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Welcome Community is everything. Yours can pick you up on a bad day, celebrate the positives with you, nudge you in the right direction when you’re lost, 109 and share in those special, life affirming moments. Your community could be friends, family, neighbours, a Facebook forum – it’s whoever you surround yourself with. So, this issue we’re championing the amazing handmade community. All our projects either showcase creative collaborations, encourage you to connect with local makers, or feature those who share their skills with others. And, we haven’t stopped there. Sara Tasker talks finding your tribe online, Kat Goldin opens up her family

farm to us, and we announce the winners of the 2019 Mollie Makes Handmade Awards! I hope it inspires all you #molliemakers, and brings a sense of community to you too.

Yvette Streeter Editor

FOLLOW MOLLIE MAKES FOR DAILY INSPIRATION... MOLLIEMAKES.COM 3

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INSIDE THIS ISSUE

Introducing ON THE COVER PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON

THE LATEST FROM THE WORLD OF HANDMADE

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10 Mollie loves What’s new in craft and design 14 Woven hoop Wall art with natural fibres and delicate dried flowers 20 Easy-sew A-line skirt Draft a simple skirt to your own measurements for the best fit ever 24 Handmade Awards 2019 Meet this year’s talented winners 34 Latest crush Shop and craft chintzy florals 40 Meet the maker Take a look inside printmaker Sam Marshall’s garden studio

77 7 turn over for more on your gift!

Living

Making

CREATIVE INSPIRATION FOR YOUR LIFE AND HOME

HAND-PICKED PROJECTS TO FALL IN LOVE WITH

46 Community blanket A crochet block blanket to stitch together with your craft gang

77 Papercraft décor Three geo paper accessories

51 Upholstered stool Learn the art of furniture making with a mid-century inspired footstool 54 Get the look Rural sanctuary style for your home 56 At home with… Visit Kat Goldin’s Gartur Stitch Farm 61 Baby bibs A quick sew that’s fab for charity 63 Wooden chandelier Our creative take on the beaded lampshade trend – hello pom poms

EXCLUSIVE! 67 Bonus papers Eight posters and patterns designed by Philadelphia-based illustrator Molly Egan

80 Good read Sara Tasker on why online community really matters 82 Yarnbombing ideas Bold crochet flowers for brightening up your neighbourhood 87 Botanical embroidery Translate a beautiful illustration into a stunning stitched hoop 91 Templates All you need for this issue’s makes 98 Tea and a chat Haute Culture on ethnic textiles

NEVER MISS AN ISSUE 38 Subscribe UK Save a fantastic 50% when you subscribe to Mollie Makes today 86 Subscribe overseas International subscribers save up to 78%

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Contributors Christine Leech Christine loves stitching, sticking, creating and chatting. She’s the founder of the Sewyeah Social Club and is very excited about having her own workshop tent at The Handmade Festival this September. Make Christine’s wooden chandelier on page 63. www.sewyeah.co.uk

Chrysteen Borja When Chrysteen was little she dreamt of being a singer, and has spent her life singing songs around the house, not even knowing the words. Recently, she decided to take piano and voice lessons, widening her creative skill set. Create Chrysteen’s beautiful woven hoop on page 14. www.waverlyknots.com.co

Kat Goldin Inspiration for Kat comes via swimming in the Lake of Menteith – Scotland’s only lake. “It’s so cold and refreshing and beautiful. It reminds me that I am so fortunate to have this miraculous place to call home.” Visit Kat’s farm on page 84. www.garturstitchfarm.com

Ministry of Upholstery Anthony Devine has established himself as Britain’s most forward-thinking and creative upholsterer. He’s known for his innovative and out-there designs. When he’s not running Ministry of Upholstery, he’s usually dreaming about climbing mountains. Craft a Ministry of Upholstery foot stool on page 51. www.ministryofupholstery.co.uk

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Cheers! Valerie Bracegirdle, Donna Bramhall, Anabella Cahwje, Dave Caudery, Esther Curtis, Molly Egan, Zoe Flesher, Frederika van der Galien, Katie Jones, Kirsten Lomakin, Sam Marshall, Helen Martin, Sarah Louise Matthews, Lauren Merrick, Libby Moore, Charlotte Peacock, Rachael Smith, Philip Sowels, Lara Watson, Jesse Wild

Sara Tasker Sara’s a writer, podcaster and creative business consultant who credits Instagram with changing her life. She lives in the Yorkshire countryside with her husband, daughter, and an unlikely assortment of pets. Learn how Sara found her community online on page 80. www.meandorla.co.uk

mollie makes gift Roll up, roll up! Sew a Dandy Lion feltie!

MEET THE MAKER DESIGNER ANABELLA CAHWJE CREATED OUR SUPER-CUTE LION SOFTIE “I hope you enjoy making this little lion as much as I did while I was bringing it to life. I created this fun and easy project that crafters of all skill level can make for themselves or for someone they love! Dandy Lion is surely going to bring joy to anyone he meets. As an adventure lover, he’ll always be

ready to jump into your pocket to travel to new places. The idea behind the design was to make a cute animal with some extra details mixing materials, layers and stitches to add different textures and colours. The one I’d made was already playing on the shelf with the rest of my felt

creatures until my little niece pointed him out – he then quickly became part of her collection of softies!” Find Anabella on Instagram @whatacurlylife and at www. whatacurlylife.etsy.com. Turn to page 98 to make Dandy Lion, and share using #molliemakers.

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Introducing THE LATEST FROM THE WORLD OF HANDMADE

Crispy leaf season is on the horizon, and pumpkin spice lattes alone won’t keep you warm. Let Lowie do the rest with their brushed checks and folklore-inspired knits – we’re smitten with the sustainable British brand’s new collection. www.ilovelowie.com

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MOLLIE LOVES SUBTLY INFLUENCING OTHERS THROUGH EASY-WEAR FASHION is our new favourite thing, thanks to Birdsong’s latest tee. Courtesy of a limited edition collab with @drawingsofdogs, its message to ‘Exercise Empathy’ will help you stay strong through your daily commute, plus its pastel hues’ll hopefully inspire others. And the love doesn’t stop there either – the artist’s commission from each sale will be donated to the Survivors’ Network. www.birdsong.london

HOME

IF YOU’VE GOT A THING FOR EARTHY TONES, texture and shape, this work of fibre art is for you. Brought together by these creative crushes, embroiderers Alisha and Roisin of Sew Botanical and artist Olivia Bedoyan joined forces to produce two unique designs. Not only do their abstract stitches channel autumn vibes, they’ll look just right above that mid-century sideboard you’ve been dreaming of. www.sewbotanicaluk.etsy.com

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begin your day with a hit of colour and pattern, and it won’t matter if that espresso is full strength or decaf. Former Handmade Awards nominee Baked by Lou’s ceramic cups are top of our ‘would recommend’ list, as is pretty much everything else she makes from her South Wales studio. www.bakedbylou.etsy.com

THE START OF YARN SEASON IS NEARLY HERE, and we’re good and ready thanks to these slipper socks. Granted, no one wants to think about drizzly days when we’re still in peak summer, but cosy toes? That’s a different matter altogether. Combining Flossi Knits’ pattern skills and Raincloud and Sage’s naturally dyed yarns, sourced and spun in Berlin, the Sommerblüten kit is a true celebration of community. For more Flossi Knits patterns, visit Claire’s Ravelry store at www.ravelry.com/ designers/claire-walls. www.raincloudandsage.com

JUST LANDED looking good Designed by artist Quentin Jones, handcrafted by makers in India, and stocked by homeware legends Habitat, there’s more to this rug than meets the eye. www.habitat.co.uk

tell your pals to put 13-15th September in their diaries, as The Handmade Festival is coming! The best craft event of the year (and not just because Team Mollie are there), there’s tons to make and do, and a whole host of creative talent to learn from. Visit their site to buy tickets, and for the full line up of experts and workshops. www.the handmadefestival.com

FASHION

JUST WHEN YOU THOUGHT YOU’D REACHED PEAK CRUSH, Lucy and Yak go and collaborate with Emotional Waterfall. Mollie fave Jemma, the artist behind their latest line of dungarees, has been growing a cult following thanks to her bold, abstract patterns. Now you can own a piece of her art, with the added wearability that Lucy and Yak’s iconic dungas bring – be still our beating hearts. Check out more of Jemma’s work at www.emotionalwaterfall.com. www.lucyandyak.com

crafting for charity

PHOTOGRAPHY:ALAN BENSON

is easier than ever, thanks to We Are Knitters’ Rattle Blanket pattern. Download yours today for just £1.50, and 100% of your donation will go straight to Action for Children in honour of their 150th anniversary. It’s a win-win if ever we saw one. www.weareknitters.co.uk

BOOKMARK field to table Emma and Tom Lane’s book The Farm Community is the tale of their journey growing, cooking and connecting. Inside, they also share recipes collected over time, and makes to help you live a more sustainable life. www.hardiegrant.com/uk

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AND VISIT OUR RAVELRY STORE molliemakes.com/ravelry-store

PHOTOGRAPHY: DAVE CAUDERY; STYLING: SARAH MALONE AND SALLY BUFTON

Honour the changing colours of nature with Chrysteen Borjaâ&#x20AC;&#x2122;s wild weaving

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cover s

tar

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HOW TO MAKE A WOVEN HOOP MATERIALS Q Hammered copper hoop, 20cm (77/8") diameter (ours was from www.instagram.com/ thymelyglass_studio) Q Quince & Co. Puffin, 100% wool, 102m/ 112yd per 100g, one skein each in Clay (Yarn A) and Shell (Yarn B) Q Knit Collage Spun Cloud, 100% wool, 91m/100yd per 200g,

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one skein in Honeysuckle (Yarn C) Q Wool and the Gang Crazy Sexy Wool, 100% wool, 80m/87yd per 200g, one ball in Ivory (Yarn D) Q Silk and chiffon silk ribbon in dark green, 4cm (15/8") wide (we used Silk & Willow Plant Dyed Silk Ribbon and Recycled Silk Chiffon in

Enchanted Forest from www.silkandwillow.com) Q Grey chiffon sari silk ribbon (ours was from www.silkdivine.etsy.com) Q Dried flowers with stems Q Glue

Reconnect with nature and open up your creativity in what we like to think of as the weaving equivalent of colouring outside the lines. Gather fuzzy roving yarns and plant-dyed ribbon for this one, and for the dried flowers you could dry your own, or pop into your local florist. If silk ribbonâ&#x20AC;&#x2122;s not your thing, how about foraging for strips of velvet in your nearest haberdashery? Itâ&#x20AC;&#x2122;s all about celebrating colours and texture. Turn to page 91 to familiarise yourself with the knots and weaving techniques used. Tabby weaving is also known as plain weaving.

Cut 12 91.5cm (36") lengths of silk chiffon ribbon. To create the warp, attach 10 of the cut ribbon lengths to the top portion of the hoop using lark’s head knots. Space them approximately 0.5cm (¼") apart. The other two ribbon lengths will be used in the last steps to hang the hoop. 02 To complete the warp on the hoop, tie each ribbon pair to the bottom portion of the hoop using a clove hitch knot. Make sure the tension of the warp is tight, but not so tight it could tear the ribbons – there should be a bit of a bounce to the touch. 01

Turn the hoop around and work a double overhand knot with each group – the groups should consist of four ribbons. Weave on this side, using every two pieces of ribbon as one warp string, so in total the weaving will be worked across 10 warp strings. 04 Start off the weaving by creating a fringe at the bottom of the warp. Cut 18 61cm (24") lengths of Yarn C. Using two lengths of yarn for each knot, make a row of five rya knots, as shown. 05 Alternating the warp strings used, work another row that consists of four rya knots. 03

Work two rows of tabby weave using Yarn B held double. 07 Using two lengths of Yarn D and starting from the right, twine a full row across the warp. 08 On the next row start twining back from left to right, but stop a third of the way across. 09 Take three or four dried flowers that are fairly bendy, and tabby weave their stems from left to right. Their flower heads should be just above the last row of twining and their stems should be right next to the row of twining. 10 Using the dark green silk ribbon and starting from the right, make 06

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HOW TO MAKE A WOVEN HOOP an overhand knot connecting to the first warp string, then work a looped tabby weave row all the way across to the Yarn D section. 11 Continue with the same ribbon, working back the other way with another row of looped tabby weave, as shown. This row of ribbon should be in line with the heads of the flowers woven in Step 9. When tying off at the end, leave a length of the ribbon hanging down loosely. 12 Tabby weave the next six rows using Yarn A. 13 Next, weave in a few more dried flowers either in groups or by the 18 MOLLIEMAKES.COM

single stem, as shown. Position the heads of the flowers on the right-hand side of the weave â&#x20AC;&#x201C; this will balance out the flowers below them on the left. Leave some of the stems long and cut some of them short, staggering where the heads of the flowers are placed. 14 For the next row, cut four 12.5cm (5") lengths of the grey chiffon ribbon. Make two rya knots on the left-hand side above the stems of the flowers, using two lengths of ribbon for each knot. 15 Turn the woven piece around and dab a small amount of glue on the back to secure the larkâ&#x20AC;&#x2122;s head

knots at the top of the warps in place on the hoop. 16 To hang, take the two remaining lengths of silk chiffon ribbon set aside in Step 1 and attach one length to the top left-hand side and the other to the top right-hand side. Bring the two ends together at the top and tie in a bow, leaving a length for hanging. 17 To finish the woven piece, neatly trim away any remaining yarn ends at the back of the hoop. For the fringe at the bottom, carefully trim the loose ribbons into the desired shape, referring to the main image as a guide.

