • Pattern template on page 86 • 28cm x 32cm natural linen • 16cm x 32cm patterned fabric for pocket • 25cm of 2cm wide bias binding • 35cm of 2.5cm wide grosgrain ribbon • Black leather buckle • Red embroidery cotton and needle (optional) • 22cm x 32cm heavy-duty iron-on Pellon stiffener • 22cm x 32cm Bondaweb • Sewing machine • Piping or zipper foot • Thread, sewing needle and pins • Scissors • Iron

1. Cut two pieces of natural linen using the template on page 86. Cut two pieces of Pellon stiffener using the template, and one strip measuring 22cm x 1.5cm. Cut one piece of linen for your pockets measuring 32cm x 16cm. Cut one piece of Bondaweb 32cm x 22cm. At this point, embroider the heart motif in French knots in the top right hand corner of one piece of natural linen. 2. Use an iron and follow the manufacturer’s instructions to adhere the stiffener to one piece of the natural linen. Align the curved corners on both sides and centre the 1.5cm strip in the 2cm gap that lies between the two pieces of stiffener (image image 1). 1 3. Adhere the second piece of natural linen on top of the stiffener with the Bondaweb using an iron and following the manufacturer’s instructions.

5. Undo your buckle and position the buckle end on the right hand side of the black ribbon so that the far right hand edge of the buckle is in line with the raw edge of your fabric. Stitch in place using thick black thread by hand (image image 3). 3 Stitch the other half of your buckle in the same position on the left hand side of the ribbon. 6. Taking your pocket fabric, with the wrong side facing you, fold one long edge over 1cm and then 1cm again. Press, tack or pin and stitch by machine to form a hem. 7. Turn your main piece of work over (buckle side down) and place the pocket fabric, right side up, so that its raw bottom edge aligns with the bottom edge of the main piece. Topstitch all around the raw edges just a few millimetres in from the edge to hold it in position (image image 4). 4 Trim the two bottom curved corners of the pocket so that they are flush with the main piece. 8. Stitch two vertical lines down the centre of your work, along the gaps left between the pieces of stiffener (image image 5 5).

and strap back on themselves to keep them from being caught in your stitching. Use a piping foot and take the corners very slowly to keep the curves smooth at the four corners (image image 6). 6 10. Fold the bias binding over the raw edge all the way round and hem it by hand using small overstitch (image image 7). 7






9. With the outer of your work facing you, bind the raw circumference with the bias binding. Start 5cm from the bottom left hand corner, open the binding out and align the top edge with the edge of the writing set. Fold the short raw end in 1cm and fold the leather buckle


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Plain linen: Patterned linen: Bondaweb, ribbon and bias binding: Leather buckle: Pellon:



4. Take your grosgrain ribbon and lay it centrally along the width of your work. Pin or tack it in place and topstitch along both edges with black thread using a machine (image image 2 2). Cut the ends flush with the edge of your work.


08/01/2015 11:25

making know how

BRIGHTLY EMBROIDERED BIRDS Make an heirloom embroidery using basic stitches and bright fresh colours to turn into a cushion or simply to frame. By Jemima Schlee YOU WILL NEED • • • • • •

30cm x 21cm linen Assorted six-stranded embroidery cottons Sharp embroidery needle Sharp scissors Printer, photo transfer paper or sharp pencil Small sequins, beads and buttons

1. Decide on the image you want to embroider. Many of the beautiful wood engravings of flowers, insects and animals by Thomas Bewick that you can find on the internet or in books, are copyright free. Print out or photocopy an image and isolate the part you want to use. You can do this by either using an editing programme on the computer to delete the background, or by cutting the image out, before sticking it to a blank piece of paper.

TECHNIQUES CHAIN STITCH Chain stitch can be used for outlining, making straight and curved lines, and filling. I used it around the eye bead, on the beak and to outline features. Bring your needle through to the front of your work, and then reinsert it into same hole, forming a loop on the surface of your fabric. With the loop lying to the left, bring the needle out through to the front of your work again, 5mm or so to the left and within the loop. Gently pull the thread through to tighten the loop. Repeat by re-inserting into the same hole to create a chain of linked loops. To end the row, make a small stitch over the last loop to hold it in place.

Bring your needle up to the front of your fabric. Re-insert the needle 5mm below and 5mm to the left, and then out again 5mm to the left of the position the thread originally emerged. Loop the thread around the tip of the needle before pulling it gently through to tighten the stitch. Re-insert the needle 5mm below and 5mm to the left again. Once more, wrap the thread around the tip of the needle before gently pulling it taught. Continue to form a straight line or a curve of stitches. To finish, make a small stitch over the last loop to hold it in place (image image 3). 3

RESOURCES Linen: Threads and beads:


1. SINGLE CHAIN STITCHES 2. Now for the brave bit! I pressed my linen with a steam iron (you could even use spray starch at this point) before using my inkjet printer to copy the black and white image onto the fabric, feeding it through just as I would with normal lightweight card. Yes, there is a possibility that your printer won’t take kindly to this treatment; I’m a bit gungho! If you aren’t up for this, you can always trace the basic outlines you need onto your fabric with a sharp, fine pencil as you will be covering the whole shape with stitches and beads. Another option is to use photo transfer paper. This leaves a fine plastic layer on the fabric’s surface, so you will need to make sure you use a very sharp needle if you use this method. If you have risked using your printer, it’s worth giving your image a quick spray with fixative.

This stitch can be used in groups to create flowers, or as single stitches to depict feathers.

3. Use six-stranded cotton embroidery threads – splitting each one in half so that you are stitching with three strands.

Bring your needle up through to the front of the fabric. Wrap the thread twice around the end of the needle. Hold the wraps of thread down against the needle with your thumb. Gently pull the needle through the wrapped thread so that they tighten and form a knot at their base, snug against the surface of the fabric. Re-insert the needle very close to where it first emerged and pull the thread through to the back so that the knot lies securely on the surface of your fabric. To make a larger knot, wrap the thread around the needle a couple of extra times (image image 2). 2

5. Experiment using French knots, blanket stitch, chain stitch and single chain stitches. Embellish your embroidery with small beads, sequins and buttons.

2. FRENCH KNOTS French knots can be used to make dots and speckles. Stitched close together they create a beautiful texture.

3. BLANKET STITCH Blanket stitch can be used to create straight and gently curved lines, outline borders and finish edges.


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4. Before you start, group your threads into light, medium and dark tones to help you make decisions about which to use in the different areas of your image.

Bring your needle through to the front of your work, and then reinsert it into same hole, forming a loop on the surface of your fabric. With the loop lying to the left, bring the needle out through to the front of your work again, 5mm or so to the left and within the loop. Gently pull the thread through to tighten the loop. Make a small stitch over the last loop to hold it in place (image image 1). 1


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Tips 1. You may find it easier to use an embroidery hoop when stitching – this will help to keep your work flat, avoiding stitches puckering the linen. 2. Don’t be tempted to use more than 45cm lengths at a time, as you will just end up getting tangled.


making inspiration

INSPIRATION Transform any gift into something sensational with a beautiful vintage scarf. By Jane Means RESOURCES


Gift wrapped by Jane Means, ÂŁ20, Jacqui Small, ISBN 9781909342569


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05/01/2015 09:39

Online Weekends Daytime Evenings Bespoke training Courses for under 19s Dual city and Study abroad Art, Design, Fashion and Performance

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Search: csm short courses

1/12/15 9:16 AM

making pretty

WINGED BROOCH This brooch can be made to adorn your favourite top, jacket or even a handbag, or you could give it as a gift to that someone special in your life. By Jessica Aldred and Emily Peacock


Tip Use different-coloured sequins, or even adorn this design with beads. You can make a brooch of any shape using this technique – the important thing is that it’s solid. Use trailing around all edges, do lots of embellishment and, for added strength, apply felt to the back of the brooch and stitch it in place.


