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20 snuggly winter makes + meet alex monroe

8 bonus papers inside










d l o c s ' t I outside!


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The ‘Sewing with Style’ offers are available from Janome sewing machine retail outlets nationwide. Promotion starts 3rd September 2016 to 24th December 2016. (All offers subject to stock availability.)

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issue number seventy four





Animal bags

INTRODUCING... LIVING The latest news from the world of handmade

Fill your life and home with crafted goodness



Handpicked crafty happenings

Our top picks of the most lovely buys for a hand-crafted, creative home

14 TRENDS Cosy hygge buys, plus make candles



Berylune’s Amy Davies shows us around her brighly coloured, cheerful abode

Knit this sweet pair of wrist warmers



Talk to us!




Welcome a little one with this fun knit

With jewellery designer Alex Monroe

Get party ready with luxe accessories

Monochrome placemats and coasters give a contemporary feel to your dining table



Crafting through the changing seasons

Put your precious things out on display



Try new techniques in bold shades

Wintery collage-style prints to cut and paste



Add on-trend ruffles to a plain tee

All you need to make this issue’s projects

NEVER MISS AN ISSUE 24 Subscribe UK Subscribe today to get a Tilly and the Buttons book and pattern worth over £32!


Ruffle t-shirt



Hexagon shelves

This year, instead of getting the postChristmas blues, I’ve decided to embrace winter and use the cold weather and dark evenings as an excuse to get cosy and crafty. Whether that’s knitting our gorgeous cloud mittens by Button & Blue, trying hyggeinspired candles on page 16 or hooking up the chunky crochet cushion on page 39, we’ve got lots to get you started. Plus, turn to page 36 to read Lottie Storey’s thoughtful piece on the joys of seasonal crafting. If you’re planning to use 2017 as a catalyst for new creative ventures, don’t miss our interview with jeweller Alex Monroe on page 26. His incredible journey to household name is guaranteed to inspire you, plus you’ll love taking a peek inside his studio!


Crochet cushion

LOVING Treats and treasures to fall in love with

Cath Dean Editor

75 LOVING Beautiful things to adore and make

77 PHOTO BACKDROP Liven up your New Year party with an Insta-worthy photo booth setting

81 COSMETIC BAGS Give your make-up a good home


Make-up bags

84 GOOD READ We talk to The Fold Line, winners of our Handmade Champion Award 2016



Scented candles

Be inspired to make 2017 a more productive and rewarding year

94 ANIMAL BAGS Sew this fox and bear duo for kids

106 BACK PAGE PROJECT Esther Thorpe on the origami revival Subscribe at

r Turn the page to drisncotveo your free gift! Tu page 67 for your papers

Contributors EDITORIAL Editor Cath Dean Deputy Editor Nikki Arnold Senior Art Editor Helena Steele Production Editor Yvette Streeter Designer Becki Clark Digital Editor Nina Dyer Picture Editor Emma Georgiou Newsletter Coordinator Lottie Storey

Amy Philip Amy loves coffee, curry and anything creative. When she isn’t busy running around after her small children, picking up stray raisins and cereal, she creates new knitwear designs for her small business, Button and Blue. Knit Amy’s cloud gloves on page 18.

The Fold Line Kate (left) and Rachel (right) are both dab hands on the sewing machine. With Kate’s background in knitwear design and millinery, and Rachel’s pattern development skills, the pair make for a crafting dream team. Read The Fold Line’s story on page 84.

ADVERTISING Call: 0117 300 8206 Senior Advertising Manager Penny Stokes Client Partnership Manager Beckie Pring Brand Sales Executive Lauren Morris

MARKETING & CIRCULATION Head of Newstrade Marketing Martin Hoskins Newstrade Marketing Manager Janine Smith Subscriptions Director Jacky Perales-Morris Direct Marketing Manager Penny Clapp

PRODUCTION Production Director Sarah Powell Production Managers Louisa Molter/Rose Griffiths Junior Production Coordinator Lily Owens-Crossman

LICENSING Director of International Licensing and Syndication Tim Hudson


Alex Monroe Formerly a punk rocker with a wardrobe that included pink PVC trousers and a liberal dose of black eyeliner, Alex now works with some of Britain’s biggest fashion brands as one of the country’s most iconic jewellery makers. Get to know more about Alex on page 26.