MEET THE MAKER CHRYSTEEN BORJA Weaver and natural dyer Chrysteen loves to create and learn new things. She lives in Seattle with her husband, two and a half year old son, and two dogs. When sheâ&#x20AC;&#x2122;s not with her family, she loves working with dogs at the local animal shelter, CrossFitting, and happy hour. You can find her sharing her latest makes and adventures with flowers and fibres on Instagram @waverlyknots. www.waverlyknots.com.co

Made to measure Charlotte Peacockâ&#x20AC;&#x2122;s self-drafted skirt is what your capsule wardrobe has been waiting for

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PHOTOGRAPHY: JESSE WILD; STYLING: SARAH MALONE AND SALLY BUFTON; WALL PRINTS: JENNA JUNGBLUTH WWW.JUNGBLUTHILLUSTRATES.ETSY.COM

HOW TO MAKE A BUTTON-DOWN SKIRT MATERIALS Q 2m (78 ") Robert Kaufman Kona Cotton Solids in Yarrow (ours was from www. frumble.co.uk) Q Matching sewing thread Q Water soluble pen Q Seven imitation tortoise shell buttons (ours were from www. textilegarden.com) Q Dressmaker’s paper

The beauty of creating your own clothes is getting the fit just right. And that’s to say nothing of the joy of choosing a fabric you love and adding pockets with wild abandon. This button-down skirt ticks all those boxes, plus you’ll create pattern pieces you can use again and again, based on your own measurements. Use a 1.5cm (5/8") seam allowance throughout unless otherwise instructed. If you prefer, you could use press fastenings to close the skirt instead of buttons. Measure your waist – this is measurement A. Measure the length for the skirt, holding the tape measure from the waist to where you’d like the hem to sit – you’ll need a hand otherwise you’ll end up with a shorter skirt. This is measurement B. 01

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To make a pattern for the pockets, place your hand down flat on a piece of paper and draw around it, drawing a straight line where your wrist sits. Cut it out. 03 Next, create the paper pattern pieces. On the dressmaker’s paper, measure and mark the back piece as measurement A x measurement B plus 3cm (1 "), then on both sides mark 10cm (4") down from the top of the waist and draw around the pocket pattern. Draw out the same shape once again for the front, then cut in half down the centre front to create two front pieces. Draw out a waistband piece as measurement A plus 3cm (1 ") (this is a 3cm (1 ") overlap for the button placket) x 9cm (35/8"). Pin the four pattern pieces onto the fabric and use fabric scissors to cut them out, adding a 1.5cm (5/8") seam allowance all around. 02

On the two front pieces, fold over the centre sides to the wrong side (WS) by 1cm (3/8") and press, then fold over again by 3cm (1 "). Press and pin in place, then sew 2.5cm (1") from the edge and 0.5cm ( ") from the edge. Repeat for both front pieces – this creates the placket for placing the buttons and buttonholes. 05 Pin the back piece and two front pieces right sides (RS) together, aligning the raw edges. Sew each long raw edge and around the pockets. At the corners, drop the needle in, lift up the presser foot, pivot the fabric around, then place the presser foot back down. When sewing the pocket, take it slow. 06 To finish the raw edges of the skirt, trim the seams about 0.5cm ( ") from the stitching and sew using zigzag stitch, ensuring the needle goes on the fabric, off, on 04

the fabric, off. Pin the side seams flat and facing forward. 07 To gather the skirt, set the sewing machine to a long stitch. Sew two parallel lines along the top of the skirt between the plackets, 0.5cm (¼") and 1cm (3/8") down from the top edge, leaving long tails of thread at all four ends. Picking up the long threads, pull from both ends and evenly gather the waist until it matches measurement A, plus 3cm (1¼"). 08 Place the waistband against the top of the skirt, RS together and with 1.5cm (5/8") overhang at each end. Sew using a 1.5cm (5/8") seam allowance – this will hide the gathers. Fold the top edge of the waistband to the WS by 1.5cm (5/8"). 09 At each end fold the waistband RS together, with the top edge still folded, then sew along the edge of the waistband. Trim the fabric, then

turn through to the RS. Gently push out the corners and iron the waistband over, ensuring the gathers are hidden. Pin and top stitch close to the waistband seam. 10 On one placket, use the fabric pen to mark where you’d like the top button and buttonhole, then mark every 6cm (23/8") down until you’re 20cm (77/8") from the hem. Create a buttonhole at each mark following the sewing machine instructions – always do a tester on scrap fabric first. 11 Place the side with the buttonholes over the opposite placket and line up. Use the fabric pen to mark the placement of the buttons through the buttonholes. Sew on the buttons. 12 Turn the hem to the WS by 1.5cm (5/8") twice, press, then pin in place. Top stitch the hem using a 1cm (3/8") seam allowance.

MEET THE MAKER CHARLOTTE PEACOCK Charlotte runs creative workshops from her colourful studio in Cardiff. The workshops are all designed so that in an afternoon you can make an item and take it home with the confidence and resources to make more. www.twinmade.com

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EditorYvette and the category winners pose for a group picture!

Illustrator Liz Harry sharing her brand with the judges

Workshops, talks and more kept everyone entertained

All the amazing nominees deserved to be celebrated

READ MORE ABOUT OUR SHORTLISTED NOMINEES ON OUR BLOG www.molliemakes.com

SHORTLISTED

SMALL BUSINESS AWARD: dAKOTA rAE dUST, The Completist, You Are Small ESTABLISHED BUSINESS AWARD: Craftpod, hello DODO, Ragged Life HANDMADE CHAMPION AWARD: The Mamahood, Paperdolls Handmade Market, South Coast Makers Market BEST ILLUSTRATOR AWARD: Arnelle Woker, Emma West Illustration, Liz Harry Design BEST WORKSHOPS AWARD: Haute Culture, London Craft Club, The London Loom BEST PRODUCT AWARD: Clara Peggoty Weaving, Cotton Clara, Ella Masters, Fizz Goes Pop, Made By Daisy, Oh Squirrel, Pick Pretty Paints, Sootie Limetree, Stitching Me Softly 24 MOLLIEMAKES.COM

handmade awards FIND OUT THE WINNERS OF THIS YEAR’S MOLLIE MAKES HANDMADE AWARDS, A CELEBRATION OF CREATIVITY AND DESIGN

ur favourite event in the Mollie calendar had a lot to live up to this year. From the outstanding previous winners to past creative contributors, the Mollie Makes Handmade Awards is always a huge celebration of talent, and we’re thrilled to say 2019 was no exception! On 8th July, some of the top names in the UK handmade community gathered at Hotel Du Vin in Bristol for our sixth annual Awards, including our impressive nominees. Each year the standard of entries seems to get higher, but luckily we had an expert judging panel for the finalists to pitch their businesses to: Tilly Walnes, Katie Leamon, Suzanne Harmer, owner of This Modern Life and Reena Rai from Pinterest. Along with Editor Yvette Streeter, they had a difficult job on their hands – the competition was seriously tough. There were also lots of opportunities for shortlisters to calm their nerves and get inspired, with a terrazzo brooch workshop by Rosa Pietsch, a photo walk with Toni Bee and Zabby Allen of In Colourful Company, and a talk on the smart way to use social by Leona from Indie Roller. Guests also heard a panel discussion on staying true to you with Katie Jones, Kalkidan Legesse and Lauren Aston, plus an inspiring keynote speech from guest judge Tilly Walnes. Turn over to see this year’s winners – hopefully they’ll encourage you to enter the Mollie Makes Handmade Awards in 2020!

The pitches, talks and even general chats were full of creative passion

seeing the sights The fantastic Toni Bee and Zabby Allen from In Colourful Company took the nominees on a photowalk around Mollie’s home town of Bristol, showcasing its creativity, splashes of colour, and vibrant designer-maker community.

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handmade awards

WINNER

SMALL BUSINESS AWARD

ESTABLISHED BUSINESS

HANDMADE CHAMPION

THE COMPLETIST

RAGGED LIFE

THE MAMAHOOD

The judges were so impressed by how far Jana and Marko’s brand had come in such a short space of time, and their potential. Their prizes include a pop-up shop at West Elm, a two year membership to Designers / Makers and an advertising package in Mollie. “We absolutely loved taking part in the Mollie Makes Handmade Awards – what an amazing day spent with an incredible bunch of creatives! And to top it off with a win was so very exciting, especially considering how tough the competition in our category was. It’s absolutely huge for us to be in front of the judges who we admire so much, and this win is going to take us to the next level of our business, and hopefully on to the desks of many more people!” www.the-completist.com

Elspeth’s built an amazing brand around sharing her skills and passion for rag rugging, updating a traditional craft and enthusing the judging panel. She wins a stand at The Handmade Festival, a mentoring session with Tilly Walnes, and a Mollie Insta takeover. “Even being shortlisted for the Mollie Makes Handmade Awards had me eeking with excitement, but my business Ragged Life winning the Best Established Business Award was just a dream come true. Thanks to the Mollie team, I’ll be showcasing my contemporary rag rug kits at The Handmade Festival later this year and I can’t wait to show people how fun it is to turn old clothing into beautiful, sustainable homeware. Hopefully I’ll see you there!” www.raggedlife.com

The Mamahood curate and champion mother makers and mum-run businesses, celebrating the transformative power that motherhood has to redefine individuals as entrepreneurs and female founders. The judges were particularly impressed by The Mamahood’s dedication to not just showcasing makers’ products, but to connecting and supporting individuals, creating a strong community. And, they were excited by their potential to expand in the future, focusing not just on the growth of the brand, but on the growth of their members and subscribers. As winners, they’ll get a mentoring session with Suzanne of This Modern Life, a Pinterest bootcamp, and a feature on the Mollie Makes blog. www.themamahood.co.uk

26 MOLLIEMAKES.COM

handmade awards

WINNER

BEST ILLUSTRATOR

BEST WORKSHOPS

PRODUCT OF THE YEAR

LIZ HARRY DESIGN

THE LONDON LOOM

ELLA MASTERS

Liz’s fun aesthetic, clear idea of her brand, and authentic message won over this year’s judging panel. Her prizes include a stand at New Designers, a mentoring session with Katie Leamon, and an illustration opportunity in Mollie. “The day of the Awards was so amazing! I couldn’t believe how many wonderful makers there were – I felt honoured to be there. My nerves were pretty high all morning until after my presentation to the judges and I was so happy to win with such a high standard in my category! It’s really brought me a greater sense of community since attending, and helped cement in my mind that our businesses are as unique as we are, so it’s OK to find our own path and do things the way that feels ‘right’ for us.” www.lizharry.etsy.com

Francesca’s love for weaving, and for encouraging others to get creative, won over the judges. She also recognises that craft is a huge tool for positive mental health – we all wanted to attend one of her workshops! She wins a workshop at West Elm, and a feature in Mollie. “It can be extremely isolating and stressful running a small creative business and the lovely team at Mollie Makes do an amazing job of celebrating all that hard work. Winning my category has given me the vindication that all of the time, energy and passion that I pour into my business is worth it. Receiving my award has given me the energy and conviction to explore new workshops and ideas for my business that I had previously been too nervous to put in motion.” www.thelondonloom.com

The Product of the Year category was voted for by Mollie Makes’ readers, and they chose Ella’s gorgeous vases, inspired by her #ella365project. Aiming to spread positivity and raise awareness for mental health charities, her painted ceramics will be shot in the Mollie studio, featured in the mag, and appear on Mollie’s Instagram. “It’s been such a wonderful couple of days after winning my Award – the vases have sold out, which is amazing. I had to make a choice recently about which way I wanted my business to head – it was scary, but I’m slowly working towards my dream of living my best creative life. It’s not easy, but I’m determined to reach for what I want. Thank you to everyone who voted and renewed my confidence.” www.ellamastersstudio.bigcartel.com

MOLLIEMAKES.COM 27

LATEST CRUSH PHOTOGRAPHY: JAMES CHAMPION

NANA KNOWS BEST Embrace vintage-inspired English garden florals with plenty of volume. If it’s giving off horticulture-obsessed grandma vibes or screams meadow, you’re on the right track: chintz, but make it fashion. 04 02

28 MOLLIEMAKES.COM

01 Pair with chunky boots for modern prairie style. www.justinetabak.co.uk 02 Positively blossoming. www.hock-dich-hin.de 03 My other bag is a trug. www.loveshackfancy.co 04 Wall art worth foraging for. www.riflepaperco.com 05 Arm candy inspired by the Chelsea Flower Show. www.oliviaburton.com 06 Be sure to wear some flowers in your hair. www.oliverbonas.com 07 Meadow-sweet dreams. www.libertylondon.com 08 If the words 17-month planner set your heart alight, youâ&#x20AC;&#x2122;re one of us. www.uk.bando.com 09 Mirror, mirror, full of painted blooms. www. anthropologie.com

make it!