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making pretty YOU WILL NEED • Pattern template on page 85 • 30cm x 30cm medium calico • 4 lengths paper-covered cake wire • 1 skein red variegated stranded cotton • 10cm x 10cm red felt • 10cm x 10cm red silk • 10cm x 10cm iron-on transfer adhesive • 4cm Gilt no. 1 pearl purl • Yellow machine thread • 2 sizes of Spangles (approximately 200) • Brooch back • 1 small block of wax • 20cm ring frame • Sharp pair of scissors • Small screwdriver • Paper scissors • Needles • Pliers • Pencil • Mellor (optional) • Quilter’s pencil (optional) • Light box (optional) • Mini iron (optional) Finished size: 7.5cm x 7cm

1. Photocopy the design from page 85 a few times so you have extra copies to cut up and make notes on as you go through the project. 2. Trace the design on to the calico. If you have any difficulty seeing the design through the fabric, use a light box (if you have one) or tape the design on to a window, placing the fabric over the top. A quilter’s pencil can be very useful for drawing on designs, as the lines don’t smudge. Put the fabric in the ring frame and pull the fabric as tight as you can, tightening up the screw with a small screwdriver as you go. 3. First you need to do the trailing, which is a form of couching where the stitches are more tightly packed together, to give your brooch a solid form. Stitch paper-covered wire down using one strand of stranded cotton. A variegated thread has been used here but you can use any colour you like. Start by catching down the end of the wire with your first stitch, and then work along it, bringing the needle up on one side of the wire and taking it down on the other. Keep your stitches really close

together so that none of the wire is showing through (image image 1). 1 You will also need to bend and manipulate the wire to fit the shapes (image image 2). 2 A pair of pliers can be helpful for this. 4. Work the whole design in trailing, with the exception of the heart (image image 3 3). Be mindful of the threads going across the back of your work. Make sure all threads remain within the shape of the design, otherwise you will cut them when you come to cut out your brooch later on. 5. Cut the heart shape out of one of your paper copies of the design. Pin it onto the red felt and cut out two heart shapes. 6. Trim one of the heart shapes down so it fits inside the other, and stitch down the smaller heart using stab stitch (bring the needle up on the outside edge and take it down into the fabric that is being applied). Apply the second heart over the top (image image 4 4). 7. Now you can apply the red silk. To avoid fraying, trace and then cut out the heart shape in iron-on adhesive and iron this on to the silk. In turn, cut the silk heart shape out

and iron it on to the felt before stab stitching around the edge. 8. Once the silk heart is securely sewn down, stitch trailing around the outside edge of the heart, covering your stab stitches as you go – again, this was done with variegated thread (image image 5). 5 9. Now you need to stitch down the pearl purl around the inside edge of the trailing. Pearl purl is a metal thread that, when stretched, looks like a spring. Before you start, stretch it a tiny bit to open out the grooves and make room for your stitches. 10. Start at the point of the heart and, with your first stitch, catch down the first groove of the pearl purl. Do a stitch every two or three grooves, bending the pearl purl round to fit the shape as you go (image image 6). 6 11. When you reach the point of the heart again, cut any excess pearl purl away and, again, catch down the last groove with your final stitch (image image 7). 7 12. Now comes the fun bit – stitching down the spangles! This design uses two sizes of spangles to fill the

13. With all the stitching done, you can cut your brooch out. First leave an excess of calico, and then cut it away gradually and carefully, being certain not to cut any of your stitches. Once you’ve cut all the calico away, rub a pin along the edge of your brooch to free any loose threads, and then trim away (image image 9). 9 14. Stitch a brooch back on behind the heart shape and then bend and manipulate your brooch into the shape you want it to be.

RESOURCES Adventures in Needlework by Jessica Aldred and Emily Peacock, £14.99, GMC Publications, ISBN 9781861088956











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shapes completely but you can use as few or as many as you like. Stitch them down using back stitch. This means you come up at the bottom of a shape, thread on a spangle and then take the needle down behind it. You then bring your needle up in front of the spangle, thread on the next one and take your needle down in the hole of the previous spangle. Continue in this way until the shape has been filled (image image 8). 8


05/01/2015 09:42

making practical

SIMPLE LEATHER PURSE AND WALLET Make a matching purse and wallet in brightly coloured leather. By Emma Herian YOU WILL NEED • Pattern template on page 86 • 30cm x 20cm of leather in colours of your choice • Matching extra strong thread • Sewing machine with leather needle • Pen • Ruler • Scissors • Button • Scalpel • Leather punch

PURSE 1. Using the purse template on page 86, cut out and draw around onto the back of the leather (image image 11), then cut it out. Cut a strip of the same leather about 1.5cm width and slightly longer than the width of the purse. With your sewing machine and the extra strong thread sew all the way around the strip with a 5mm running stitch hem. Put to one side.

2. On the reverse of the leather mark 9cm up from the bottom and then again 9cm from that point – do this either side of the purse (image image 2). 2


3. Using the matching thread on your sewing machine, and starting from the second 9cm mark, sew around the top edge of the purse with a 5mm running stitch hem making sure you backstitch either end and neaten off stray threads (image image 3). 3

2. Sew a similar hem along the ornate top edge of the wallet using the matching thread (as in step 3 of the purse tutorial) as well as the straight edge.

4. Fold the leather up from the first 9cm mark to the second, then place the strip cut in step 1 roughly around 3cm from the top 9cm mark. Now sew down either side of the purse so that the strip and edges are all sewn together (image image 4). 4 Backstitch either end and neaten off any stray threads with a needle. 5. Using the leather punch, cut a small hole in each of the scallops to give a pretty ornate edge, then simply close the purse by placing the flap under the strip (image image 5). 5

1. Using the wallet template on page 86 follow steps 1 and 2 of the purse tutorial but cut an 8mm x 12cm strip of leather for the fastening.

3. Take the thin strip of leather and fold in half, position as a loop in the middle, about 5cm from the straight edge and sew in place neatening off any threads (image image 6). 6 Sew a button just below this loop, making sure it is attached securely. 4. Sew down either side of the wallet and neaten off any stray threads. Finally, with the scalpel, make a small slit in the middle of the flap, thread the leather loop through the slit and twist over the button to secure the flap.

RESOURCES Leather: Thread:








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08/01/2015 11:33

making practical


1. Have fun with the shape of the flap using different sized leather punches to create different patterns. 2. Make sure you use a leather needle on your sewing machine.


making practical


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05/01/2015 09:45

making practical

LEATHER LEAF BELT Make a sweet and simple leather belt to complete a pretty Valentine’s outfit. By Emma Herian YOU WILL NEED • • • • • •

Pattern template on page 86 25cm soft brown leather Ornate buckle Leather hole punch tool Extra strong thread Sewing machine with a leather needle • Scissors

1. Using the leaf template on page 86 draw out around 35 leaves on to the reverse of the leather, then cut each one out and put to one side (image image 11). 2. Take the buckle and cut an 8cm length of leather to the width of the inside of the buckle (image image 2 2), then

using the leather hole puncher, make a large hole 3cm in from one end (image image 3 3). 3. With the sewing machine and strong thread, sew a running stitch hem 1cm from the edge all the way around the strap and neaten off loose threads (image image 4). 4

5. Take one of the leaves cut in step 1 and place on the front of the strap so that the tip of the leaf is roughly 3cm from the buckle pin. Using the sewing machine, carefully sew the leaf in place using a 1cm hem running stitch all the way around the edge of the leaf, sewing across the width too. Neaten off any loose threads to the reverse of the belt (image image 6). 6

4. Place the strap through the buckle so that the pin goes through the hole and the shorter end 6. To attach the remaining of the strap is facing the leaves, simply sew back. Sew across the each one into place width of the strap so that the tip of 1. Test the leather through with a running stitch your sewing machine first and each leaf sits to the to hold the buckle centre of the leaf see which stitch is suitable. in place and neaten 2. Use a different leaf shape below. Sew using off any threads a running stitch and mix it up with other (image around the edge in image 5). 5 colours of leather.


a leaf shape and neaten off the loose threads to the reverse of the belt (image image 7). 7 7. Once all the leaves have been sewn to the desired length (add more if needed) wrap the belt around your waist and mark on the reverse where you need to make the holes. Then selecting the large hole on the hole puncher, punch between two leaves where there is only one layer of leather to go through (image image 8). 8

RESOURCES Leather: Leather hole puch tool:










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05/01/2015 09:45

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1/8/15 9:57 AM


April Carter April Carter, artisan cake maker and decorator, shares her passion for craft (and perfectionist tendencies!) with Abi Cox What fi rst sparked your interest in craft? I’ve always been drawn to arts and crafts but I really got interested when I was planning my wedding. The trend for DIY weddings and blogs like Design*Sponge with their beautiful photography inspired me to make everything from my wedding cake to the little sewn envelopes of confetti and the hand-stamped table plan. What so far has been your biggest achievement? I’m so proud of my new book, Decorated. It has lots of different elements like the step-by-step instructions for getting even cake layers, crafty finishing touches like the ribbon cake flags, baking tips and how to photograph your cakes as well as the cake projects themselves. It’s been such a team effort too, working with photographer Danielle Wood and designer Ami Smithson and it felt amazing to have the final book in my hands after all that work. How do you keep coming up with new ideas? I’m always looking out for baking trends on blogs and in magazines and often I come up with something new as part of a commission for a wedding or event. I recently made an eight-layer wedding cake for a travel-themed wedding. The couple wanted to incorporate maps as part of the cake design so I cut pieces from a vintage map print to make cake bunting mixed in with rubber stamped letters of the couple’s initials. What further ambitions do you have for the future? Now that Decorated has been published I’m looking forward to spending some more time on my blog, developing new ideas for books and I’d love to create some ‘how to’ videos too. I’m also looking forward to spending more time in the kitchen (I work as a baker at Violet in East London) and with the new menu of cakes for spring. I already make cakes for one-off commissions, but I’d love to have my own baking business one day.