Miki Hemphill First introduced to the world of yarn by Nana Peggilini as a little girl, Miki loves it so much she even wears it in her hair. She spends her days dreaming of life aboard a yarn-bombed narrow boat, and of time-travelling to the 70s. Crochet Miki’s mandala cushion on page 39.

Paul Torre, Karen Flannigan, Corinne Mellerup

MANAGEMENT Publishing Director Catherine Potter Group Senior Editor Julie Taylor Group Art Director Matthew Hunkin Chairman Stephen Alexander Chief Executive Officer Tom Bureau Managing Director, Bristol Andy Marshall

SUBSCRIPTIONS For new orders and back issue sales call 0844 844 3797 or visit www. For enquiries relating to your subscription email or call +44 (0) 1795 414642 COPYRIGHT GUIDELINES FOR PROJECTS We have requested permission from designers so you can recreate and sell selected projects from this issue 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 beautiful, handmade items to sell. You can individually hand-make 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) and you cannot go into mass production, so you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. Please respect one another’s copyright.

Clover Robin Clover delights in nature and all things botanical, inspired by a childhood of woodland walks and countryside rambles. She’s currently based in Greenwich, London, where all her artwork is lovingly handcrafted. Cut out Clover’s papers on page 67.

Amy Davies Obsessed with arranging everything in rainbow order, Amy’s house is as colourful as the inside of Berylune, the shop she runs with her sister and best friend. Who says your work and home lives have to be kept separate? Take a tour around Amy’s home on page 50.

Other contributors Jessica Bateman, Rachelle Blondel, Valerie Bracegirdle, Annelise Brant, Alina Bunaciu, Ali Burdon, Sammy Claridge, Rob Eyres, Alexandra Fia @ Mustard Models, Pauline Hagan, Kirsty Hartley, Christine Leech, Teri Muncey, Fiona Murray, Lou Orth, Ingrid Rasmussen, Lana Red, Philip Sowels, Esther Thorpe, Lara Watson, Jesse Wild, Sandra van Katwijk, Hester van Overbeek


Mollie Makes is published by:

Immediate Media Company Limited, 2nd Floor, Tower House, Fairfax Street, Bristol, BS1 3BN. Tel: 0117 927 9009 Fax: 0117 934 9008 We abide by IPSO’s rules and regulations. To give feedback about our magazines, please visit, email or write to Catherine Dean or Katherine Conlon, Immediate Media Co., Vineyard House, 44 Brook Green, London W6 7BT. 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.

your free gift!

Dachshund Brooch kit

What dreams are made of... “I’ve always thought that dressing your pet is the most charming thing, so when I started to think what I wanted this brooch to look like, I imagined a little sausage dog wearing a coat to keep him warm on cold winter days. Because Frankie deserves only the best, I made his coat using triangle shapes in pastel shades, then added gold trim and a fancy gold collar. Easy to sew and full of character, I hope he brings you joy when you’re making and

wearing him. I know I’ll be pinning Frankie onto every scarf I wrap round me this winter.” Alina Bunaciu lives in Romania. As well as making quirky felt brooches for her Etsy shop, Hana Letters, Alina also runs a second-hand bookshop with her boyfriend. Her favourite hobby is reading, which gives her plenty of inspiration for the designs she creates. Turn to page 100 for all instructions, then share your makes using #molliemakers.


Everyone loves a dachshund, especially when they’re as well dressed as Frankie





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If you want a wedding with serious style credentials, take a trip to A Most Curious Wedding Fair. Held at The Old Truman Brewery in London from 18-19th March 2017, you’ll find a gang of creative, trend-led exhibitors to inspire your big day. www.amostcurious


TOP PATTERN Rain jacket Get your geek on and prepare for those spring showers with Closet Case’s new Kelly Anorak jacket pattern. Its classic shape and modern cut both looks good and keeps you dry.