TURN OVER TO DIY NANA FLORALS MOLLIEMAKES.COM 29

make it!

FLORAL EARRINGS MATERIALS Polymer clay (we used Sculpey Premo in Spanish Olive, Allzarin Crimson Hue, Black and White) Two lolly sticks, 3mm thick Craft knife Small flower fondant cutter, 7mm diameter Stainless steel cookie cutters, 4cm (15/8") diameter and 1.5cm (5/8") diameter Super glue Pliers Hand drill Two 7mm stainless steel jump rings, 1mm thick Craft knife Wet and dry sandpaper, 400 grit and 1200 grit Two 8mm stainless steel stud posts Earring backs 1mm drill bit 01

MEET THE MAKER

ZOE FLESHER

Soften the clay in your hands and mix these colours as follows: plum: four parts red and two parts blue; light plum: two parts white and one part plum; light blue: two parts blue and three parts white; dark blue: six parts blue and one part black; dark green: eight parts green and one part black; leaf greens: green and varying parts white to create several leaf shades. Place the lolly sticks either side of the white base and roll out evenly. 02 Setting aside the dark green and a portion of dark blue, roll 01

30 MOLLIEMAKES.COM

the colours into paper-thin sheets. Create leaves by cutting two semicircles with a craft knife, roughly 4mm long, and use the fondant cutter to cut flowers. Roll the dark green clay into thin cylinders to form the stems. Roll the light plum, dark and light blue into dots for the flower centres. Place the pieces onto the white slab. 03 Applying light pressure, roll the slab. Pick up and rotate the slab after each roll to prevent warping. Draw lines down the centre of the leaves and petals using a pin.

Using the cookie cutters, cut two 4cm (15/8") circles from the slab and two 1.5cm (5/8") stud tops from leftover dark blue clay. Bake according to the manufacturer’s instructions. 05 Use sandpaper to clean up the edges – 400 grit then 1200 grit – then drill a hole in the stud top and patterned part using a 1mm hand drill. 06 Use pliers to open the jump rings, attach the components and twist them shut. Prep the surface of the stud top and post by roughly sanding them, then super glue together. 04

Zoe’s the one-woman team behind Lunar Blue Designs. Hailing from New Zealand, her work explores nature, body positivity and mental health through the art of polymer clay. What started as an exercise in self-care quickly snowballed into a full-time gig and she couldn’t be happier. www.lunarbluedesigns. com

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Crafted Cornish style A NEW COLLECTION FROM SEASALT CELEBRATES CORNWALL’S CREATIVE COMMUNITY

rom the artists of St Ives to Newlyn’s copper workers, Cornwall has always been a creative place. Artists have long been drawn to its rugged shores by the quality of light, beautiful scenery and the creative community found there. Clothing brand Seasalt is one of Cornwall’s biggest creative employers, bringing together artists, illustrators and textile designers to create their beautifully simple styles. Rich colour palettes and hand-crafted prints draw on wild Cornish landscapes and artistic heritage, producing designs that are rich in narrative. Their latest collection celebrates the Arts and Crafts Movement in Cornwall and the people who shaped it. Each month, new pieces will be released exploring different disciplines, from artisan embroiderers, such as May Morris, to visionary garden designers, like Gertrude Jekyll. Not only did these women challenge expectations by pursuing their creative passions, they also share the values of the Seasalt design team; truth in materials, a love of the artistic process and a celebration of nature in pattern and colour. Turn the page for more Seasalt inspiration...

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MOLLIEMAKES.COM 31

ADVERTISING PROMOTION

GET CREATIVE WITH ORIGAMI ENVELOPES JOIN SEASALT IN CELEBRATING THEIR BEAUTIFUL NEW FABRIC PATTERNS INSPIRED BY CORNWALL’S CREATIVE COMMUNITY.

1. Cut and fold the envelope paper as shown on the page. Place a notecard and teabag in the central square.

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3. Fold the four arms inwards, tucking the last one under the first to seal the envelope.

The patterned papers on these pages are from Seasalt’s latest collection of fabrics that celebrate the Arts & Crafts Movement in Cornwall.

Valley fold Mountain fold

;9F L >AF< O@9L QGM J= DGGCAF? >GJ7

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er-effect colours we’ve redeﬁned modelling clay with FIMO leatheer-effect, which has a similar look and feel to leather when oven-haardened. Mix it. Cut it. Punch it. Braid it. Pierce it. Emboss it. Sew it. SShape it. Anything is po ossible!

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The

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ormer edi or of Es en ial Kitchen Bathroom and Bedroom Ciara El iott knows a thing or two about interior design it’s fair to say The Red House based in the vi lage of Mistley is the property she shares with husband Ben and daughters Edie and As rid It’s an inspiring space a testament to her amazing style but it was by no means a straightforward p oject “We bought the house about four years ago ” Ciara explains “It was built in 1805 so it’s a Georgian house with some Victorian additions and it’s been a huge renovation project much bigger than we first realised! We had o strip every hing down to make it habitable I’m ta king new lighting new heating new roof underpinning the founda ions the lot We pretty much used all of our savings to make it liveable so here wasn’t a lot of money left over for decorating ” As a esult Cia a had to get creative when styling her home “Because we never had a pot of cash for interiors I never focused on decorating a room at a time it’s all just evolved ” she reveals “I’d say my s yle is 1970s boho I love natural materials like macramé and rattan ” Ciara is a fan of suppor ing local arti ts and artisans to make her home unique “It’s not a cookie cutter house ” she smiles “I don’t think it’s ike a lot of he houses you see on Instagram it’s certainly not perfect!” Her passion for the unique and the creative shines through all over the house from he collaboration with local artist Lucy T ffney (www lucyt ffneyshop com) on the embel ished ki chen backd op to

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SOMETIMES IT TAKES A WHILE TO FIND YOUR CRAFT. ARTIST SAM MARSHALL PRAISES THE PROCESS OF EXPERIMENTATION

am Marshall took an unusual route into her creative business. As a media graduate of the Slade School of Fine Art, she worked in the film industry for many years before becoming a nutritionist and then completing The DrawingYear at the Royal Drawing School in London. It was here that she’d learn etching and print-making in her early thirties – “I had this craving to get back to something hands-on and organic” – and it was this course that launched a new direction for her career, in particular when she started exploring linocut printing a few years later. Now spending two or three days a week teaching at the Royal Drawing School and the rest of her time at her home studio in rural Northamptonshire, Sam enjoys the balance of city and country, college studio and garden studio. Passionate about fostering creativity, she opens her home to host regular workshops where students can meet her sidekick, her mini dachshund Miss Marple, create their own linocut prints and enjoy a natter and some cake. We chatted about her playful, layered work, her love of animals and the sense of community that keeps her inspired.

FOSTERING PLAYFUL CREATIVITY WITH SAM MARSHALL Words: LARA WATSON Photographs: RACHAEL SMITH

40 MOLLIEMAKES.COM

SAM’S APRON AND SHIRT: NADINOO CLOTHING WWW.NADINOO.COM

MEET THE MAKER

Where did it all begin? For me, my current set up really started when I got rid of my studio in Fish Island, Hackney and turned my second bedroom into a studio instead.What I loved about linocut printing was that there’s no fancy equipment required and you can do it at home. I made so much work that it opened up so many possibilities for me. I started selling online on Etsy and then, when I moved out of London, I built a studio in my garden and started taking myself more seriously – that was four years ago. Why is nature such a source of inspiration for you? I’m a country girl. I grew up in Lincolnshire near the Fens, surrounded by the countryside. I’ve

Samâ&#x20AC;&#x2122;s studio space is populated by lots of people visiting and doing workshops, so itâ&#x20AC;&#x2122;s busy and ever-changing.

MEET THE MAKER

always been drawn to animals – I’m much more interested in them than in people. I like to give my animal portraits human personalities. I once did a whole series of internet date-inspired animals. It was a way of processing the dates and what had transpired. Where some people might write a diary, I draw. The variety of animal forms fascinates me – all the different shapes and expressions. The quirkier, the better. What do you love about what you do? It’s wonderful gathering the stories that become the work. I have a camper van and Marple and I travel around the country and I record our experiences – I sketch what I see, make notes of interesting events, take photos and then return to my studio and draw. Drawing is at the heart of my practice, the very foundation of what I do. I love carving the lino itself – it’s a very meditative process. I love the final stage too, where I’m just printing. It becomes repetitive. You can listen to an audiobook in the background but you’re still working! Are there any elements you don’t enjoy? I don’t like publicising myself very much. I have a love/hate relationship with Instagram. The money I make from my art is a bonus – my main income is from my teaching, so I make my prints just for me and I don’t need to market myself hard. If people like it though, that’s great. 02

How would you describe your brand aesthetic? Playful and humorous. My prints can be quite complex – the bigger ones have lots of storytelling within them, and often a more sinister side. If you look closely around the edges, there’s always something mysterious or interesting going on. I like layered scenes with lots of depth. Tell us about your creative space – is it a functional area or more reflective of you? My studio is a beautiful blue wooden, purpose-built space in my cottage garden. It’s just big enough to run workshops from. I keep it very organised – it’s my nature but there’s quite a bit of equipment involved in linocut printing so it has to be tidy. It’s not just mine in a way,

42 MOLLIEMAKES.COM

“I was given my

The process of

wonderful old press

carving the lino is

from my neighbour

Sam’s favourite

who rescued it

aspect of her work:

from a school.”

“It can become

Pulling back the

quite meditative –

print is always a

that’s if it goes right

magical moment.

of course!”

Sam loves that

Everything

different people

starts with a

are drawn to

drawing in Sam’s

different prints.

notebook.

04 03

“I sketch what I see. Drawing is at the heart of my practice, the very foundation of what I do.” it’s a communal space. I have lots on the walls, loads of books, it’s very colourful and busy. It’s ever-changing, people come and go. It means my work gets seen a lot which is wonderful. Is there anyone you look to for inspiration? My artistic influences are from the big exhibitions in London – I went to see the Lee Krasner exhibition at the Barbican recently and it was full of powerful paintings. My ‘old friends’ who are always on my shoulder are Eric Ravillious, Edward Bawden, Enid Marx and Thomas Bewick. Personally, my colleagues and friends inspire me. My artist friends are wonderful – we support and nurture each other. You can feel quite isolated as an artist, but we’re all there to encourage each other. In the tiny

MOLLIEMAKES.COM 43

MEET THE MAKER

village I live in, my next-door-but-one neighbour, Claire Morris-Wright, is a fantastic printmaker.There are three or four different artists just in this village. Our styles are very different but we appreciate each other and all have each other’s backs. Who do you make your products for? I really do just make for me. It’s a way to process how I live in the world. I have a fascination with pigeons, for instance – I always felt a bit sorry for them in London – and a pigeon print I made recently seems to have struck a chord with other people. 01

Sam tends to

work on one series of prints at a time.

Marple in her camper last year. 02

Sam’s studio sits

These are two of her

in her country

latest, all about her

garden, and is open

adventures with

to the public.

How do you want your products to make people feel? People tend to pick up something that resonates. A landscape with beach huts for instance, or they might have a particular affection for racoons.The artwork has come from my own personal narrative, but they’re thinking about what that image means to them.That’s the wonderful thing about art – once you’ve made it, it belongs to everyone else. What’s your favourite piece of work? It’s always the thing I’m working on. It has to be. It’s an intense process you totally immerse yourself in. My series at the moment is based on my trips with Miss Marple last year, and I’m really enjoying remembering those times.

44 MOLLIEMAKES.COM

“That’s the wonderful thing about art – once you’ve made it, it belongs to everyone.” Do you have any creative goals? I want to keep learning and keep expanding my own workshops. I have plans to open my studio to people who’ve done my workshops and let them continue with their projects in a supportive environment. Somewhere where people can make and share. Any other motivations? I have my sketchbook with me at all times. Strange encounters or incidents go in there. I love vintage books, prints from the 1800s and the curious creatures that appear in the margins of Medieval manuscripts. They’re the visuals that excite me. Finally, what creative advice would you have given your younger self? Keep experimenting. Don’t worry too much about finding your path early on. Just follow your passions. Visit www.sammarshallart.com to find out about Sam’s upcoming workshops, or follow her adventures on Insta @sammarshallart.