How important do you think art and craft is in modern living? My environment is really important to me and if I’m surrounded by well-made, thoughtful objects it really lifts my mood. Some of my favourite crafty objects in my flat are from the Renegade craft fair in Chicago and they remind me of that fun trip. A beautiful feather illustration, some laser cut wooden coasters that look like letterpress and a cushion with a print of their elevated train. I think that food can create a great atmosphere too. A cake can make an occasion and the person that you’ve baked it for feel special. What message or advice could you give someone trying to make a career in design or craft? I’m so glad that I started my blog, Rhubarb & Rose (www. I always tell other people that starting a blog, or even an Instagram feed in their area of interest is a great idea. It helps you to work out what you like doing, develop skills and connect with other people. Having a day job or another source of income is important too. I think you can achieve a lot at evenings and weekends, testing ideas and seeing what works before taking the plunge and going full time. Also, try to get as much work experience as possible! What is the best piece of advice you’ve ever been given? I have perfectionist tendencies and sometimes I spend far too much time on one task. While I was neatening up the all-important folds of a batch of puff pastry at cookery school my teacher said ‘just get it done, April!’ I remember that moment every time I fi nd myself taking too long over something. Tea and cake or pie and a pint? Both! I will always love tea and cake but if I’m at a rainy music festival then it has to be pie and a pint.


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Get your hands on a copy of April’s book, Decorated, £20, available at www.hardie and all good book shops.


05/01/2015 09:46

making practical

COFFEE SACK LOG BASKET This is such a great use for old coffee sacks but bear in mind that the thick lining makes this project tough work for your sewing machine, so make sure you have a heavy-duty needle at the ready! By Clare Youngs m YOU WILL NEED • • • • • •

Coffee sack Tape measure Pencil Scissors Pins Cotton drill or denim lining fabric measuring 116cm x 42cm • 5cm wide x 1m long herringbone webbing • Sewing machine • Sewing needle and strong, thick thread

1. Cut two rectangles from the coffee sack measuring 42cm x

58cm. With right sides facing, pin the two pieces together and sew down each short side and along the bottom edge, taking a 1cm seam (image image 1). 1 Turn the right way out. 2. Repeat step 1 with the lining fabric, but don’t turn it the right way out. Instead you need to trim the corners. Do this by aligning the side seams, one on top of the other. Each will form a triangle where it aligns with the bottom seam. Draw a line across each triangle 8cm down from the tip, and sew across the line (image image 2). 2 Trim off the excess triangles.


3. With wrong sides together place the lining inside the coffee-sack outer bag. Turn over and pin a 1cm seam all around the top edge of the outer bag. Cut the length of webbing in half and pin each half to one side of the bag to make two handles. Place the raw ends of the handles between the lining and the outer bag, approximately 4cm into the bag and 16cm apart (image image 3). 3

6. Push each of the bottom corners of the outer bag into the bag by about 8cm. Using a strong thread, hand-sew some stitches where the seams meet, to secure (image image 5). 5 This gives the bag a flat base.

4. Now turn over a 1cm hem on the inner fabric and go around the top of the bag, re-pinning through the two sections and the handles.

RESOURCES A Year in Crafts by Clare Youngs, £14.99, CICO Books, ISBN 9781782491415

5. Top-sew all around the top edge of the bag using a heavy-duty needle






on your sewing machine (image image 4). 4 When you go over the handles, make a few rows of stitching to secure them well.


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05/01/2015 09:46



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05/01/2015 09:46

making know how

POMPOM THROW Cosy up in cables and pompoms. This is an ideal project if you are new to cables. By Sarah Hazell Using 10mm needles and yarn A, cast on 110 sts. Row 1 (RS): K1 [p1, k1] 18 times, p1, k2, p9, k12, p9, k2, p1, [k1, p1] 18 times, k1. • Fantasia Baruff a Bulky: 8 x 100g balls in Steel (902) A and 2 x 100g balls Row 2 and and all WS rows: P1, [sl1 purlways in Azalea (907) B wyif, p1] 18 times, k1, p2, k9, p12, k9, p2, k1, • 10mm needles [p1, sl1 purlways wyif] 18 times, p1. • 8/9mm crochet hook Row 3: K1 [p1, k1] 18 times, p1, knit into front of • Large cable needle second and then into front of first st on LH needle • Pompom maker and slip off the needle tog, p9, C12B, p9, knit into front of second and then into front of first st on LH needle and slip off the needle tog, p1, [k1, p1] 18 times, k1. ABBREVIATIONS Knitting Row 5: As Row 1. sts: stitches Row 7: K1 [p1, k1] 18 times, p1, knit into front of second and then into front of first st on LH needle k: knit and slip off the needle tog, p9, k12, p9, k into p: purl front of second and then into front of first st on RS: Right Side LH needle and slip off the needle tog, p1, tog: together [k1, p1] 18 times, k1. WS: Wrong Side wyif: with yarn in front Row 9: As Row 1. C12B: Slip next 6 sts onto a cable Row 11: As Row 7. needle and hold at back of work, Row 13: As Row 1. 1. Practise the cabling k6, then k6 from cable needle technique on a swatch before Row 15: As Row 7. Row 16: As Row 2. starting the main project. Rep last 16 rows, 6 more times Crochet 2. Invest in a pompom and then rows 1-4, once more. ch: chain maker for really Cast off. dc: double crochet professional sl st: slip stitch results.




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BORDER Using 8/9mm crochet hook, join yarn B to any st along cast-on edge. Round 1: Ch1, 1dc in same place, 1dc in every st along cast-on/off edges and row ends, working 3dc in each corner, join with a sl st to first dc. (An exact st count is less important here than a good fit). Round 2: Ch1, 1dc in every dc from previous round, working 3dc in 2nd of 3dc cluster at each corner, join with a sl st to first dc. Round 3: Ch1, 1dc in every dc from previous round, working [1dc , ch2, 1dc] in 2nd of 3dc cluster at each corner, join with a sl st to first dc. Fasten off.

FINISHING Weave in any loose ends. Wet block by pinning throw out to required measurements. Cover with a damp towel and leave to dry. Remove pins when throw is dry.

POMPOMS Make four pompoms approximately 10cm in diameter and attach to each corner of the throw.



08/01/2015 11:28


Tips Make your cushion covers by cutting two pieces of fabric for the front and back exactly the dimensions of the cushion pad. Then follow steps 2–8.


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08/01/2015 11:29

making practical

RUFFLE-EDGED EIDERDOWN Opt for a cosy night in with luxury ruffle edged bedding. By Jemima Schlee YOU WILL NEED • Duvet • Two pieces of fabric measuring the exact size of your duvet (for a single duvet I used 2.5m of each fabric) • Fabric for your ruffle (see step 2, for a single duvet I used 2.5m of each fabric) • Sewing machine and thread • Sharp scissors • Iron • Sewing needle and pins • Yo-yo maker (optional)

1. First prepare your fabric for the back and front of your eiderdown. This may involve joining two pieces of fabric for the back and two for the front. Your finished pieces of fabric should measure the exact dimensions of your duvet. Create curved corners by drawing around a saucer and cutting along the line (image image 11). 2. Now make your ruffles. Measure the outside edges of the fabric for the front of your eiderdown. Cut enough 10cm wide strips of the fabric for your ruffles to create a long strip measuring twice the circumference of your front fabric once joined using 1cm seams. Press all the joining seams of your ruffle strip open, then fold it in half, wrong sides together, and press (image image 2 2).

5. Machine a 1cm seam all around to stitch the ruffle onto the fabric. Remove all the gathering threads and press the ruffle all the way around (image image 5). 5 6. Lay your backing fabric face down on your work, aligning all the raw edges. Pin or tack all the way around. Sew a 1cm seam by machine, leaving a 60cm turning gap at the centre of one side. 7. Turn right side out, fold raw edge along the turning gap in by 1cm and press all the way around (image image 6). 6 8. Insert your duvet into the cover, pin the turning gap shut and close with small overstitches by hand (image image 7). 7

9. Make 24 yo-yos using your yo-yo maker. You don’t need to use a yoyo maker, here’s how to make them without one: cut a circle of fabric 10cm in diameter. With the wrong side facing you, fold the edges in by 5mm and press with a hot iron. Bringing your needle through from the other side, make 7.5mm gathering stitches (in effect stitching a hem), all around the edge with your thread doubled for strength (image image 8). 8

11. Shake your duvet out so that you are happy that it fills the cover evenly. Mark a point in one corner, 30cm in from each edge. Stitch a yo-yo to either side tightly, sandwiching the duvet in between. Do the same on the remaining three corners. Mark a point centrally along one short end, 30cm in from the edge. Stitch another pair of yo-yos on either side at this point. Do the same at the other end. Stitch two more pairs evenly spaced along both long edges, then the final two down the centre aligning them.