Go big with your accessories and knit Toft’s oversized Speckled Snood kit – it’ll keep your needles busy and spruce up your winter wardrobe.


Louise Dawson’s colourful Fair Isle necklaces are more than bite-sized pieces of knitting, they’re little yarn talismans, warding off bad juju and inspiring creativity. They also look amazing with a plain white tee. 10 MOLLIEMAKES.COM 74

Looking for an excuse to start planning next year’s projects? Take a sneaky look at Cloud9’s new 2017 fabric collections – they’ll give you all the reasons you need and then some. Bird’s Eye View by Sarah Watson is just one of our faves.

We all need a duvet day once in a while, so treat yourself to this Foxglove set by MissPrint, then wrap up in its pretty pattern. Just add coffee and croissants (mind the crumbs).

Amp up your party game with glitzty lash and glitter kits


Wear NicLove lashes to festivals, parties, or just because

WEBSITE TO WATCH Elizabeth Pawle We’re never quick enough to catch Elizabeth’s one-off Etsy shop restocks, so were thrilled to hear she’s launched a website filled with her embroidered and woven wall hangings. Combining neon and pastel shades in a variety of textures and shapes, her work is colourful, abstract and freeform. We need it in our life. Subscribe at

Each pair of lashes are handmade in London



Develop your obsession with hygge, crafting and baking your way to cosiness with Melissa Bahen’s latest book, Scandinavian Gatherings – Afternoon Fika to Midsummer Feast: 70 Simple Recipes & Crafts for Everyday Celebrations.


Ditch the mascara and reach for a set of NicLove’s partypopping lashes to wear at this year’s Christmas party. Born from a love of all things colour and glitter, the brand launched in 2015 and has since been helping festival-goers, extroverts and everyone in between to shun a life as a wallflower. If you’re not quite ready for far-out lashes, just pop a few NicLove glitter sticks and gems into your bag for now.

We’d be beaming too if we had this Luggy basket from Little Rowen & Little Wren, the new children’s range from online homewares boutique Rowan & Wren. Check it out to find playful, pared-back takes on their more grown-up collections.

TOP READ Green fingers Illustrator and selfconfessed crazy plant lady Annie DornanSmith is on a mission to help everyone bring greenery into their homes. Her new book, House Jungle, is a jaw-droppingly beautiful guide to growing indoors, with chapters on how to get started, different types of house plants to try, and tips for how to take care of them.

We love Nikki Strange’s new range of pocket mirrors, decorated with her whimsical prints. Check your hair and lippy, then cast an admiring glance at her ethereal designs (and your reflection) before stashing it back in your handbag.

Psst... These beautiful handmade pots by independent studio Duck Ceramics were a huge hit at the Renegade London craft fair. Get yours now before they all sell out.

Treat you and your sofa to some winter sun with this Fleur Vasette cushion from Aussie brand Gorman. It’s just one of the stunning pieces from its new collection featuring bright, graphic illustrations by French artist duo Atelier Bingo. 12 MOLLIEMAKES.COM 74

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HYGGE Embrace the Danish way of living and cosy up your home this winter

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MATERIALS Q Glass jar Q Vegetable shortening Q Beeswax Q Candle wick Q Tin can Q Small saucepan Q Masking tape Q Wooden skewer Q Essential oils Q Dried petals, fruits or spices Using your tin can, weigh out roughly the same amount of 01


shortening in grams as your glass jar holds in ml. Work out 10% of the quantity and add this amount in beeswax to the can, e.g. a 200ml jar needs 200g shortening and 20g beeswax. 02 Place the tin in a pan of hot water and simmer on a low heat until the shortening and beeswax have completely melted. Stir well with a wooden skewer, making sure no water gets into the tin. 03 To prepare your jam jar, glue the wick to the base of jar, then







stick a strip of tape across the top. Thread the wick through to keep it centred and upright. 04 Once the wax has melted, remove from the heat and stir in your chosen fragrance blend – use roughly 30-50 drops. 05 Carefully pour the wax into the jam jar and leave for 5-10 minutes. As the wax starts to harden, add in your selection of dried petals, fruits, spices or berries, pushing them down into the wax using a wooden skewer.