Living CREATIVE INSPIRATION FOR YOUR LIFE AND HOME

Say adios to lukewarm sipping – 4K G 2CRGT %Q have collaborated with Corkcicle on a collection of incredible drinkware. The BPA-free stemless wine cups can keep liquids chilled for over nine hours, or hot for three. Cheers to that. ÜÜÜ°À yi«>«iÀV °V

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46 MOLLIEMAKES.COM

PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; ALPANA CORAL VELVET COCKTAIL CHAIR FROM WWW.GRAHAMANDGREEN.CO.UK

blanket Join forces with y Frederika van der

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MOLLIEMAKES.COM 47

HOW TO MAKE A CROCHET BLANKET MATERIALS Q DMC Natura Just Cotton Medium, 100% cotton, 75m/82yd per 50g, five balls in White (01), three balls each in Yellow (09), Pale Pink (44), Mid Pink (134), Green (138) and Deep Pink (444) Q 4mm (UK 8, US G/6) crochet hook Q Yarn needle TENSION Each square measures approximately 14 x 14cm (5 x 5 ") after blocking ABBREVIATIONS (UK) st(s) stitch(es) sp(s) space(s) ch chain ss slip stitch dc double crochet htr half treble tr treble dtr double treble ttr triple treble rep repeat magic ring hold yarn in your hand and wrap

working yarn around forefinger twice to create ring, slip ring off your finger and insert hook to pick up first st, ch2, then work the necessary sts for Round 1 and close the ring tightly by pulling the end yrh yarn round hook dtr3tog double treble 3 sts together – *yrh twice, insert hook in st indicated, draw a loop, (yrh hook and draw through two of the loops that are on your hook) twice; rep from * another 2 times, 4 loops are now on your hook, yrh and draw through all of these loops FINISHED SIZE Approx. 85 x 95cm (33 x 373/8")

A handmade blanket is always special, but one that’s lovingly made by a gang of like-minded crafters? That’s next-level crochet affection. Assemble your fellow makers and divvy up the squares, then get the snacks in and meet up for a joining party. A collaborative blanket is a lovely way to welcome a new arrival, show someone you care, or it can be auctioned off for a worthy cause. Instructions This blanket is made from 30 squares in a 5 x 6 layout. There are three different square designs. Square 1 (pink flower) Make 8 in the following colourways: Yarn

No. to make

Round 1

Yellow

Round 2

Deep pink

Rounds 3 and 4

Mid pink

Green

Pale pink

Round 5

Green

Pale pink

Mid pink

Round 6

Pale pink

Mid pink

Green

Round 7

White

Round 1 start with a magic ring, ch2 (does not count as st), 12tr in ring, pull tight, ss to 1st tr to join, break yarn and fasten off [12 sts] Round 2 join new colour into any st, (1ss, ch5, 1ttr, ch5, 1ss) in each st around, break yarn and fasten off [12 petals] 48 MOLLIEMAKES.COM

Round 3 join new colour into any ttr, ch1 (does not count as st), (1dc, ch4) in each ttr around, ss to 1st dc to join [12 4ch-sps] Round 4 ss into 4ch-sp, ch1 (does not count as st), 4dc in same 4ch-sp, ch1, *4dc in next 4ch-sp, ch1, (3htr, ch3, 3htr, ch1) in next 4ch-sp**, 4dc in next 4ch-sp, ch1; rep from * another 3 times but finish last rep at **, ss to 1st dc to join, break yarn and fasten off [14 sts and 3 1ch-sps along each side, and 3ch-sps in corners] Round 5 join new colour to first 1ch-sp after a corner, ch3 (counts as 1tr), 3tr in same 1ch-sp, ch1, *(4tr, ch1) in each 1ch-sp to next corner, (3tr, ch3, 3tr, ch1) in corner 3ch-sp; repeat from * to end of round, ss to 3rd ch from start to join, break yarn and fasten off [18 sts and 4 1ch-sps along each side and 3ch-sps in corners] Round 6 join new colour to any 1ch-sp, ch1 (does not count as st), (1dc, ch4) in each 1ch-sp and 3ch-sp around, ss to 1st dc to join, break yarn and fasten off [5 4ch-sps along each side] Round 7 join new colour to any 4ch-sp, ch3 (counts as 1tr), 4tr in same 4ch-sp, 5tr in each remaining 4ch-sp around, and 3ch across the corners, ss to 3rd ch from start to join, break yarn and fasten off [25 sts along each side and 3ch-sps in corners] Square 2 (one colour) Make 3 each in deep pink, mid

pink, pale pink, green and yellow Round 1 start with a magic ring, ch2 (does not count as st), 12tr in magic ring, pull ring tight, ss to 1st tr to join [12 sts] Round 2 ch4 (counts as 1tr, ch1), (1tr, ch1) in each remaining st around, ss to 3rd ch from start to join [12 sts and 12 1ch-sps] Round 3 ss into 1st 1ch-sp, ch3 (counts as 1tr), 1tr in same 1ch-sp, ch1, (2tr, ch1) in each remaining 1ch-sp around, ss to 3rd ch from start to join [24 sts and 12 1ch-sps] Round 4 ss into 1st 1ch-sp, ch3 (counts as 1tr), 1tr in same 1ch-sp, ch2, (2tr, ch2) in each remaining 1ch-sp around, ss to 3rd ch from start to join [24 sts and 12 2ch-sps] Round 5 ss into 1st 1ch-sp, ch3 (counts as 1tr), 3tr in same 1ch-sp, ch1, *(4tr, ch1) in next 2ch-sp, (3dtr, ch3, 3dtr, ch1) in next 2ch-sp**, (4tr, ch1) in next 2ch-sp; rep from * another 3 times but on the last rep finish at **, ss to 3rd ch from start to join [14 sts and 3 1ch-sps along each side, and 3ch-sps in corners] Round 6 ch5, 1dc in next 1ch-sp, ch5, 1dc in next 1ch-sp, ch4, (1dc, ch5, 1dc) in next 3ch-sp, *ch4, 1dc in next 1ch-sp, ch5, 1dc in next 1ch-sp, ch5, 1dc in next 1ch-sp, ch4, (1dc, ch5, 1dc) in next 3ch-sp; rep from * another two times, ch4, 1dc in 1st 1ch-sp, ss to 1st ch to join [2 4ch-sps and 2 5ch-sps along each side, and 5ch-sps in corners] Round 7 ss in first 5ch-sp, ch3 (counts as 1tr), 4tr in same 5ch-sp, 1tr in next dc, 5tr in next 5ch-sp, 4tr

in next 4ch-sp, (3tr, ch3, 3tr) in corner 5ch-sp, *4tr in next 4ch-sp, 5tr in next 5ch-sp, 1tr in next dc, 5tr in next 5ch-sp, 4tr in next 4ch-sp, (3tr, ch3, 3tr) in corner 5ch-sp; rep from * another 2 times, 4tr in next 4ch-sp, ss to 3rd ch from start to join, break yarn and fasten off [25 sts along each side, and 3ch-sps in corners] Square 3 (white flower) Make 7 in the following colourways: Yarn

No. to make

Round 1

Yellow

Round 2

White

Round 3

Pale pink

Green

Mid pink

Deep pink

Round 4

Mid pink

Deep pink

Pale pink

Green pink

Round 5

Deep pink

Mid pink

Green

Pale pink

Round 6

Green

Pale pink

Deep pink

Mid pink

Round 7

White

Round 1 start with a magic ring, ch2 (does not count as st), 12tr in magic ring, pull ring tight, ss to 1st tr to join, break yarn and fasten off [12 sts] Round 2 join new colour to any st, ch3 (does not count as st), (dtr3tog, ch3) in each st around, ss to 1st dtr3tog to join, break yarn and fasten off [12 sts and 12 3ch-sps] Round 3 join new colour to any 3ch-sp, 3dc in same 3ch-sp, ch1, *3dc in next 3ch-sp, ch1, (2htr, ch3, 2htr, ch1) in next 3ch-sp**, 3dc in

next 3ch-sp, ch1; rep from * another 3 times but on the last rep finish at **, ss to 1st dc to join, break yarn and fasten off [10 sts and 3 1ch-sps along each side, and 3ch-sps in corners] Round 4 join new colour to first 1ch-sp after a corner, *(1dc, ch3) in 1ch-sp, (1dc, ch3) in next 1ch-sp, (1dc, ch2) in next 1ch-sp, (1dc, ch3, 1dc, ch2) in 3ch-sp; rep from * another 3 times, ss to 1st dc to join, break yarn and fasten off [2 2ch-sps and 2 3ch-sps along each side, and 3ch-sps in corners] Round 5 join new colour to any corner 3ch-sp, ch3 (counts as 1tr), 6tr in same 3ch-sp, * (1tr, ch1, 1tr) in each 2ch-sp and 3ch-sp along side**, 7tr in corner 3ch-sp; rep from * another 3 times but finish last rep at **, ss to 3rd ch from start to join, break yarn and fasten off [15 sts and 4 1ch-sps along each side] Round 6 join new colour in first 1ch-sp after a corner, ch3 (counts as 1tr), 2tr in same 1ch-sp, *3tr in each of next 3 1ch-sps, miss 1tr, 1tr in sp before next tr, ch7, miss 7tr, 1tr in sp before next tr**, 3tr in next 1ch-sp; rep from * another 3 times but finish last rep at **, ss to 3rd ch from start to join, break yarn and fasten off [14 sts along each side and 7ch-sps in the corners] Round 7 join new colour in any 7ch-sp, ch3 (counts as 1tr), (5tr, ch3, 6tr) in same 7ch-sp, 1tr between first tr and 3tr group, miss next st, 1tr in each of next 2 sts, 1tr MOLLIEMAKES.COM 49

HOW TO MAKE A CROCHET BLANKET between the two 3tr groups, miss next st, 1tr in each of next 2 sts, 1tr between the two 3tr groups, miss next st, 1tr in each of next 2 sts, 1tr between the two 3tr groups, miss next st, 1tr in each of next 2 sts, 1tr between last 3tr group and last 1tr**, (6tr, ch3, 6tr) in 7ch-sp; rep from * another 3 times but finish last rep at **, join to 3rd ch from start with a ss, break yarn and fasten off [25 sts along each side, and 3ch-sps in corners] Weave in all yarn ends. Construction Block the squares gently, then lay them out in a 5 x 6 rectangle, referring to the main image as a guide to placement. Joining Start with the square in the top left. Join white to any corner 3ch-sp, *(1dc, ch2, 1dc, 5ch) in 3ch-sp, (miss 5 sts, 1dc in gap before next st, 5ch) 4 times; rep from * to end of round, ss to 1st dc to join, break yarn and fasten off. The square now has 5 5ch-sps along each side and 2ch-sps in the corners. All the squares will be joined at these sps. Now select the next square along. Join white to any corner 3ch-sp, *(1dc, ch2, 1dc, 5ch) in 3ch-sp, (miss 5 sts, 1dc in gap before next st, 5ch) 4 times; rep from * once, (1dc, ch1, ss in 2ch-sp of previous square, ch1, 1dc) all in 3ch-sp, (ch2, ss in next 5ch-sp of previous square, ch2, miss 5 sts, 1dc in gap before 50 MOLLIEMAKES.COM

the next st) 4 times, (ch2, ss in next 5ch-sp of previous square, ch2, miss 5 sts), (1dc, ch1, ss in 2ch-sp of previous square, ch1, 1dc) all in 3ch-sp, ch5, (miss 5 sts, 1dc in gap before next st, ch5) 4 times, ss to 1st dc to join, break yarn and fasten off. Repeat with all squares along the top row. When joining the second and subsequent rows, join the first square in the same way along one side only but the next and following squares need to be joined along two sides, so work the first side only with 5ch-sps and join to the other squares along two sides before finishing the last side. When joining at a corner where two or more squares are already joined, work the ss in the ss of the previous join. Repeat until all the squares are joined together. Border Round 1 join pale pink to any 2ch-sp in the corner, ch1 (does not count as st), *3dc in 2ch-sp, 5dc in each 5ch-sp along side, 1dc in each 1ch-sp either side of the joins; rep from * along all sides, ss to the 1st dc to join, break yarn and fasten off Round 2 join yellow into the centre dc of a corner 3dc group, ch1 (does not count as st), *3dc in centre st, 1dc in each st along to next centre dc of the 3dc corner; rep from * along each side, ss to 1st dc to join, break yarn and fasten off Round 3 join mid pink and rep Round 2 Weave in all ends to finish.