10. Draw your thread to gather the edges into the centre. Push your needle through the centre to the RESOURCES back and make a few small stitches to Camo Deluxe fabric in silver and finish off your thread and secure the Bizzy Lizzy fabric in purple: gathering firmly (image image 9). 9










3. Using your thread doubled, make a long line of running stitches, about 5mm long, 1cm in from the raw edges of the ruffle fabric to gather it (image image 3 3). STEP-BY-STEP PHOTOGRAPHS: JEMIMA SCHLEE

4. With the front fabric right side up, mark the edges all the way around with pins 7.5cm apart. Do the same with the raw edge of the ruffle fabric, but this time with the pins 15cm apart. Pull your double threads to gather the ruffle so that each point marked by a pin on the ruffle aligns with a pin along the front fabric edge (image image 4 4).


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making inspiration

INSPIRATION Add a pop of colour to your bathroom with a colourful teak towel rack. Use any colour yarn that fits your space. YOU WILL NEED • • • •

Wooden ladder Black latex paint Paintbrush 5 colours of yarn

1. Paint the ladder with two coats of the black latex paint and leave to dry. 2. Starting at the top of the ladder, tie one colour of yarn around one of the legs (with the knot in the back) and begin to wrap the yarn around the leg. Tie a new colour of yarn onto that string to switch colours (try to stagger the placement and widths of the colours for variety). 3. At the end of a section, tie your yarn end onto one of the strands on the back of the leg out of sight. When you get to a rung, you can skip it and start a new section after the rung, or you can make a crisscross across the rung and keep going.



A Beautiful Mess: Happy Handmade Home by Elsie Larson and Emma Chapman, £17.99, Potter Style, ISBN 9780770434052


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08/01/2015 11:30

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1/8/15 10:24 AM

making pretty



Because this camisole and French knickers are made from a beautiful silk satin, you’ll find the classic, bias cut of these garments irresistibly flattering and comfortable. By Katherine Sheers and Laura Stanford


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making pretty YOU WILL NEED • Pattern template on pages 89–90 • 2m–3m silk satin • 10mm–12mm narrow lace • 1m–2.5m trim • 8mm–10mm x 1m flat edge waistband elastic • 2 x 12mm metal rings • 2 x 12mm metal slides

CAMISOLE 1. Lay and cut out the pattern pieces. If required, adjust the length of the camisole by folding the pattern along the marked adjustment line. Take care to mark the position of the dart heads and notches with tailor’s tacks. Cutting fabric that has a printed pattern, or jacquard, can be particularly tricky on the bias. Use a photocopy or photograph of the fabric as a guide to orientate your cutting and help to ensure you don’t end up with all of the fabric’s pattern in just one area of the pattern pieces. 2. Align the notches and sew the darts. With the darted fabric placed downwards towards the hemline, tack at the side seam to secure. Pin, tack and sew a French seam at each side.

garment, onto the fabric below the lace with the outer edge of the strap in line with the edge of the underarm. Pin, tack and hand sew backstitch to attach. Sew overhand stitch around the edges of the strap edge if necessary. 7. To finish, remove the tacking.

FRENCH KNICKERS 1. Lay and cut out the pattern pieces, cutting the petal gusset from the same fabric. 2. Lay the two front pattern pieces with wrong sides facing, aligning the centre front seams. Pin along this edge, tack and sew a French seam. Repeat with the centre back seam of the two back pattern pieces. 3. Open the front and back panels flat. Working from the inside of the garment, press the centre front and centre back French seams towards the right side seam of each panel. Align the gusset seams wrong sides together. Pin, tack and sew a French seam. 4. Lay the side seams together wrong sides facing. Pin, tack and sew a French seam. Repeat for the remaining side seam. 5. Make and attach the petal gusset.

3. Pin, tack and sew a reverse hem around the hem and along the front neckline to attach the narrow lace. Fold and hand finish the joins in the narrow lace as necessary. 4. For the remaining unfinished edges along the underarm and the back neckline, sew a shell edge. 5. Cut two 4cm wide lengths of fabric and make into rouleau. Make the shoulder straps with shoulder back strap rings. For the straps, cut two 50cm lengths and use two additional lengths of rouleau to attach each shoulder back strap ring. 6. Turn up 10mm of each remaining strap end, right sides facing, and attach to the front neckline. Place this to the wrong side of the

6. Sew an enclosed elastic waistband. If your fabric is light or fragile, take particular care when threading the waistband elastic past the centre front, centre back and side seam as these can be a little snug. Be gentle and pull the elastic slowly to avoid disturbing the seam stitching or snagging the fabric. 7. To finish, remove the tacking. Cut a 5cm wide strip of fabric for a length of rouleau to make a fabric double box bow. Attach the bow to the centre front waistband.

RESOURCES The Secrets of Sewing Lingerie by Katherine Sheers and Laura Stanford, £15.99, Kyle Books, ISBN 9780857832375


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making feature

Meet the makers Emma Kennedy learns the secrets of sewing lingerie with experts in their field, Katherine Sheers and Laura Stanford


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in Leicestershire. “I come from a family of seamstresses,” she explains. “My mother, aunts and previous generations have all worked in the Midlands Textile Industry, so it’s not surprising my Mum taught me to hand-sew when I was three years old.” But it is only with hindsight however that she realises she was always drawn to working with the light and delicate fabrics synonymous with lingerie. At the same time in another part of the country, Katherine was adapting to life in rural South Wales, following a move from Brunei, Southeast Asia. “My childhood was spent in a beautiful, but relatively isolated area and as such I learned to entertain myself from a young age.” Unable to recall when exactly she first started to sew, I suspect the question is redundant, as this time doesn’t appear to exist. However, what she can recall with absolute clarity is that at the age of seven she had begun collecting fabrics discarded by her primary school teachers, by eight most of her weekends and holidays were spent reading, knitting, sewing and embroidering, and by nine she was customising her own clothes.” Spurred on by the apparently limitless encouragement from her mother for all creative pursuits, she now realises the solitude she experienced as a child was a: “fantastic gift in nurturing my enjoyment of making.” Considering the formative years of these two designers, I briefly try and recall my own creative pursuits at this age, and notwithstanding my rather sketchy memory, I’m pretty sure it didn’t involve customising my own clothes or sewing by the age of three. On completion of their degrees (Contour

Fashion at De Montford University), neither of them wasted much time before jumping on the career ladder. Laura immediately jetted off to Hong Kong to work on Graduate placements, before returning to the UK and working for a supplier to Marks & Spencer and Abercrombie and Fitch. However, it is Katherine’s story at this point that is altogether more intriguing. “My first job from after university was an unusual one; I designed and coordinated the product development for a celebrity lingerie brand. The unusual aspect was that as part of the job, I lived with the celebrity in London.” Thinking this was a little beyond the call of duty, my mind whirs into overdrive as to which celebrity she was talking about, but as Laura reminds me; “as a lingerie designer, women have to have confidence in our absolute discretion,” I resist my natural instinct to push harder and say “oh, they won’t mind…” but ignoring my salacious request to throw in the name of the mystery celebrity, all Katherine will admit was that despite enjoying working so closely with the client, “my days were significantly less creative than they had been at University.” Knowing that from here, Katherine went on to work for suppliers to Victoria’s Secret I forge ahead, clinging onto the celebrity theme and wonder what it’s like to work for such huge underwear Giants like Victoria’s Secret and Agent Provocateur? Katherine considers this before explaining. “I don’t think I truly realised how huge Victoria’s Secret were until I began working on their account. Internationally they command the largest market share and as such the sheer volume of garments made


hen beautiful books land on my desk, it’s always an excuse to drop everything and loftily leaf through the pages, savouring the images whilst looking thoughtful, keen for colleagues to know that I am actually working. When The Secrets of Sewing Lingerie wafted delicately onto my desk, I suspected I might be pushing it a little as I lusted over pages of delicate creations in silk, satin and lace. Adorned with the kind of lingerie I somehow wouldn’t feel qualified to wear, and on closer inspection even less qualified to make, I did a discreet double take when I realised it really was a how-to book. Lingerie has always been something of a mystery to me. Something for those a little more sophisticated, always erring on the side of caution when faced with row upon row of lacy loveliness. But with just a brief introduction to this seductive world, I think I am about to embark upon a very expensive and somewhat addictive habit! Meeting at University, Laura Stanford and Katherine Sheers instantly recognised a kindred spirit in each other. Fuelled by a shared passion for lingerie and design, it was a friendship that has culminated in the recent launch of their book. Following each other’s careers (often from across continents), their mutual admiration for each other’s achievements is obvious and despite coming from very different backgrounds, like most people who share a passion for craft and design, their talents were harnessed and encouraged at an early age by their mothers. For Laura, this was in a small village