Leave to set in a cool place, then remove the tape and cut the wick back to 1cm ( "). When you first light your candle, wait for the whole of the surface to melt before extinguishing it to ensure it burns evenly each time. 06

Author Rachelle Blondel lives to make, be it a coat, candles, or bread. Her latest project, R:itual, celebrates the beauty in the everyday – find her on Instagram @rachelleblondel.

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Easy stitch selection ? Push button stitch selection ? Automatic stitch length and width Drop and Sew™ Bobbin system ? 50 built-in stitches ? Two Fully automatic 1-step buttonhole ? Drop feed for free hand sewing ? 2 StayBright™ LED lights ? Twin needle setting ? Automatic needle threader ? 13 needle positions



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Keep cosy and take inspiration from wintery skies with Amy Philip’s cloud wrist warmers

HOW TO MAKE… CLOUD WRIST WARMERS MATERIALS Q Wool and the Gang Sheepaca yarn, 50% alpaca, 50% merino wool, 100g/233m per ball, one ball in Tweed Grey (Yarn A), small amount in Ivory White (Yarn B) Q Small amount of Yarn Stories Fine Merino DK, 100% wool, 50g/120m in Duck Egg (Yarn C) Q 3.25mm (UK 10, US 3) circular knitting needles Q 4mm (UK 8, US 6) circular knitting needles Q Scrap yarn Q Stitch markers Q Tapestry needle


TENSION Q 22 sts and 30 rows to 10cm (4") over stocking stitch on 4mm needles ABBREVIATIONS st(s) stitch(es) k knit p purl M1R make one right M1L make one left (see instructions for a guide to these techniques)

These soft-as-a-cloud gloves are so gorgeous you’ll be wearing them all winter, and through those April showers, too. We’d never have thought the combination of grey skies and rainy days could be so appealing, but Amy’s pretty design has officially converted us. The gloves themselves are knitted in a single shade of yarn, with the fluffy cloud and raindrops being stitched on using the chart once you’re done. Cosy up one evening and make a pair for yourself, or knit as a gift for a friend – if you can bear to give them away that is. Instructions The gloves are knit in the round, so you can either use circular needles, or divide the sts evenly over double pointed needles. It is possible to knit the mittens flat on straight needles, but you’ll need to cast on

two extra sts for seam allowance and sew up the mittens at the end. The left and right mittens are identical, so follow the pattern through twice to knit the pair. The rainclouds and raindrops are sewn onto the mittens after, with the left and right being mirror images. To M1R, pick up the bar between the sts on right and left needles by bringing the left needle through from back to front, then knit into the front of this st. To M1L, pick up the bar between the sts on right and left needles by bringing the left needle through from front to back, then knit into the back of this st. Note – the tension used is not the standard tension for this yarn, but the tension needed for the project. Knit a tension square before starting, and adjust your needle size if needed. The finished mittens will each

measure approximately 23cm (91/8") long and 9cm (35/8") wide. Cuff Using Yarn A and 3.25mm needles, cast on 40 sts. Join to work in the round, being careful not to twist the sts – knitting and purling into the back of the sts will make the both the cuff and tips look more defined and neater. Place a stitch marker to show the start of each round when working. Work 24 rounds in k1 p1 rib – the cuff is approx. 7.5cm (3") long. Lower hand Change to 4mm needles and k 14 rounds. Thumb gusset Round 15 M1R, k2, M1L, k to end of round [42 sts] Round 16 k