MEET THE MAKER FREDERIKA VAN DER GALIEN Designer Frederika lives in the Netherlands with her fiancĂŠ, three daughters, lab puppy and a cat. She loves crocheting blankets, pillows and bunting. She shares on Instagram @frederikacreates. www.frederikacreates. etsy.com

PHOTOGRAPHY: JESSE WILD; STYLING: SARAH MALONE AND SALLY BUFTON; FAUX POTTED MONSTERA – SMALL, DANA RUG – BLACK FROM WWW.COXANDCOX.CO.UK

Master a new craft and make the Ministry of Upholstery’s footstool from scratch

MOLLIEMAKES.COM 51

HOW TO MAKE AN UPHOLSTERED STOOL MATERIALS Q Small footstool frame with corner blocks Q Four leg spacers Q Four tapered wooden footstool legs Q Blue foam, 5cm (2") thick Q 1m (393/8") patterned fabric (we used Orla Kiely Linear Stem in Dandelion) Q 1m (393/8") polyester wadding (we used 2oz Dacron) Q 1m (393/8") dipryl bottom cloth Q Furniture finishing paint (we used Fusion Mineral Paint in Soapstone) Q Spray adhesive Q Staple gun Q Staple lifter Q Tacks Q Hammer Q Painter’s tape Q Tape measure Q Clear furniture wax Q Old sheet

52 MOLLIEMAKES.COM

Today’s agenda: learn upholstery. It’s probably been on your craft skill wishlist since the dawn of time, and what jammier feeling is there than making your own actual furniture? We’re crushing hard on the mid-century modern vibes of this tapered-leg footstool with its snazzy Orla Kiely covering, but you call the shots on this one so the details are entirely up to you. Ministry of Upholstery have kindly put together a special footstool kit for this project – visit www.ministryofupholstery.co.uk/ our-shop/molliemakes to buy yours. Screw the four legs into the frame for painting. Measure and tape off the bottom third of the legs using painter’s tape. Apply a coat or two of paint, following the manufacturer’s instructions, and leave to dry. Once dry, detach the legs and put them to one side. 02 Protect the workspace with a sheet and attach the foam to the frame using the spray adhesive. This is a contact adhesive, meaning 01

you’ll need to spray both the frame and the foam. Hold the can approximately 15-20cm (6-77/8") from the surface and spray, aiming for a Silly String consistency. Attach the foam to the frame straight away – it’ll set immediately. 03 The purpose of wadding is to take the friction out of the foam and allow the fabric to glide. Lay the wadding over the top of the stool, ensuring you have equal amounts on all sides. Turn the stool over and use the full width of your palm to ‘feather’ the edge of the wadding to meet with the edge of the frame – there’s no need to staple or glue. Once all four sides are done, move onto the corners. Fold the wadding over one way and feather it in line with the corner, then fold it the other way and repeat. Ensure there’s no excess bulk anywhere. 04 Turn the stool back over and lay the fabric on top. Make sure the pattern is sitting as desired, then trim the excess, leaving approximately 2.5cm (1") of extra

fabric on each side below the bottom of the frame. 05 Using temporary tacks, start to attach the fabric to the frame. Tack in the middle of one long edge, then add one either side, about 5cm (2") from the leg plate. Place the tacks as far back from the front of the frame as possible. Once the first long edge is done, work on the second long edge. Start working on getting the correct tension in the fabric by turning the stool on its side and stroking the fabric from the tacked side towards the untacked side. The fabric is tight enough when it starts to give a rounded appearance along the edge of the foam. At this stage, nail a tack in the middle. Repeat the process with the other two tacks, then repeat the process along both short edges. Check the pattern is still as you want it. If it’s moved, release the tacks and reposition the fabric as required. 06 Next, replace the temporary tacks with staples. Starting from the middle of one long edge,

remove the tack and staple the fabric down. Now work from the centre outwards, stroking and pulling the fabric as tightly as possibly to work out all the excess. Staple as you continue to smooth the fabric towards the corners, finishing about 5cm (2") from the corner. Repeat the process on the opposite long edge, checking the pattern as you go, then repeat with each short edge. 07 Pull the corner of the fabric as tightly as possible over the corner of the frame, ensuring there are equal amounts of fabric on both sides. Pop a staple in the corner about 1cm (3/8") from the edge. 08 Cut out the waste fabric around the leg plate, and cut out as much as possible to avoid bulky corners. 09 Form pleats about 1cm (3/8") either side of the corner. The pleats should face the corner, be as straight as possible, and start at the same point on each side. Secure each pleat in place with a staple, then repeat Steps 7-9 on the remaining corners.

Cut out all the excess fabric around the bottom, starting from the middle and working towards each leg plate. Cut as close to the line of staples as you can. 11 Attach the dipryl to the bottom to hide the staples – fold the raw edge over to make a clean line and staple in the middle of the long edge. Staple as close as possible to the edge of the dipryl. Next, fold over the opposite edge and staple in the middle. Go back to the first side, staple roughly 5cm (2") from the corner, then repeat on the opposite corner. Staple roughly 5cm (2") from the other corner on the first side, then opposite again. Now there are six staples holding the bottom cloth in place, start to fill in the gaps in between, working all the way round. 12 Apply a layer of clear wax to the legs, following the manufacturer’s instructions. Find the holes in the leg plates by piercing scissors through, then screw the legs in to finish, adding the spacers in between the leg and plate. 10

MEET THE MAKER MINISTRY OF UPHOLSTERY Ministry of Upholstery is the UK’s largest and leading modern upholstery school. Founded in 2013 by Creative Director Anthony Devine, its manifesto is to make upholstery accessible to all. www.ministryof upholstery.co.uk

MOLLIEMAKES.COM 53

GET THE LOOK RURAL SANCTUARY Create a cosy space that works in harmony with nature, then open the doors wide and welcome friends, family and fresh air. Prioritise functionality, comfort and a sense of calm.

Your inner botanist will be all smiles at this vintage floral study, reminiscent of a well worn bookplate. Use it to brighten up that corner where, despite all attempts, nothing green grows. www. davesoffice.etsy.com 01

54 MOLLIEMAKES.COM

Delicate wildflowers rendered in black ink make for the dreamiest contrast. Take Karolin Schnoor’s The Meadow Goddess as your muse and hang this print where it’ll catch your eye on the daily. www. thefuturekept.com 02

OK, another cushion, but hear us out – you’ll make this understated artisan masterpiece yourself. Yep, the Crazy Cushion of Love is a knitting kit, complete with upcycled yarn. www. woolandthegang.com 03

Rustic, hardwearing, and with just as much character as the worn wooden table they were created for. Bag yourself a set of four Alba side plates for dinnerware with authentic beauty. www. anthropologie.com 04

No modern farmhouse kitchen is complete without a 70s-style glazed terracotta jug. Fill it with fresh-from-thefarm dairy, or eschew tradition and opt for your fave plant milk. www.monpote.co.uk 05

Living 04

BRAND FOCUS tea and kate Concept store Tea and Kate grew from an interiors Instagram account into an online shop and bricks and mortar store – visit their studio in Suffolk for that IRL experience. They stock a beautifully curated range of design-led homewares from around the world, and offer a free interior design consultation service. www.teaandkate.co.uk 02 07 06

BOOKMARK the little house shop Not only will HK Living’s reclaimed teak breadboard earn you bonus sustainable points, it doubles as the ultimate Instagram prop. Don’t pretend you weren’t thinking that too... www. darlingandgold.com 06

Okidome’s clever little suction planter is the tiny home solution our plant lady hearts have been longing for. Now you can easily give kitchen herbs a home up on tiles, cupboards or windows. www.trouva.com 07

If relaxed industrial living is your vibe, treat yourself to a scroll through The Little House Shop’s wares. A one-stop online destination for décor and gifts with contemporary style, Jenny and Guy who run the shop have a real appreciation for vintage too, also reflected in their collection. www. thelittlehouseshop.co.uk

Washed linen kitchen cloth

that doubles as a bistro apron? Wish we’d though of that. 02

Dutch brand Woodchuck is

one of over 130 inspiring brands Tea and Kate stock. 03

From essentials to little

luxuries like these scented candles, they’ve got it covered.

MOLLIEMAKES.COM 55

AT HOME WITH...

KAT GOLDIN’S WILD, NATURE-FILLED FARM HOME ON THE EDGE OF THE SCOTTISH HIGHLANDS

Words: HELEN MARTIN Photographs: KAT GOLDIN

56 MOLLIEMAKES.COM

armer, photographer and writer Kat Goldin runs a smallholding together with her husband, three children and the strong community they’ve created, with the tagline ‘A Life in the Making’. Something Kat has really taken to heart, at Gartur Stitch Farm, “handmade is everything.” The focus is on making as much as is possible, investing in other people’s crafts as well as teaching and passing on handmade skills. From regenerative farming to fuelling a food and baking revolution “one loaf of a bread at a time,” life and work are entwined on the farm. They host retreats, workshops, online courses and events, as well as volunteers through Willing Workers on Organic Farms. For Kat, the most important thing is that every single person feels welcome. “I want a big table where I can seat as many people as turn up for dinner, a teapot large enough to ensure everyone gets a cuppa on the first go round, a wipeable floor so if someone spills something it’s easily cleaned up, and sofas comfy enough that if someone needs to spend the night, there’s always space.” The family moved to Gartur five years ago, but the farmstead dates back to at least 1650, added to over the last 300 years. It has two storeys and five bedrooms, plus four outbuildings; a barn for the animals, an outdoor workshop, a studio and a large greenhouse. The house is filled with nature finds, art, vintage mirrors and eBay, IKEA and repurposed pieces found in car boot sales. “I collect things I like, throw them up on the wall and then forever move things around,”

“I collect things I like, throw them up on the wall, then forever move things around.”

MOLLIEMAKES.COM 57

AT HOME WITH... “Put kittens on everything and bake good food so they won’t notice the mess.”

says Kat. “One of my best friends is Eilidh Weir, owner of All That is Braw and Buchlyvie Pottery. Our house is full of her makes, from ceramics to the beautiful wall hanging she made for my birthday.” In terms of her tips for rural living, she recommends “wipeable floors, wipeable paint, and don’t be precious about stuff. Oh, and put kittens on everything and bake people good food so they won’t

58 MOLLIEMAKES.COM

notice the mess.” Life on the farm is nonstop, beginning with baking sourdough bread in the morning, then tending to the animals, the gardens, Kat’s crochet work and organising retreats. “It’s crazy here,” smiles Kat. “But it’s amazing. Being so busy and having so many people through the doors means our kids are able to experience cultures they wouldn’t normally be able to in rural

Scotland. The growth we’ve seen in them this year; their confidence, knowledge and kindness, makes it worth it.” The days end with sunsets, glimpses of which are on Kat’s Insta; a washing line with sheets outlined in gold, a windowsill with a view. Looking back to when Kat moved from the US to the UK 18 years ago, carrying two suitcases and knowing just one person – her husband, Kevin – life has

changed dramatically. Community has been essential from the outset. “We have an incredible support network of friends and neighbours who are always around to give a helping hand.” Help with farm chores, milking the goats when the family are away, offering advice on the animals, and simply being there when times are tough. As the business has developed they’ve also been able to support

neighbouring farms and businesses. “We supply a range of B&Bs locally with sourdough bread and eggs,” explains Kat. “We also buy in from our neighbours for our farm-to-table dinners.” The farm added a polytunnel through a crowdfunder this year, and it’s now Kat’s favourite part of the farm. “I feel blessed to have such a supportive online community. I was blown away with

In the kitchen,

open shelving and

dishes are stored in

doubles as a

a old pie warmer.

workshop space.

Mirrors, maps

From Kevin’s

and musical

wood nook, there’s

instruments

a glimpse of the

feature heavily in

new lawnmower

the dining room. 03

The studio has

and milking cow named Petunia.

MOLLIEMAKES.COM 59

AT HOME WITH...

not just the financial support through the crowdfunder, but the outpouring of encouragement from far and wide,” enthuses Kat. “That community shows up every day; whether to wish us well, laugh with us, help problem solve from afar, come to goat visits, or just to say hi.” Gartur is a home thanks to the life that inhabits it. “As an immigrant family, home is where we make it,” shares Kat.

60 MOLLIEMAKES.COM

“People can come and our children can develop deep roots, that’s home. It’s not a sanctuary from the outside world, but more a sanctuary where whoever you are, wherever you’re from, you’re welcome – but please come hungry.” Creative Kat Goldin shares makes, bakes and animal updates on Instagram @katgoldin. Learn about the farm at www.garturstitchfarm.com.

Between the

Kat busy at work

sofas, prints, plants

in the studio,

and stacks of books

slicing up soap

make the living

made with their

room feel cosy.

goats’ milk.

Spot and

Husband Kevin’s

Smudge are two

woodworking nook

of the adorable

is situated in the old

farm residents.

porch of the house.

PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON

Sew Kirsten Lomakinâ&#x20AC;&#x2122;s pretty baby bibs for a good cause

MOLLIEMAKES.COM 61

HOW TO MAKE A BABY BIB MATERIALS Q Two fat quarters of printed cotton fabric Q Fringe or pom pom trim Q Bias binding Q Matching sewing thread Q Sewing machine zipper foot Q Fabric scissors

Fancy using your creative skills to give back? Start here. These bibs are quick and easy to make with minimal materials – ideal for selling for charity. Get online or sign up for a local fair and get fundraising for a charity close to your heart. You’ll get at least four bibs from two fat quarters and you can make your own binding from the offcuts so they coordinate. For more absorbant bibs, use light terry towelling or brushed cotton fabric. Using the template on page 91, cut out one bib shape from each of the two fabrics on the grainline. The 1cm (3/8") seam allowance is included. Place tiny snips where indicated on the template to mark the gap for turning. 02 Pin or clip the trim around the edge of the right side (RS) of one of the bib pieces. Make sure the decorative edge of the trim is facing inwards. 03 Sew around using the zipper foot, removing the pins or clips. 04 Pin the trimmed bib piece to the remaining bib piece, aligning the edges with RS together. 01

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Using a 1cm (3/8") seam allowance, sew around the bottom curve of the bib. Remember to leave a gap between the snip marks to allow for turning the bib RS out later. 06 Sew along the top curve, leaving the straight gaps open either side for the bib ties. 07 Cut two 25cm (97/8") pieces of bias binding for the ties. Push the ties through the turning gap and secure the bottom edge in the tie holes with clips or pins. Sew across the gaps on each side to secure the ties in place. 08 To ensure the bib sits flat on the curves, carefully snip the edges around the neck and cut notches into the bottom curve. Don’t cut over the seam line and make sure the trim is tucked in across the turning gap so you don’t cut it. 09 Turn the bib RS out through the gap and push the fabric out around all the edges. Use a crochet hook, chopstick or similar to do this. Check the trim and ties are secure. 10 Hand sew the turning gap closed with ladder stitch and press the bib to finish. 05

MEET THE MAKER

KIRSTEN LOMAKIN

Kirsten is a quiltmaker living in the historic city of York with her husband and three children. She loves handstitching and sews secret messages onto her quilts to make them unique, personal and meaningful. Kirsten has a great eye for colour and uses a mix of different Liberty fabrics in her quilt designs. www.kirstykins.etsy.com

PHOTOGRAPHY: JESSE WILD; STYLING: SARAH MALONE AND SALLY BUFTON; AALTO COFFEE TABLE FROM WWW.COXANDCOX.CO.UK

WHEN Scandi met BOHO Make Christine Leechâ&#x20AC;&#x2122;s bead chandelier for opulence without the bling

MOLLIEMAKES.COM 63

HOW TO MAKE A WOODEN CHANDELIER MATERIALS Q Wooden or metal hoop, 25cm (97/8") diameter Q 25 1cm (3/8") diameter wooden beads Q 65 1.5cm (5/8") diameter wooden beads Q 40 2cm ( ") diameter wooden beads Q 20 2.5cm (1") diameter wooden beads Q Six 3cm (1 ") diameter wooden beads Q Paintbox Cotton DK, 100% cotton, 125m/ 137yd per 50g, one ball in Ballet Pink (453) Q Twilleys Goldfingering, 80% viscose, 20% polyester, 100m/109yd per 25g, one ball in Gold (02) Q Small piece of card Q Acrylic gouache paint

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(we used Turner Acryl Gouache in Yellow Green, Pastel Lilac, Phthalo Green, Rose, White, Deep Pink and Mustard) Q Gold spray paint Q Flat headed paint brush, 1cm (3/8") wide Q Wooden skewers Q 5cm (2") pom pom maker Q Yarn needle Q Bleach Q Clothes peg Q Tape measure

Combine the bead lampshade trend with a Polish pajaki chandelier aesthetic and you’ve got statement décor to lift any room. The best thing about this project is the multicraft aspect – you’ll be painting beads, making tassels and dip dyeing with bleach. To cover the hoop, wind a long double thickness length of pink yarn onto a clothes peg. Tie the cut ends of the yarn onto the hoop. Wrap the yarn over the hoop to form a loop, take the clothes peg and yarn under the hoop and through the loop and pull tight to knot around the hoop. Repeat all around the hoop, pushing the knots together as you go. 02 Paint six 3cm (1 ") beads, nine 2.5cm (1") beads, 11 2cm ( ") beads, 15 1.5cm (5/8") beads and seven 1cm (3/8") ones. Using the paint brush, the main image as a guide and a wooden skewer to hold and rotate the bead, coat each bead with a base colour. Once dry, decorate in different colours. Create graphic shapes by 01

dabbing the tip of the brush onto the bead – this creates a dashed effect – or a quick swipe of the brush to give a stroke effect. For dots, use the handle end of the brush. For gold beads, coat in spray paint following the manufacturer’s instructions in a well-ventilated area. Leave to dry. 03 To make a tassel, wind the pink yarn around the card 40 times. Cut a 140cm (551/8") length of yarn and slip it through the bundle of yarn on one side. Make sure you have even amounts of yarn on each side and secure with a double knot. Remove the bundle from the card and reshape so the knot is at the top. 1.5cm (5/8") down from the knot, wind a length of the gold yarn tightly around the bundle 10 times. Wind adjacent to, rather than on top of, each wrap to create a wide strip. Secure with a knot and trim any excess. Cut the bottom of the tassel to release the strands of yarn and trim neatly. Repeat three times to make four tassels. 04 To create the ombré effect on the bottom of the tassels, dip the

bottom of each one into a bowl filled with approximately 5cm (2") of bleach. The longer you leave it, the paler the ends of the tassels will go. Once you’re happy with the colour, remove from the bleach and rinse in cold water until all the bleach has gone. Leave to dry. 05 Lie the chandelier out flat. Measure around the outside of the hoop, divide the measurement by five, then mark each point with a piece of coloured yarn. 06 Thread a selection of beads onto one of the tassels using the yarn needle. Thread both lengths of yarn through the beads. Begin with one 2.5cm (1") bead, then two 2cm ( ") beads, followed by three 1.5cm (5/8") beads and end with two 1cm beads (3/8"). Use the two lengths of yarn to tie the tassel drop to the hoop at one of the marked points. Tie tightly so the top bead almost touches the hoop. Repeat around with all the tassels. 07 For the swag beads, tie a 40cm (15 ") length of pink yarn to the hoop by one of the tassel drops. Thread on a selection of plain and

painted beads as follows: three 1.5cm (5/8") beads, two 2cm ( ") beads, one 2.5cm (1") bead, one 3cm (1 ") bead, one 2.5cm (1") bead, two 2cm ( ") beads and finally three 1.5cm (5/8") beads. 08 Tie the other end of the yarn by the next tassel along, letting the yarn drape. Repeat around the hoop to make five swags. 09 For the hanging drops, thread both lengths of yarn onto the needle and thread the following formation of beads onto each tassel drop: one 2.5cm (1") bead, two 2cm ( ") beads, three 1.5cm (5/8") beads, four 1cm (3/8") beads. 10 Gather all the lengths of yarn together and thread through the one remaining 3cm (1 ") bead. Holding the chandelier up so you can see if it hangs level, then tie all the yarns together with one knot about 5cm (2") from the end. 11 Make five pom poms using a mix of pink and gold yarn. Use 20cm (77/8") lengths of yarn to tie off each pom pom, trim to neaten, then attach to the hoop where the tassel drops and swags meet.

MEET THE MAKER CHRISTINE LEECH Christine Leech is the founder of the Sewyeah Social Club – an online and in real life club for crafty people. She’s dedicated to building a supportive community for anyone looking to connect and share and find inspiration. www.sewyeah.co.uk

MOLLIEMAKES.COM 65

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EXCLUSIVE PAPERS! COLOUR YOURSELF HAPPY WITH THIS SET OF JOYOUSLY BOLD PATTERNS AND POSTERS Molly Eganâ&#x20AC;&#x2122;s a Philadelphia-based illustrator, known for her sassy girls and dreamy sketchbooks. She loves drawing, painting and playing with her dog. Illustrations: MOLLY EGAN WWW.MOLLY-EGAN.COM

Making HAND-PICKED PROJECTS TO FALL IN LOVE WITH

Wondering how to justify yet another accessory? This isn’t called the Million Reasons Bag for nothing. Not only do you crochet it using Ûi}> ] L `i}À>`>L i À>vw>] Ì i Ì materials are responsibility sourced from a community of makers. / >Ì Ã >Ì i>ÃÌ wÛi « ÕÃ « ÌÃ] Üi ÀiV ° www.woolandthegang.com

MOLLIEMAKES.COM 75

! W

E N EDI

10 9

N O TI

htful decorations!

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£8.99

NB. Contents subject to change

inc P&P*

Hook yourself a very happy Christmas with this collection of festive favourites from the Simply Crochet team. Packed with patterns for gifts and decorations, plus cosy winter accessories, it’s the perfect crochet compendium for the holiday season.

PRE-ORDER YOUR COPY TODAY! ORDER ONLINE WWW.BUYSUBSCRIPTIONS.COM/CROCHETXMAS19 OR CALL 03330 162 138 AND QUOTE ‘YOUR CROCHET CHRISTMAS 19 PRINT 1’ UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open 8am-6pm weekdays and 9am–1pm Saturday for orders only. Overseas please call +44 (0) 1604 973 746. * Price applies to UK orders only. EUR price £10.99, ROW price £11.99. All prices include P&P. Please allow up to 28 days for delivery.

PHOTOGRAPHY: JESSE WILD; STYLING: SARAH MALONE AND SALLY BUFTON

Use Molly Egan’s papers to craft Sarah Louise Matthews’ geometric trio

MOLLIEMAKES.COM 77

plant pot cover

Hanging decoration

HOW TO MAKE PAPER DÉCOR MATERIALS Q Patterned paper Q Ruler Q Embossing tool Q Scissors Q Tacky glue or allpurpose adhesive Q Cutting mat Q Sewing needle Q Cotton thread Q Mini plant pot, 5cm (2") tall Q Standing test tube, 10cm (4") tall, 1.5cm (5/8") wide

Harness the understated power of paper – more specifically, this issue’s pull-out papers on page 67. Nothing says community more than a good collab, so Sarah’s created three clever makes from Molly’s display-worthy prints. The plant pot cover and hanging decoration can each be crafted with one sheet of paper, while the vase requires two. If you’d like to sell your makes, use alternative papers or try painting your own. Folding is easier if you work from one side of the strip to the other. If your test tube vase needs support, make a circular cardboard base and attach the base of the tube to it. Plant pot cover 01 Measure and cut two 26.5 x 7.5cm (10 x 3") rectangles of paper. Measure the lines marked on the template on page 91 and score using an embossing tool.

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Glue the two strips together end to end. To do this, apply a thin layer of glue to the front of the 0.5cm ( ") wide end section of the first strip and press it onto the back of the opposite end of the second strip, aligning the top and bottom edges of the strips, and positioning the scored line directly below the cut edge of the second strip. Work along the strip, creasing the scored lines into mountain and valley folds, as marked on the template. 03 Cut two 50cm (19 ") lengths of cotton thread and thread one onto a needle. Squeeze the concertina of paper together and puncture the needle through the pleats, a few at a time, to thread along the top of the strip, puncturing the positions marked on the template. Repeat along the bottom of the strip as shown on the template on page 91. 04 Glue the exposed 0.5cm ( ") section to the back of the other 02

end of the piece, then stretch over a mini plant pot. Pull the loose ends of the top thread to tighten it around the plant pot, then tie and trim the ends. Repeat for the bottom thread. Vase 05 Measure and cut two 24.5 x 13cm (9 x 5 ") rectangles of paper. Measure out the lines marked on the template on page 91 and score using an embossing tool, working on a cutting mat. 06 Glue the two strips together. Apply a thin layer of glue to the front of the 0.5cm ( ") wide end section of the first strip and press it onto the back of the opposite end of the second strip, aligning the top and bottom edges of the strips, and positioning the scored line directly below the cut edge of the second strip. Work along the strip creasing the scored lines into

VASE

mountain and valley folds following the template on page 91. 07 Cut a 50cm (19 ") length of cotton thread and thread onto a needle. Squeeze the concertina of paper together and puncture the needle through the pleats, a few at a time, to thread the cotton all the way along the top of the strip, puncturing in the positions marked on the template. 08 Glue the exposed 0.5cm ( ") section to the back of the other end of the piece. Pull the loose ends of the thread to tighten the top of the vase, leaving a gap slightly larger than the diameter of the test tube, then tie and trim the ends. Stand the tube inside the vase and fill as desired. Hanging decoration 09 Measure and cut a 26.5 x 7.5cm (10 x 3") rectangle of paper. Measure out the lines marked on

the template on page 91 and score using an embossing tool, then mark out and cut the zigzag edges. 10 Work along the strip creasing the scored lines into mountain and valley folds, as per the template. 11 Cut two 50cm (19 ") lengths of cotton thread and thread one onto a needle. Squeeze the concertina of paper together and puncture the needle through the pleats, a few at a time, to thread the cotton along the top of the strip through the positions marked on the template. Repeat at the bottom. 12 Glue the exposed 0.5cm ( ") section to the back of the other end of the piece, then pull the ends of the top thread to tighten the folds, creating the diamond shape. Repeat for the bottom thread. Tie both threads, then trim the loose ends of the bottom thread. Tie the excess thread at the top into a loop, then trim any excess.