05/01/2015 09:59


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making feature is astonishing.” I wonder what the advantages and disadvantages are of working on such a scale. “One advantage is the range of fabrics and trimmings available to you when designing garments; it opens up sourcing options and therefore creative opportunities. However, conversely the nature of such a vast organisation is that a design passes through so many hands on its journey, from concept to being in-store, that it is rarely recognisable as the initial idea you conceived, which can be frustrating – especially if you were in love with the original design.” Laura echoes this sentiment from her days designing for Debenhams and Marks & Spencer, before going on to become a senior designer with luxury brand, Agent Provocateur. “This was an amazing experience. As a massive fan of the brand since my university days, the interview experience felt very surreal, but what makes Agent Provocateur absolutely unique is how creatively led the business is.” I mentally add them to my list of brands to ‘explore’ in my quest to become a little more selective in my own underwear shopping. But once again I shudder at the thought of stripping off under the harsh lights of the retail dressing room, trying on bras that somehow don’t live up to the visual promise on the packaging. I express my frustration and wondered what advice they had for the novice. “Take time, and try to see objectively, how lingerie looks on your body,” Katherine offers before continuing, “we rarely spend sufficient time or effort ‘relearning’ how best to work with our changing bodies.” I think briefly of my own buying experience and quickly realise I am falling at the first hurdle with my ‘this will do’ approach of underwear shopping, in between the weekly shop and the Post Office. Katherine continues; “Which are the pieces of underwear you find yourself regularly picking out of your lingerie drawer? Put them on in front of a mirror and try to identify what it is about them that works and conversely what you wish could be different. Keep these points in mind as a starting place when you go to the shops to try on new styles.” Like fashion, Lingerie has seasons it adheres to, Spring/Summer – Autumn/Winter, which splits into three ‘drops’ of new collections for each season throughout the year. “In terms of colour and trend, fashion in many ways used to trickle through to lingerie by the following seasons,” Laura explains. “However, it has become so much broader now as an industry. Fashion silhouettes are key for lingerie trends, and we tend to design what you’ll need to wear with ‘that’ style of dress, skirt or trouser. And although it will be the case that some colours

just won’t work in lingerie, colour and print are more vital to fashion lingerie collections than ever now. We always have to have an eye to balance new creative direction against what are ultimately the timeless elements of lingerie design we all know and love.” I once read that designing underwear involved more than just artistic creativity, and that an element of engineering was also required. As I voiced this question I began to doubt my vague source, but it was met with the affirmative. Katherine: “Absolutely. I love the challenge of designing something beautiful within technical boundaries; it fulfils two distinct sides of my character. On my book shelves art publications sit alongside those on modern physics, so the combination of lingerie’s engineering and beauty has always felt like a perfect fit.” In wholehearted agreement with Katherine, Laura joins in, “I think beautiful, modern lingerie has a lot in common with couture fashion; the perfectly considered style and fit of a garment often cleverly disguises an array of complex technology and techniques.” By now, I am beginning to feel as though I am in the middle of a niche master class in

for the book. It was their first collaboration and with a mutual admiration for each other’s work, the journey was harmonious and rewarding. A joint effort in every way, tasks were delegated organically, and the finished book reflects both of their tastes, experiences and skills. Reflecting on the process, Laura agrees that there is a huge difference between designing commercially and designing for the home sewer, but adds that despite this, in their simplest forms these differences come down to availability of materials and the manufacturing techniques or machinery. “For me, after ten years working in the industry, I’ve developed an instinct for designing, pattern cutting and fitting. Layering that onto the home sewing approach my mother taught me, I felt very privileged to be able to develop garments with style, practicality and a simplicity in their sewing that a home sewer can feel at ease with.” So with the success of their debut book behind them, I imagine it’s back to the day job. Day to day Laura runs her lingerie design consultancy and Atelier, Of Life and Lust. “It’s been a very busy 18 months, but I think if you have the passion and determination, you can do anything.” Leaving the larger companies behind her, she works on both creative and technical projects for smaller brands and companies in the UK and abroad, and is looking to launch a bespoke made-tomeasure luxury lingerie business this summer. Katherine, having recently had a baby (literally going into labour as she was penning a chapter of the book in a café) is already working on her next two books and rather excitingly, a series of workshops they have planned for later in the year. So, having looked at the book and been completely convinced by both Katherine and Laura, I’m now thrown into a quandary! Maybe it’s not a shopping expedition that’s needed, but a few well chosen fabrics and trimmings to make my own. This option is suddenly far more appealing to me, ruling out the likelihood of repeat offending in the lingerie department, but in reality, probably a mixture of both would be the safest way forward. But whatever I decide, as far as I’m concerned the only way is lingerie!

“I think beautiful, modern lingerie has a lot in common with couture fashion; the perfectly considered style and fit of a garment often cleverly disguises an array of complex technology and techniques.”


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lingerie, and I ask how all this expertise could translate into a book aimed at the home sewer, and in some cases the novice? It seems so far removed from commercial design, and I wonder how the initial idea came about. As the originator, Katherine answers first. “The idea for the book happened about five years ago. It came about as a result of conversations with women, where upon learning what I did for a living, they would ask if I could make them specific pieces of lingerie they’d wanted but been unable to find in the shops. I knew how achievable it was for the novice home-sewer to make herself beautiful lingerie, but there was no comprehensive and inspiring guide that I could direct them towards.” Two years ago, when dividing her time between mainland China and NYC, embroiled in commercial design for the major retailers, Katherine realised she felt an overwhelming desire to return to the more hands-on making element of design. Aware of the resurgence of craft in the UK, she instinctively knew the time was right to return home and focus on the book. It also created the perfect opportunity to work with Laura, who she approached soon after, and together they developed the concept

The Secrets of Sewing Lingerie by Katherine Sheers and Laura Stanford, £15.99, Kyle Books, ISBN 9780857832375


05/01/2015 09:59


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05/01/2015 09:59

making practical


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05/01/2015 10:01

making practical

SILK LINGERIE BAG This sumptuous silk bag will protect your precious underpinnings while you voyage, or look equally gorgeous housing something special at home. By Katherine Sheers and Laura Stanford

YOU WILL NEED • • • • • •

Pattern template on page 89 50cm plain or printed silk 50cm wadding 1.5m narrow lace trim 8cm x 10mm velvet ribbon 15mm button

1. Lay and cut out the pattern pieces and wadding. When cutting out the outer and the lining, ensure you mark both pairs of notches. The amount of wadding required will depend on the type of wadding you’re using and its loft. You may need to experiment using more than one layer to achieve the desired thickness.


2. Place the narrow lace around the edge of the outer pattern piece, right sides facing, with the decorative top edge facing inwards. Pin and tack. Position the join of the narrow lace and the opening to turn the layers through in the same place; this will help you to successfully disguise the lace join. 3. Make a 3cm long loop of velvet ribbon, laying the ribbon ends flat together, one on top of the other, and sew a tailor’s tack. Place this tack in line with the centre notch at one end of the outer pattern piece, placing the loop right sides together onto the outer fabric. This will be at the bottom edge of the lingerie bag once finished. 4. Lay the pocket onto the lining pattern piece, aligning the folded edge with the lining notches that correspond to fold B. Pin and tack around the cut edge.


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5. Lay the outer and lining pieces together, right sides facing. Pin, tack and sew around the edges, leaving a 10cm opening along one of the straighter edges. 6. Make small cuts in the seam allowance around both curved edges. This helps to release the fabric around the curve for a smooth shape and finish. Remove the tacking. Bag out the pattern pieces and press. 7. Roll up and insert the wadding. Unroll it; ensuring it’s laid up to all edges once inside the bag. 8. Fold the seam allowance inwards along the opening, ensuring the ends of the narrow lace are overlapped, trimmed and concealed. Pin and slipstitch to finish the edge. 9. To finish, with the bag closed, place the velvet ribbon loop from the bottom of the bag onto the top of the bag. Then, using the centre of the loop as a guide, mark the position of the button and sew it to the outer fabric. To add extra sophistication to a covered button, cut a length of tiny chain to the same circumference of the button. Attach this to the edge with whipstitch, passing through the links and the fabric of the button.

RESOURCES The Secrets of Sewing Lingerie by Katherine Sheers and Laura Stanford, £15.99, Kyle Books, ISBN 9780857832375


05/01/2015 10:01

making know how

MASSAGE OIL Massage oils are extremely easy to make. As well as being a lovely gift, with the added bonus of the promise of a massage; they are a great way to keep your skin soft and moisturised. YOU WILL NEED • • • • • •

Coloured glass bottle 250ml sweet almond oil 10 drops sandalwood essential oil 10 drops patchouli essential oil 4 drops ylang ylang essential oil 2 drops orange blossom fragrance

Drip the essential oils and fragrance into your glass bottle, add the sweet almond oil, and roll the bottle in your hands to blend the oils. Decorate with a pretty label if desired. Shake well before each use. It is best to store your oil in amber or coloured glass bottles somewhere cool and away from daylight in order to preserve the properties of the oils and essential oils. To use, pour a little oil into the palms of your hands and massage into the skin in slow rhythmic movements. Alternatively run a warm bath and add 1–2 tablespoons of the oil to the water. Mix well to ensure that all the oil has evenly dispersed and enjoy a leisurely soak.

RESOURCES Almond oil and essential oils:

Tip You should never apply essential oils directly to the skin as this can cause skin irritation. Essential oils should always be diluted in carrier oils; these carry the essential oil to your skin, making application safe and easy.


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making regular

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making regular

Book reviews Tanya Blake selects four inspirational books to get you in the mood for making. 1

1. 500 TRADITIONAL QUILTS Karey Patterson Bresenhan Lark, £19.99, ISBN 9781600596889 For lovers of the long-enduring art of quilting, this book is an absolute must. Karey Bresenhan, owner of Quilts Inc. and founder of the International Quilt Festival, has compiled a treasure trove of 500 quilt designs that showcase the work of talented artists around the world. Each design was selected for its skilful use of traditional patterns, forms and techniques that celebrate the artistry of this timeless medium. Scrolling through the pages you will find beautiful and inspiring examples of quilts made in the Baltimore tradition, medallion quilts and reproduction quilts that are as close to exact copies of classic 19th-century designs. But be warned, you will lose hours studying the intricate patterns and stunning colours that make up these extraordinary designs.


2. BROWN SUGAR KITCHEN Tanya Holland Chronicle Books, £18.99, ISBN 9781452122342 Tanya Holland, owner of Californian restaurant Brown Sugar Kitchen, is here to take you on a culinary journey. Not only will you learn to cook with the flavours and flair inspired by her West Oakland home, but you’ll also learn about the history of the city and the people that frequent Holland’s vibrant restaurant. Her cookbook is filled with mouth watering recipes that deliciously combine home spun soulful flavours with a modern twist. From jerk baby back ribs with salsa pineapple to cornmeal waffles with apple cider syrup, you will fall in love with Holland’s heartfelt cooking style.


3. A BEAUTIFUL MESS: HAPPY HANDMADE HOME Elsie Larson and Emma Chapman Potter Style, £15.58, ISBN 9780770434052 It’s time to celebrate because the wonderful sisters from the décor blog A Beautiful Mess are back with a second book to impart their style wisdom. Drawing on the trials and tribulations of decorating their own flat, Elsie and Emma have compiled more than 100 ideas to add colour and personality to your home. Whether it’s stamping your own wallpaper to re-styling an old coffee table, all the projects can be achieved using simple crafting techniques and affordable supplies. Plus the book is teeming with the girls’ top styling tips, from how to create a pretty and organised workspace to making mismatched furniture work. Without a doubt this book will live up to its name and help you create a happy handmade home.


4. FAMOUS FROCKS: THE LITTLE BLACK DRESS Dolin Bliss O’Shea Chronicle Books, £18.99, ISBN 97814212363 Where would we be without the little black dress? That classic wardrobe staple that helps us to look so utterly chic with such minimal effort. In this sublime sewing book you will find 10 full dress patterns and further sewing variations to create 20 iconic black dresses taken from the pages of fashion history. Each design has been inspired by fashion icons that had their own take on the LBD, from an elegant and feminine Joan Crawford dress that oozes 1930s glamour to a long-sleeved lacy design inspired by the effortless rock ‘n’ roll style of Kate Moss. Complete with stunning photography of the finished pieces and an essential how-to guide on dressmaking techniques; you have everything you need to create a little black dress for every occasion.


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making regular

Web reviews Jennifer Gaskin surfs the web to find the best in crafty blogs, tweets, tutorials and news...

Sites of the month CRAFTING CONFESSIONS Amy Wanford has been running this paper craft blog since 2009. Crafting confessions focuses mainly on Amy’s wonderful greeting card designs, but as well as tutorials ials on how to recreate her creations, there iss also an entire section of the site dedicated to paper craft tricks and tips. For those interested in improving their paper craft skills, s, there are articles on creating stencils ncils and slider cards, and you can even en find a fantastic video tutorial on how to tie the perfect bow.

TOP TUTORIAL SPACE FOR THE BUTTERFLIES On the name of her blog, its creator, Carie, says, “My butterflies are the things that make me happy – my little family, knitting, sewing, quilting, embroidering, cooking, baking, exploring and trying to live each day to the very best.” On Space for the Butterflies, you’ll find plenty of free knitting patterns for children’s clothes and the adorable photographs that illustrate the finished product. There are also sewing tutorials and some great recipes for easy family-friendly suppers.


CURIOUS CRAFTING Jennifer started this blog in 2011 as a way of recording her family’s memories and sharing the things that they do. She writes about a number of different topics, but there is an emphasis on parenting, crafts and places that she visits with her family. One of the best sections of this blog is dedicated to homemade toys. “I make lots of toys and games for and with my children. Making large toys from cardboard boxes is brilliant, because when you are done yyou can squash and recycle them,” them, she explains.

AI WEIWEI Ai Weiwei is a Chinese contemporary artist and activist. The piece of work pictured, which was also exhibited at the Tate Modern, is a 500kg pile of hand-painted seeds which Weiwei describes as a reminder of a time when Chinese people were urged to turn their faces to the ‘sun’ of Mao – who mired them in such abject poverty that sunflower seeds were regarded as a treat.


TWEET ME! Who’s Wh ’ spreading di the handmade message in 140 characters or less? @missbettysattic Miss Betty is passionate about keeping history alive through vintage fashion, she tweets photos of her best vintage finds.


@ProfPincushion Professor Pincushion features video tutorials that teach you how to sew. The Jerwood Makers Open seeks to provide an opportunity for makers in the early stages of their careers to develop their creative ideas independently of specific commissioning structures. The five makers are selected by an independent panel comprising foremost figures in the creative world. The finished commissions will be shown for the first time in an exhibition at Jerwood Space in London, before touring the UK until March 2015. Zachary EastwoodBloom In Translation #1 & #2, 2013 3D printed nylon


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Love knitting?


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making regular

GIVEAWAYS Feeling lucky? Enter for your chance to win this month’s fabulous prizes! TO ENTER Just visit our website, click on February 57 Offers and Giveaways, tick the competitions you would like to enter and enter code MM57. Entries must be received no later than 28 February 2015. 5 REELS UP FOR GRABS


SEW FAB X 4 Sew Fab is a style and sewing workbook for girls aged 8–13 that love fashion. There’s a mix of easy step-by-step projects to sew by hand or using simple machining, from a hair bow to a little black dress (or the colour that suits her best!). Packed with gorgeous illustrations, step-by-step projects, tips and fun activities, she will be creating unique clothes and accessories in no time.


BERISFORD VALENTINE’S RIBBONS X 5 It’s so easy to make Valentine’s Day special with a flurry of romantic ribbons! Natural Charms Rustic Heart ribbons from Berisfords provide the perfect finishing touch for special gifts, cards and table decorations. This woven jacquard ribbon has a special ‘handmade with love’ feel; perfect for a treat for someone special. We have five reels to win, so get entering now!



MM57/RIBBONS SEW JAPANESE BY MARIKO NAKAMURA X 5 This beautiful new book of functional, stylish designs for children contains over 20 original sewing projects for shirts, dresses, tunics and tops, as well as skirts, pants, jackets and charming accessories. Combining true practicality with contemporary style, Mariko’s unique designs will inspire you to create comfortable and attractive clothing for your children. Includes an envelope of paper patterns with all pattern pieces in four sizes, printed at actual size ready to trace off.





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The lovely Victoria & Abigail are giving away a gorgeous red geranium, screen-printed cushion and ceramic ‘paper airplane’ love note. Whether this romantic bundle is a heartwarming gift, or just a ‘cheer-me-up’ treat for yourself, a smile is guaranteed! But that’s not all! They’re also offering all of you lovely readers a whole 15% off all of their products until the end of February, just quote MAKING upon purchase.

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making regular READER OFFERS

EYE MASK & KNICKER MAKING KIT X 1 Flo-Jo Boutique, haberdashery ery and hosts of the best knickerr making parties around, have given us a Liberty fabric eye mask sewing kit and one of their heir signature knicker kits. Using Liberty cotton lawn, you’ll end d up with a stunning pair of undies and a glamorous matching eye mask sk (for those days when coffee just doesn’t cut it!). We’ve only got one set to win, so be quick!


OFFER PRICE £13.99 500 TRADITIONAL QUILTS By Karey Patterson Bresenhan Published by Lark ISBN 9781600596889 Offer price £13.99 inc p&p (RRP £19.99) To order please call 01273 488005 or go to and quote code: R4758 Closing date: 29 April 2015



BEADING AND WIREWORK CLASS VOUCHER X 2 The Cornwall School of Art, Craft and Jewellery runs classes all year round covering a wide range of topics in their cosy studio just outside Bodmin. CSACJ are giving two lucky readers a voucher for their beading and wirework taster class worth £24 each. These classes run regularly throughout the year and include all materials so you can take away a lovely bracelet and pair of earrings you made yourself. Vouchers are valid for two years and may only be redeemed against a beading and wirework taster class.