MEET THE MAKER SARAH LOUISE MATTHEWS Sarah Louise is a Sheffield-based paper engineer and designer. She makes stationery, art, decorations and bespoke commissions for photo shoots, weddings and visual merchandising. www.sarahlouise matthews.com

MOLLIEMAKES.COM 79

ILLUSTRATION: ESTHER CURTIS

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WEBTROVERTS UNITE SARA TASKER EXPLORES HOW ONLINE COMMUNITY COULD BE THE KEY TO EMBRACING VULNERABILITY AND DISCOVERING OUR BEST CREATIVE SELVES Words: SARA TASKER WWW.MEANDORLA.CO.UK Illustration: ESTHER CURTIS WWW.ESTHERCURTISDESIGN.COM

ome of my best friends are people I met online. That hasn’t always been a palatable truth to share. In the early days I wove cover stories of connecting at concerts or in shops to protect myself from the suspicion at forming friendships this way. As social media and dating apps have spread into our daily lives though, this perception has gradually shifted. More than ever before, the internet offers opportunities for community that are increasingly absent. But how can we find it, and who should we really trust?

THE THIRD CATEGORY There’s a popular personality profiling tool that lumps us into one of two camps: those who thrive on social interaction and are energised by engaging with others are the extroverts; those who enjoy it but find it draining are the opposing introverts. Shy and socially awkward, by most definitions I fall under the latter – but with one notable exception. When I spend time online, nattering on Twitter, chatting in the comments on Instagram or a forum, I don’t suffer the same sense of social burnout. Let me loose on an internet forum with a glass of wine in hand and I’m the life and soul of the virtual party! I can show up, I can speak out, and I can have a great time. The more I’ve talked with others, the more common I’ve discovered this experience is. Communication via the internet removes the pressures of face-to-face interaction. Online, it’s fine to take a few moments before speaking, to sit in your scruffiest pyjamas, to keep your eyes on your knitting as you talk. Online we can let our guard down and enjoy the business of human connection unfettered. I’ve coined a third category for the personality analysts to consider: webtroverts. For a webtrovert, a tightly-knit toddler group at the local church hall might be a special kind of hell, but a message board full of other parents a welcome and supportive embrace. And while the press continue to peddle the notion that this social media self must be somehow inherently insincere, I’ve repeatedly found the opposite to be true.

AN HONEST REFLECTION In my work I help people express themselves creatively online. There’s a raft of self doubts that inevitably arise in

the process – will I be good enough? Will anyone like what I do? But biggest of all is the fear of what our ‘real life’ connections will make of our work. I’m not talking about our partners or best friends here, although they can sometimes be part of the picture. But for most, it’s the people on the periphery: parents at the school gates, casual acquaintances, colleagues we only know in a professional sense. I’ve seen people press pause on all their creative ambitions, or craft convoluted workarounds to desperately protect themselves from being seen to try by these people. An anonymous audience of online strangers offers us the chance to own parts of ourselves that feel too vulnerable to share in our daily lives. To experiment with our creativity or making; to confess our wildest dreams or ambitions – and crucially, in return – to find a group of people who will accept us, safely and openly, for exactly who we are. With nearly a billion active monthly users on Instagram alone, it’s almost inevitable that for whatever you’re dealing with, there’ll be somebody out there to listen and talk. The internet isn’t making us more false or filtered and artificial: it’s giving us space to more thoroughly explore what it means to be wholly ourselves. Of course, this freedom of expression comes with its down sides too. The rise of extremist discourse online is dark and distressing, giving a home to unspeakable ideas and intolerance. But if it’s a double edged sword, then I know that the side of good and tolerance is far stronger. It is up to all of us to learn how to wield it together, by creating diverse community, by showing up as our whole, flawed, uncertain selves, and making space for everyone to feel safe to do the same. I’m reminded of a quote I recently stumbled across – where else but on Pinterest? – by Kurt Vonnegut last week: “What can young people do with their lives today? Many things obviously. But the most daring thing is to create stable communities in which the terrible disease of loneliness can be cured”. The community hubs have been lost in our cities and villages, but online there are no walls to confine or shut anybody out. Some of your best friends are waiting for you on the internet – and your most complete and creative self might be waiting there too.

MOLLIEMAKES.COM 81

PHOTOGRAPHY: JESSE WILD; STYLING: SARAH MALONE AND SALLY BUFTON; RAVELLO BENCH FROM WWW.COXANDCOX.COM

Crochet in the

wild

Brighten up the neighbourhood with Katie Jonesâ&#x20AC;&#x2122; bold flowers, made for yarnbombing

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MOLLIEMAKES.COM 83

HOW TO MAKE YARNBOMBING FLOWERS MATERIALS Q DK, aran, chunky and super chunky yarn, each in green and four other shades Q Crochet hooks to suit the yarn weights TENSION Tension is not important for this project ABBREVIATIONS (UK) st(s) stitch(es) ch chain ch-sp(s) chain space(s) ss slip stitch yrh yarn round hook

dc double crochet tr treble tr2tog treble 2 sts together – (yrh, insert hook in next st, yrh and pull up loop, yrh and draw through 2 loops) twice, yrh and draw through all loops on hook tr3tog treble 3 sts together – (yrh, insert hook in next st, yrh and pull up loop, yrh and draw through 2 loops) three times, yrh and draw through all loops on hook dtr double treble

Yarn weight

DK or aran

Chunky or two strands of DK or aran

Super chunky or three strands of DK or aran

Crochet

4mm (UK 8, US G/6) or 5mm (UK 6, US H/8)

8mm (UK 0, US L/11)

10mm (UK 000, US N/15)

Approx.

13-14cm

16-20cm

22-25cm

finished size

(5 -5 ")

(63/8 -77/8")

(8 -97/8")

hook

84 MOLLIEMAKES.COM

We’re very pro yarnbombing here at Mollie Makes HQ – getting your yarny handiwork out into the wild can brighten up a neighbourhood, bring a community together and make people smile. Connect with your local craft shop or group and get plotting your make. Think about decorating tree trunks, bollards, fencing or benches, just make sure you get permission and measure up beforehand. A project with lots of motifs means everyone gets to play, and those not confident with crochet can get stuck in with joining and assembling. Yarnbombing This pattern is for a flower motif and a leaf shape. By changing the yarn and hook size, you can use the same pattern to make flowers and leaves in different sizes. The thicker the yarn and bigger the crochet hook, the bigger the flowers will be. We recommend making panels with a variety of different sized motifs, then joining them on or around the yarnbombing object.

Use cable ties for added security. Instructions Divide and separate out the yarns into the three yarn weight groups and within each group into colours. Flower Choose a size flower to make and pick four colours (A, B, C and D) in the same yarn weight group together with a suitably sized crochet hook. Foundation using Yarn A, ch4 and ss into first st to form a ring Round 1 ch1 (counts as 1dc), 7dc in ring, ss to ch1 to join, break yarn and fasten off [8 sts] Round 2 join Yarn B into any st with a ss, (ch2, tr2tog) into same st (together these for the starting tr3tog), ch2, *tr3tog in next st, ch2; repeat from * to end of round, ss into top of starting tr3tog, break yarn and fasten off [8 tr3tog and 8 2ch-sps] Round 3 join Yarn C into any 2ch-sp with a dc, ch4, (1dc, ch4) in each 2ch-sp around, ss to 1st dc to join [8 4ch-sps]

Joining Spread a selection of flowers out and arrange. Using the ends of the last rounds of the flower motif, thread through the petal of the nearest flower and double knot on the reverse. Cut the ends. Save the

long ends and use to secure petals that are able to reach each other. Make multiple panels flat, then join together on the intended yarnbomb area. Leaves Make leaves in various sizes Foundation using green yarn, leave a long tail at the start, ch8, ch1 and pull the working loop into a long extended st around 7cm (2 ") long Row 1 reinsert hook into 8th ch, pull yarn through and work 1dc into this st to secure, 1tr in each of next 6 sts, 1dc in last st, break yarn and fasten off leaving a long tail Cut the extended st at the top to turn into two equal length strands â&#x20AC;&#x201C; these, plus the starting and end tails, will be used for tying. Use the leaves to secure any larger gaps between the flowers and to join the panels together. Thread the loose ends through either the middle sts of petals or over Round 5 dc posts, pulling the ends through to the back and securing with a double knot. Trim the ends to finish.

MEET THE MAKER KATIE JONES Rainbow lover Katie is a crochet designer and workshop tutor. She has a background in fashion and is passionate about environmental change and conscious crafting. She shares her colourful makes on Instagram @katiejonesknit. www. katiejonesknit.co.uk

KATIE JONES PHOTOGRAPHY: RACHEL MANNS

Round 4 (1dc, 4tr, 1dc) in each 4ch-sp around, ss to 1st dc to join, break yarn and fasten off [48 sts] Round 5 turn flower to the wrong side, start with a long tail and join Yarn D around the post of any dc from Round 3 with a dc, ch5, *1dc around post of next dc from Round 3, ch5; repeat from * to end of round, ss to 1st dc to join, turn so the right side is facing [8 5ch-sps] Round 6 (1dc, 2tr, 1dtr, 2tr, 1dc) in each 5ch-sp around, ss to 1st dc to join, break yarn and fasten off leaving a long tail for joining [8 petals] Sew in all ends except those of the last 2 rounds â&#x20AC;&#x201C; these will be used for joining. Repeat the Flower in a mix of sizes and colours. If covering a large space, opt for making more of the larger sizes.

MOLLIEMAKES.COM 85

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PHOTOGRAPHY: DAVE CAUDERY; STYLING: SARAH MALONE AND SALLY BUFTON

Bring Lauren Merrick’s illustrations to life with Libby Moore’s beautiful embroidery

MOLLIEMAKES.COM 87

HOW TO MAKE BOTANICAL EMBROIDERY MATERIALS Q 25 x 25cm (97/8 x 97/8") linen or cotton fabric Q Embroidery thread (we used DMC stranded cotton in 502 (light green), 503 (mid green), 520 (dark green), 356 (brown), 728 (yellow), 922 (orange), 3716 (light pink), 961 (mid pink), 3832 (dark pink), 07 (grey brown), 628 (light grey), 822 (off white) and 310 (black)) Q Size 7 embroidery needle Q 18cm (71/8") embroidery hoop Q Erasable fabric marker

88 MOLLIEMAKES.COM

Two creatives combining their strengths to make one beautiful piece? Thatâ&#x20AC;&#x2122;s the power of collaboration. Embroiderer Libby Moore has translated Lauren Merrickâ&#x20AC;&#x2122;s Wattle Bird print into a stunning stitched hoop, ready for you to get your threads into. Use two strands of thread throughout, and turn to page 91 to find instructions for each stitch. When stitching long and short stitch, use stitches of varying lengths to help blend them together in a more organic way. Using the fabric marker, a light source and the template on page 91, transfer the pattern to the centre of the fabric and secure the fabric in the hoop. 01

Start with the branches with small leaves. Using light green thread, stitch the branches with stem stitch and the leaves with satin stitch. 03 For the wattle plant, use mid green thread to stitch the branches with stem stitch and the leaves with satin stitch. Using yellow thread, stitch French knots for the wattle flowers, as shown. 04 Next, stitch the upper branches. Using dark green thread, stitch the branches with stem stitch and the leaves with satin stitch. 05 To stitch the tea tree flowers, use dark green thread, stitching the branches with stem stitch and the leaves with satin stitch. Using light and dark pink threads, stitch French knots for the flower buds. 02

For the lower branches, use brown thread and stitch the branches with stem stitch. Using light green thread, stitch the leaves with satin stitch. 07 Stitch the grevillea branches using brown thread and stem stitch. Using mid green thread, stitch the grevillea leaves with satin stitch. For the flowers, use dark pink thread and stitch the petal outlines with lazy daisy stitch for the bottom petals and scallop stitch for the petals above that. Using mid pink thread, fill in the petals with satin stitch. 08 For the eucalyptus flowers, use brown thread to stitch the branches with stem stitch and the bases of each flower with satin stitch. Using mid pink thread, stitch straight 06

stitches for the petals. Using the orange thread, stitch French knots above the petals. 09 Stitch the paper daisies using yellow thread, filling the centre with satin stitch. Fill the petals with satin stitch, using light pink thread for the bottom and mid pink thread for the tops. 10 Move on to the banksia. Use brown thread and stitch the branch with stem stitch. Using dark green thread, stitch the leaves with satin stitch. Using yellow thread, fill the banksia with long and short stitches. Using orange thread, stitch short straight stitches at slight angles on top of the yellow. 11 Use black thread to fill in the birdâ&#x20AC;&#x2122;s beak with satin stitch and stitch a French knot for the eye.