RULES OF ENTRY To enter via post send your details on a postcard to: Making Magazine, Giveaways MM57, 86 High street, Lewes, East Sussex BN7 1XN. Don’t forget to include the codes of the giveaways you wish to enter. The competition is open to UK residents only. Only completed entries received by the closing date, 28 February 2015, will be eligible. No entries received after that date will be considered. No cash alternatives will be off ered for any prize. The judges’ decision is final and no correspondence can be entered into. The winner will be expected to be in possession of a copy of this issue of Making. One entry per giveaway, per household. Please note you can apply for more than one giveaway – please apply for each giveaway separately for sorting purposes (posting entries in one envelope will save on postage). Employees of GMC Publications, their associated companies and families are not eligible to enter. By entering the competition, winners agree that their names may be used in future marketing by GMC Publications unless you mark your entry otherwise.

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OFFER PRICE £13.50 A BEAUTIFUL MESS: HAPPY HANDMADE HOME By Elsie Larson & Emma Chapman Published by Potter Craft ISBN 9780770434052 Offer price £13.50 inc p&p (RRP £17.99) To order please call 020 7405 1105 and quote code: H-home


05/01/2015 10:11

Making room Abi Cox visits Louise Body, St Leonard’s-based wallpaper designer, to chat collaborations, screen printing and colouring between the lines.


back road a stone’s throw away from a retail complex in St Leonard’s-On-Sea is a dubious place for this month’s Making Room, but after checking and double-checking the address, we rang the bell to Louise Body’s studio. One floor up from a small fabric shop, Louise has a surprisingly beautiful space. With floor to ceiling windows and her work decorating every surface, it’s easy to forget where we are. Louise is a wallpaper designer, her watercolour creations are whimsical and beautiful: intricate blooms snake up unseen trellis and colourful birds sit proudly on their perches. She’s just finished her latest collection (we dragged her away from the photo shoot, all of which she stages in a room in her house) the new range features a much more graphic print than in previous years. It began as an offshoot from her Paper Tiles collection, which in turn was inspired by a project she did for Decorex International, a design trade show, in 2010.


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“I was asked to decorate the loos! The end result was papers featuring trompe l’oeil Victorian toilets and tiles.” Her Paper Tiles have been incredibly successful, and this new collection is built on the back of that, “but I wanted it to be a lot more arts and crafts, with a few hand drawn elements.” Louise has been a wallpaper designer for over ten years: “I was part of a studio group in Brighton, as a painter. I screen printed wallpaper for an exhibition, and realised there was no one really doing anything exciting with wall coverings at the time.” Since then, of course, bespoke wallpapers can be found all over the high street, “12 years ago, wallpaper was very conventional. There were a few of us who were right at the beginning of the revival, and because of this, I’ve managed to etch a bit of a name for myself. Which is good, because it’s gone crazy now!” In the last decade her work has garnered the attentions of many important names in the interiors world, including Laura Ashley and John Lewis who currently stock her colourful cushions. But, perhaps more impressively, she’s been in collaboration with Paul Smith, Dr Martens

and designed the catwalk for Stella Jean (using her popular Paper Tiles collection down the runway). “I don’t know what I was doing that year; birds must have been the ‘thing’! After doing the Paul Smith womenswear, birds and butterflies were suddenly everywhere.” With her many plaudits, it’s difficult to imagine now that Louise began by hand printing each 10m roll of wallpaper by looping it around her small studio: “It was a nightmare! And if you got an ink blot 8m down, I couldn’t sell it. Bonkers! There wasn’t any digital printing when I started; you either had to do it by hand or send them off to a factory where they would charge you per colour.” Her most popular wallpaper, Garden Birds, is very bright, but for the first few years she was hand colouring every roll and buying new rollers (for each colour) as and when she could afford it. “I got it down to about 300 birds in twenty minutes. I had some great people helping.” She hasn’t been screen-printing herself for a while now, but has always needed a creative space for designing: “when I had my second child I took over the top floor of our house so I could carry on working.” Her husband, Jonny, lost


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To find out more visit

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“12 years ago, wallpaper was very conventional. There were a few of us who were right at the beginning of the revival, and because of this, I’ve managed to etch a bit of a name for myself. Which is good, because it’s gone crazy now!”


his job around this time, so took on much of the admin, marketing and PR for the business, “but we quickly realised that both of us working from home wasn’t good for anyone!” They moved into this studio a year or so ago, and (despite the slightly colourful neighbours) she loves her space. Advances in technology has made a big difference to her design process: “before Photoshop became readily available, changing the colour of my designs meant mixing up the paints, trying it out, then mixing something else again.” Now, she says, there may be too much choice at the touch of a button. “I spent far too long finalising my collection. I’d have loads of different screens up with colour or pattern variations and I just couldn’t choose!” A little later, while showing us some of her original work, Louise comes across one of the first drafts for the new collection. “It’s nothing like the final prints! Oh dear, I think I might like this better...” Despite her last minute worries, I can assure her, and you, that the Peggy range (named after one of her favourite artists Peggy Angus) is stunning – in every colourway! Louise has been one-to-watch for a while now: her prints are a constant delight, while managing to create something entirely new each season. Now that the latest collection is all wrapped up, she’s taking a well-deserved break – that is, until she visits another exhibition that fires her imagination!

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Although simple in design, once lit, this candelabra will bring a touch of drama to the table. £20, 01422 375940

You’ll feel like a star every time you primp and preen in front of this stunning dressing table. £929, 0345 257 2627

Covered in cherry blossom, this silk kimono is the epitome of old Hollywood glamour. £79.99, 0800 026 0091


The things we want, love and need this month

Vintage vixens and fashionistas alike love these delicately beaded leather slippers; just perfect for elegant lounging. £78, 00800 0026 8476

BY NORD HUGIN THROW Copenhagen based By Nord have created a super snuggly blanket, inspired by the rich Nordic landscape. £80, 0330 363 0330




In China, the peony is considered the ‘king of flowers’, and this cushion celebrates the royal beauty wonderfully. £60, 020 7268 3315

We love Kate Spade’s designs here at Making, let’s just hope our Valentine has bought us an equally stylish bouquet! £84, 0800 587 7645

Anthropologie’s kaleidoscopic rug will sit in glorious pride of place. £648, 00800 0026 8476


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Adorned with strings of pearls, sequins and organza, this chandelier is like a piece of exquisite vintage jewellery for your home! £295, 01444 415430

We love the quirky illustration, which is guaranteed to add a bit of theatre to your boudoir. £75, 01706 230077

Nothing could be more inviting than this sophisticated love seat for a late night cuddle. £199, 0344 257 1888




There’s nothing sweeter than this vintage bonbon dish! £215, 01872 223220

Meaning birds flying away in a group, Farrow & Ball’s Yukutori wallpaper is taken from a Japanese pen and ink drawing. £80 per roll (10m), 01202 876141

A dash of cute, a drop of milk and a spoonful of sugar makes for a perfect brew. £4,



At this time of year, you can never have enough vases filled with cheering flowers – especially if they’re gorgeously gilt like this one from Zara. £29.99, 0800 026 0091

Bring the romance of wanderlust into the home with this world map mirror. £395, 020 8508 0411


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Jasmine is famous for its ability to lift one’s mood; and in the grey months of February, that’s exactly what we all need! £14, 0845 450 3937 83

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Patterns & templates Templates for this month’s patterns

VALENTINE’S PAPER CUT Rhiain Bower page 10 Reproduce at 320% for actual size.


BAG Cut 2 in Main Fabric Cut 2 in Lining Fabric Cut 2 in Fleece Interlacing



Vanessa Mooncie page 23 Reproduce at 250% for actual size.

1cm seam allowance

For full size pattern templates of the Valentine’s paper cut and the Vintage style embellished bag visit 84

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making regular

ROMANTIC FLORAL CORSAGE Jemima Schlee page 13 Reproduce at 125% for actual size.

For a full size pattern template of the Romantic oral corsage visit

WINGED BROOCH Jessica Aldred and Emily Peacock page 42 Reproduce at 50%

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LEATHER LEAF BELT Emma Herian page 46


Printed at 100%.

Emma Herian page 44


Reproduce at 250% for actual size.

FRONT AND BACK Cut 2 in pattern stiffener



Jemima Schlee page 36 Reproduce at 320% for actual size.

SPINE Cut 1 in pattern stiffener 1.5cm x 22cm


For a full size pattern template of the Simple leather purse and wallet and Writing set visit 86

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making regular For a full size pattern template of the Sweetheart jacket visit cut on fold centre back

close pleat on this line

press pleat along this line Back Lining Cut 1 on fold

SWEETHEART JACKET Jeanne Spaziani page 26 Reproduce at 400% for actual size.


Centre Front Cut 1 pair fabric Cut 1 pair lining Side Front Cut 1 pair fabric Cut 1 pair lining

button here left front

waist waist


button loop here right front

Pattern measurements: Bust – 96.5cm (38in) Waist – 81cm (32in) Hem – 89cm (35in) Armhole – 46cm (18in) Sleeve length – 56cm (22in) Back neck to hem – 49cm (19.5in)

Side Back Cut 1 pair fabric Cut 1 pair lining

Size Small jacket pattern to fit body: Bust – 86cm–89cm (34in/35in) Waist – 68cm–71cm (27in/28in) Hip 10cm (4in) below waist – 81cm–81cm (32in/33in) CB neck to waist – 40cm (15.5in)

cut on fold

The hem finishes approximately 10cm below the true waistline. There are small curved splits at the side-back seam lines below the back belt and on the rear sleeve seam.

Cut 1 fabric on centre back fold

Fronts meet edge-to-edge with a self loop and button slightly above the waist.

centre back

Semi-fitted princess seamed jacket.

Heart Pocket Cut 2 fabric Cut 2 lining Cut 2 light interfacing

print accuracy 5cm x 5cm square

*All seam allowances are 1cm

Back Neck Facing Cut 1 fabric Cut 1 light interfacing

waist split star ts here *

split star ts here *

*All seam allowances are 1cm Pattern continued on page 88

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making regular Centre Front Facing Cut 1 pair fabric Cut 1 pair light interfacing Back Belt Cut 2 fabric Cut 1 light interfacing Button Loop Cut 1 fabric

SWEETHEART JACKET Jeanne Spaziani page 26

Top Sleeve Cut 1 pair fabric Cut 1 pair lining Under Sleeve Cut 1 pair fabric Cut 1 pair lining

join to centre front facing

Front Lining Cut 1 pair lining

Reproduce at 400% for actual size.

split starts here *

split start

s here *

For a full size pattern template of the Sweetheart jacket, Silk lingerie bag and the Satin Camisole and French knickers visit 88

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making regular Fold A Fold B grainline

SILK LINGERIE BAG One Size Cut 3 on fold A (Outer, Lining and Wadding) Cut 1 on fold B (Pocket)

SILK LINGERIE BAG Katherine Sheers and Laura Stanford page 64 Reproduce at 250% for actual size.



i n li


Katherine Sheers and Laura Stanford page 58 Reproduce these three pattern pieces at 400% for actual size. For key see page 90. s/a

s/a 10 mm


ms /a

10 m m


CF ms /a

20 m

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10 mm s/a


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20mm s/a

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05/01/2015 10:22

making regular SATIN CAMISOLE AND FRENCH KNICKERS Katherine Sheers and Laura Stanford page 58 Reproduce these two pattern pieces at 320% for actual size.

10 mm s/ a





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10mm s/a



CB Fold

10 mm



ms /a


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CF Fold


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£4.50 + P&P

The Noro yarn now has its own magazine!

ORDER YOUR COPY TODAY! Call +44 (0)1273 488005 or visit Pay £5.50 in the UK and £6 overseas (including P&P). Order code A4321

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Missed an issue

YOU CAN STILL OBTAIN BACK ISSUES DIRECTLY FROM US! A back issue of Making magazine costs £5.99 in the UK and £6.49 overseas. To check availability and to order: CALL OUR SALES TEAM ON +44 (0) 1273 488 005 OR VISIT OUR WEBSITE: WWW.THEGMCGROUP.COM

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Each month we’ve gone in search of the very best craft shops and businesses in our chosen town. This month, Abi Cox has ventured north to Hebden Bridge. RIBBON CIRCUS Owner: Helen Baron and Caroline Burton Sells: Crafting supplies Where: 8 Albert Street, Hebden Bridge

ORGANIC HOUSE CAFÉ Owner: Local craftsmen Sells: Food and drink Where: 2 Market St, Hebden Bridge The Organic House Café was one of the first cafés to open up its doors in the beautiful South Pennine Town of Hebden Bridge, the “4th most funky town in the world,” which has a unique blend of culture, artistry, innovation and history. They source some of Yorkshire’s best local produce – organic when possible – to create healthy, wholesome and interesting food. “Get cosy, warm and dry in front of our roaring fire, or enjoy a glass of wine outback in our secret little courtyard garden where both dogs and bikes are most welcome! The upstairs lounge provides a comfortable relaxed atmosphere with overstuffed sofas and armchairs where you can play a game of scrabble or draughts or read some prose.” Their aim is to give you quality food and coffee, great service in a laid back, friendly café environment. To find out more visit

Helen Baron has always been passionate about crafts, but it’s only in the last few years that she’s been able to devote her time to all things creative. Ribbon Circus opened in 2008, but it wasn’t until 2011 that Helen (along with partner Caroline) took over and they’ve watched it go from strength to strength, recently having to move to a bigger premises double the size of their previous shop! Ribbon Circus has a colourful joyful vibe, focusing on knitting, crochet and making; and now with their bigger shop they can also offer workshops (“where tea and cake is a necessity!”). Helen and Caroline strive to be the inspiration for budding crafters and are constantly encouraging creatives to push themselves and experiment. And by the sounds of it, they are doing just that! To find out more visit


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WORD OF MOUTH Owner: Jinny Riley Sells: Millinery Where: 38 Hangingroyd Lane (entrance on Valley Rd), Hebden Bridge Hebden Bridge is heaving with creative people, so Jinny was surprised when she returned to her hometown after 10 years of living in Brighton, to find she couldn’t even buy a reel of thread locally! She decided to test the water with a market stall selling haberdashery and eventually wool, before opening the doors to her shop, Word of Mouth, to the public a year later. The shop has gone from strength to strength and now stocks an array of art supplies and runs regular art and craft workshops for adults and children including sewing, art, felting, crochet and upholstery to name a few. “It has been referred to as an ‘Aladin’s Cave’ and I sometimes think I should have called it that, but Word of Mouth has served me very well so far…literally! I have just celebrated five years at the shop and am lucky to be supported by a town that realises the importance of shopping locally.” To find out more visit


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Our online shop carries a quirky range of designer cottons & pre cut fabrics for all your quilting projects.

Our East Anglian store also stocks Simplicity patterns and a large range of fabrics and notions for dressmaking.


Beach Creative, Studio 4, Beach Street, Herne Bay, Kent CT6 5PT For more info please call us on: 01227 861065 : thesewingclub The Sewing Club provides an exciting and varied range of sewing and craft tuition for children and adults in our gorgeous studio on the lovely North Kent coast. Our qualified tutors run workshops, children’s birthday parties and hen parties and on our termly sewing courses that cover all levels, you can choose to create anything you desire! All equipment provided.

SEWING, CRAFT & ART COURSES Visit our online shop for kits and supplies supplies.


We have been producing twines in Scotland since 1922. We supply jute twines, CandyTwist™ twines, raffia, flax, string & cords in a fabulous selection of colours!

9 Bevan Street East, Lowestoft NR32 2AA Call us on 01502 588778

Want To Be Included In The Directory? Please Contact The Craft Team Call 01273 402819 or email

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making LO OK !

WORKSHOPS HENS a n d PAR T Y GIR L S /SewLaDiDaVintage Lyme Regis


Want To Be Included In The Directory?


a s ta at t h e u g h t v&a KITCHEN ITCH TABLE ABLE COUTURE OUT TU It’s s sew ew simple. s

On-line stockists of Liber ty Tana Lawn, Liberty Needlecord, Liberty Lifestyle fabrics and Liberty haberdasher y PLUS a huge range of ‘indie’ dressmaking and craft patterns.


Ardington School of Crafts

Please Contact The Craft Team

Call: 01273 402819 or email:

For amazing of fers v isit

Leading tutors • Courses 1-3 days

Browse 200 courses at




photo: to Ma Mattt Austin Images a es



The Town Mill


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INSPIRATION Make the most of available wall space to use as crafty storage for ease of use. RESOURCES Adhesive hooks:


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The ultimate stitching, knitting & crafting shows! SPRING SHOWS SPRING SHOWS SPRING SHOWS SPRING SHOWS SPRING SHOWS








Buy tickets on-line or phone Ticket Hotline 01425 277988



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Go ahead… get creative!

DXL603 With built in stitches for quilting and heirloom as well as general sewing this is an excellent all round machine. Stitch selection and settings are so easy on the large information LCD screen.

QXL605 All the features of the DXL603 but with an automatic built-in thread cutter and advanced feeding system for precise stitching.

TXL607 2XUÀUVWPRGHOZLWKDOSKDEHW  memory facilities. It has direct stitch selection for the most useful stitches and a handy panel for quick selection.

You’ll just love to quilt, sew, make home furnishings and express your creativity with these fabulous machines. Packed with lots of computerised features these are easy to use machines suitable for big multi-layered projects or simple delicate sewing and offer effortless power and precision. With a fabulous range of stitch options including 7 styles of automatic one-step buttonholes, these are high specification world voltage models at affordable prices. For further information: Telephone 0161 666 6011 or visit our website

The World’s leading sewing machine manufacturer

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Making - beautiful crafts for your home Feb 2015