Using off-white thread, stitch along the lines on the wings and the tail with whipped back stitch. Fill in the body with long and short stitches using grey brown thread for the head and back, yellow thread for the breast and light grey thread for the wings. Using off-white thread, stitch small straight stitches down the back and breast. Refer to the pattern template on page 91 for the placement of these stitches. 12 Cut away the excess fabric leaving a 3cm (1 ") border. Thread the needle with enough off-white thread to circle the whole hoop plus a bit extra. Make a running stitch around the excess fabric, carefully pull the thread tight to gather it, then knot to secure.

MEET THE MAKERS

LAUREN MERRICK AND LIBBY MOORE

Illustrator Lauren grew up on the East Coast of NSW Australia and now lives in the Blue Mountains. She works in watercolour, gouache, papercut and ink. www.laurendraws pictures.etsy.com

Libbyâ&#x20AC;&#x2122;s the owner of Thread Folk. She loves to equip others with the skills to keep stitching. Libby lives on the Central Coast of NSW with her husband and four sons. www. threadfolk.etsy.com

MOLLIEMAKES.COM 89

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KNIT A FAIR ISLE COWL MAKE TASSEL JEWELLERY LEARN TO NEEDLE PUNCH

GIFT AND CONTENTS SUBJECT TO CHANGE

all you need to make 8 mini cha ra cter cra ckers!

PLUS CHUNKY CROCHET JUMPER SCANDI ADVENT CALENDAR EASY DECOUPAGE VASE PLYWOOD MIRROR DIY PATCHWORK PROJECT BAG CUTE AUTUMNAL MOBILE 90 MOLLIEMAKES.COM

TEMPLATES ALL THE SHAPES FOR THIS ISSUE’S MAKES. UNLESS OTHERWISE STATED, TEMPLATES ARE SHOWN AT 100%. YOU CAN FIND THE FULL-SIZE TEMPLATES READY TO DOWNLOAD FROM WWW.MOLLIEMAKES.COM

YOUR GIFT By Anabella Cahwje PAGE 7

Using the templates on page 92, cut two head pieces, two ears, four arms, one nose piece, one front body and one back body piece from the brown felt. Fold each head piece in half, right sides (RS) together and whipstitch the dart. Following marks C-D, place the nose piece on the front head piece and embroider in place, using the template marks as a guide. Use two strands of black thread and horizontal satin stitch for the 01

nose and four strands of brown thread for the brown details, alternating straight vertical lines. 02 Place the two head pieces with wrong sides (WS) together and whipstitch around the outside from point A to B, using one strand of brown thread, and leaving the neck open. Repeat with the two body pieces. 03 Fill the body and head with stuffing through the gaps. 04 Sew the head to the body securely using ladder stitch and

two strands of brown embroidery thread, as shown. 05 Whipstitch around each arm uisng one strand of brown thread, leaving an opening at the top. Stuff and sew the gap closed. Attach the arms to the body with two strands of thread, stitching the inside of the arms to the sides of the body. 06 Using the yarn, form loops of 1-1.5cm (3/8- 5/8") length and pin them near each other following the head’s seam to create the

mane. Whipstitch in place, then pin and whipstitch the ears. 07 Embroider the eyes onto the face using a French knot and four strands of black thread. 08 For the ruff, sew a running stitch along the long edge of the purple felt piece with lilac thread, place it around the lion’s neck and pin both short ends of the felt at the centre back. Pull the end of the running stitch to form the ruffles. Secure to the neck using whipstitch.

Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.

MOLLIEMAKES.COM 91

Templates YOUR GIFT By Anabella Cahwje PAGE 7

EARS

CUT Two

HEAD

CUT Two

ARMS

NOSE

CUT four

CUT One

FRONT BODY

BACK BODY

CUT one

Mollie Makes (ISSN 20460228) (USPS 20517) September 19 is published 13 times a year (monthly, with a Christmas issue in October) by Immediate Media Company Bristol Ltd., Eagle House, Colston Avenue, Bristol, BS1 4ST, United Kingdom. Distributed in the U.S. by NPS Media Group, 2 Corporate Dr., Suite 945, Shelton, CT 06484. Periodical Postage paid at Shelton, CT and additional mailing offices. POSTMASTER: Send address change to Mollie Makes, Immediate Media, PO Box 2015 Langhorne, Pa 19047 USA. Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We donâ&#x20AC;&#x2122;t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one anotherâ&#x20AC;&#x2122;s copyright.

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Templates BOTANICAL EMBROIDERY by Libby Moore and Lauren Merrick PAGE 87 Scale to fit your embroidery hoop

BABY BIBS by Kirsten Lomakin PAGE 61 Photocopy at 400%

Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We donâ&#x20AC;&#x2122;t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one anotherâ&#x20AC;&#x2122;s copyright.

MOLLIEMAKES.COM 93

Templates WEAVING GUIDE use our handy guide for the woven hoop PAGE 14

RYA KNOTS 01 You’ll need lengths of yarn roughly 30cm

threads. With the yarn in your left hand, twist the yarn under the first two warp

the middle. Even out the length on either side, then gently pull the yarn towards you

(12") long. Each Rya knot will need six strands, depending on how thick the yarn

threads and bring the bundle to the front. 03 Do the same with the right side, twisting

and down to the bottom of the loom. 04 Repeat across the remaining warp

is, or the amount stated in the project.

the yarn under the next pair of warp

threads to create a full row, or follow the

threads, and bringing the yarn through to

pattern as instructed.

Lay the strands over the top of the warp

TABBY WEAVING 01 Cut a small piece of card to the width of the loom, then weave it through the warp threads, over one thread, then under the next. Repeat until you reach the opposite side. Thread the needle with a length of yarn and knot it around the first warp thread at one side, just above the card.

Thread the needle under the next warp thread, then back up and over the next. Repeat along the width of the warp, going over and under – this creates the weft. 03 For the next row, repeat Step 2, this time going over the warp threads you went under, and under those you went over. 04 When weaving, try to not pull the yarn 02

too tightly as this will bring the edges of the weave in and cause it to narrow. One way to prevent this is by pulling the yarn through at a 45º angle, bringing the needle down to make a hill. Using a comb or a fork push the middle down, and gently push each hill down, as you go. This will give the correct tension.

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Templates 01

TWINING Fold the yarn in half and place the centre on the far right warp thread. 01

Take the bottom yarn lengths above the

other yarn and behind the next warp. 03

Pull the yarn through, leaving a small

loop to create texture, and being careful not to pull too hard. 04 Take the unused yarn lengths above the other yarn and behind the next warp. 05 06

To go back across, take the yarn lengths

in front of the last warp thread. Bring that yarn around and in front. 08

Pull to create texture as per Step 3. Repeat Steps 2-5 to finish the row.

Take the remaining yarn lengths above

the other yarn and behind the next warp. Repeat as before to finish the row.

MACRAMÉ KNOT GUIDE use our handy guide for the woven hoop PAGE 14 01

Lark’s head knot Fold the cord in half along the length. Slip the folded string on top of the object the lark’s head knot will be tied onto. 02

Pull the cord down around the object you’re tying the knot over, without twisting the cords, then pull the other two strands through the loop, as shown.

Clove hitch knot Begin by selecting the outer most cord – this is the lead cord. Lay it diagonally across the remaining working cords. 01

Selecting the first working cord, loop it over and then through the middle of the two cords, as shown. Pull to tighten. 03 Repeat Step 2, using the same cords. The 02

To tighten the lark’s head knot, hold the two cords in one hand and the object you have them tied around in the other. Pull until the knot is fastened at the top. 04

clove hitch knot is complete. 04 You can then continue to work the remaining cords and tie a rows of clove hitch knots to create patterns.

MOLLIEMAKES.COM 95

Templates STITCH GUIDE use our handy guide for the embroidery techniques in this issue

01 03 02 02

STEM STITCH Although it can take some practice, stem stitch is great for textured outlines. Come up from the back at point 1, then go down at point 2. Before pulling the stitch close to the fabric, come up at point 3 with the loose thread below the needle. Pull the thread taut, then repeat. Come up from the back at point 1, then go down at point 2. Before pulling the stitch close to the fabric, come up at point 3 with the loose thread below the needle. Pull the thread taut, then repeat.

SATIN STITCH When you want to fill an area with a smooth finish, this stitch is the ideal choice. It’s best worked in small areas, because if the stitches are too long, they may snag. Come up at point 1, then go down at point 2. Come up at point 3, then go down at point 4. Repeat. Always work the stitches across the area you’re filling, coming up on the opposite side where your needle went down.

02 03

FRENCH KNOT This is a stitch that everyone should learn, because it’s so useful. The secret is to hold the working thread taut while you pull it through. Come up at point 1, then wrap the thread around the needle twice. Holding the working thread with your non-dominant hand, bring the needle down at point 2 (close to point 1, but not the same hole) and pull slowly until the knot is formed.

01 01

02 03

LAZY DAISY Usually used for flower petals, this stitch is also ideal for embroidering tiny seeds. Come up at point 1, then go back down at point 1, leaving a small loop. Come up through the loop at point 2, then go down at point 3 (next to point 2, but not the same hole).

SCALLOP STITCH Similar to a lazy daisy, the scallop stitch makes it easy to add smiles to little stitched creatures. Come up at point 1, then go down at point 2, leaving the thread loose. Come up at point 3, catching the loop of thread, then go down at point 4 (next to point 3, but not the same hole).

WHIPPED BACKSTITCH This is a great way to embellish a line of backstitch, adding thickness, texture or some extra colour. Start with a line of backstitch. Come up at point 1. Slide the needle under the first backstitch from the top down. Slide the needle under the next stitch from the top down. Repeat. Bring the needle down at point 2 when you reach the end of the line of backstitch.

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PAPER DÉCOR by Sarah Louise Matthews PAGE 77 Photocopy at 200%

CUT MOUNTAIN FOLD VALLEY FOLD

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COPYRIGHT GUIDELINES FOR PROJECTS We have requested permission from designers so you can make and sell selected projects on the following conditions. Just look for this icon. Please credit the designer where appropriate and when requested. Mollie Makes encourages creativity and as well as making for gifts and for yourself, we want to help you make small batches of handmade items to sell. You can individually handmake as many as you wish of our labelled projects, to sell for yourself, a local event or to raise money for charity. You cannot sell in shops (online or otherwise) or go into mass production, so you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine or its kit is prohibited. Please respect one another’s copyright.

Mollie Makes is published by:

Immediate Media Company Limited, Eagle House, Colston Avenue, Bristol, BS1 4ST. Tel: 0117 927 9009 We abide by IPSO’s rules and regulations. To give feedback about our magazines, please visit immediate.co.uk, email editorialcomplaints@immediate.co.uk or write to Yvette Streeter or Katherine Conlon, Immediate Media Co., Vineyard House, 44 Brook Green, London W6 7BT.

Thank you for making this project from Mollie Makes. We have requested specific permission from designers so you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, a local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect copyright.

Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.

MOLLIEMAKES.COM 97

TEA AND A CHAT “I quickly became mesmerised by the colourful clothes.”

DONNA BRAMHALL FROM HAUTE CULTURE ON HER TEXTILES TRAVELS

THIS MONTH I’M LOVING... Participating in: The GiveCredit campaign. We ask members of the fashion and design industry to #GiveCredit to the cultural communities they draw inspiration from. Learning: About the Hero’s Journey and how to follow your bliss. Thinking about: Starting an exciting new tour in Guatemala!

98 MOLLIEMAKES.COM

here did my passion for creative communities begin? I totally fell head over heels in love with cultural fashion in 2013 when I moved to Vietnam. I quickly became mesmerised by the colourful and intricate clothes of ethnic minority women of the North who were making and rocking their own handmade clothes almost every day. My end-game dream is to produce a collection of cool travel accessories using newly made traditional textile which will allow me to collaborate with artisans from each community we work with. The biggest lessons, in textiles and in life, that I’ve learnt from these communities are to slow down, embrace creative practices simply for the joy of doing and surround yourself with non-competitive creative communities and co-operatives, whose are team members thrive by inspiring, motivating and supporting each other. I consider myself super fortunate to have found my purposeful career, and every single new artisan group I meet and learn from around the world is always a very special experience for me. The North Thailand Dara-ang did, however, totally steal my heart with their fuchsia pink bags covered in sparkly tassels and neon pom poms! Visit www.hauteculturefashion.com to find out more about Donna’s unique travel company for women, dedicated to traditional dress, textiles and tribes around the world. She shares incredible cultural textiles and where she’s off to next on Instagram @hauteculturetextiletours.

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