Round 17 M1R, k4, M1L, k to end of round [44 sts] Round 18 k Round 19 M1R, k6, M1L, k to end of round [46 sts] Round 20 k Round 21 M1R, k8, M1L, k to end of round [48 sts] Round 22 k Round 23 M1R, k10, M1L, k to end of round [50 sts] Round 24 k Round 25 M1R, k12, M1L, k to end of round [52 sts] Round 26 k Round 27 M1R, k14, M1L, k to end of round [54 sts] Round 28 k Round 29 M1R, k16, M1L, k to end of round [56 sts] Round 30-31 k Prepare for thumb You’ll now need to place the thumb

gusset sts on a scrap yarn holder and join to work in the round again to knit the upper hand. Don’t be tempted to use a straight stitch holder – scrap yarn works best as it doesn’t get in the way. Slip 1 st (the first st on the left needle) from the left needle to the right. Transfer 16 thumb sts onto scrap yarn using a tapestry needle. Next, slip the slipped st on the right needle back to the left needle. To join in the round ready to knit the upper hand, hold the right needle and cast on 1 st to the right needle using the backward loop method. Beginning the round again on the left needle, k the first two sts together then k to the end of the round [40 sts]. There may be a slight hole between the thumb gusset and the hand, but this can be sewn up while weaving in the ends when finishing. 74 MOLLIEMAKES.COM 21

43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 20













7 30








HOW TO MAKE… CLOUD WRIST WARMERS Upper hand K 11 rounds. Change to 3.25mm needles and work 4 rounds in k1 p1 rib. Cast off all sts loosely ribwise. Thumb Transfer the 16 sts on scrap yarn to 4mm needles, rejoin Yarn A and k 4 rounds. Change to 3.25mm needles and work 2 rounds in k1 p1 rib. Cast off all sts loosely ribwise. Adding the motif The chart shows the placement 22 MOLLIEMAKES.COM 74

for the left mitten, so you’ll need to reverse it for the right mitten to create a mirror image. To mark the centre of the cloud, count from the column of stitches next to the thumb as shown on page 21 by the purple marker. The thumb will be to the left for the right mitten and to the right for the left mitten. The centre is 13 sts in as shown by the green marker. Following this column of sts up, place a marker 5 sts down from the ribbed tip of the mitten as shown by the top pink marker. This is the top of the cloud. Still on this centre column, count

down 10 sts, this is the centre st of the cloud’s bottom row. Place two markers 5 sts out on either side from the centre, to mark the start and end of the bottom row of the cloud. Cut a length of Yarn B approximately 150cm (591/8"). Following the chart, add the cloud using a tapestry needle, working duplicate stitch and matching the tension of the mitten. You’ll need another 150cm (591/8") length of Yarn B to finish the cloud. Add the raindrops using Yarn C, then weave in any loose ends on both gloves to finish.

Amy Philip Amy lives in Brighton with her husband and two little girls, where she designs and makes gorgeous knitwear for babies and toddlers. You can find her creations on Instagram @buttonandblue and in her Etsy shop, which recently won the Etsy Kids & Baby Award 2016.




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Carving your own niche with...

ALEX MONROE Jewellery designer Alex talks inspiration, motivation and creative heroes in the run up to his brand’s 30th anniversary celebrations Words: JESSICA BATEMAN Photographs: INGRID RASMUSSEN

Quirky, delicate and inspired by the British countryside, Alex Monroe’s handmade jewellery walks a line between traditional and experimental. It’s a combination that has made him one of the country’s most successful designer-makers, and brought about collaborations with the likes of Liberty, the V&A and even Buckingham Palace. After graduating in Jewellery Design from the Sir John Cass School of Art (now London Metropolitan University), Alex attended a business course for artists at the Royal College of Art and 26 MOLLIEMAKES.COM 74

acquired a start-up loan. Almost 30 years later, his London studio now employs around 40 members of staff. Alex splits his time between his own collections and working with prestigious brands. As dad to three teenage daughters, he enjoys “any project that can help or empower women,” citing work with Nike’s We Own The Night, a women-only 10k challenge, and plussize fashion store Evans in particular. Currently busy opening a new studio and planning their 30th anniversary, we caught up with Alex for a chat.

Describe your style in a few words. British, tongue-in-cheek, feminine. It wasn’t a conscious decision to make jewellery in this style, it was just how it developed. It was also guided by the people who bought it – when I first started out I found I was selling a lot to Japan, so that encouraged the ‘Britishness.’ I only learnt how to describe my style later on. How did you get into your craft? When I was a kid, all I wanted to do was be a punk rocker, so I used to make things such as dog collar necklaces. I actually applied to study fashion at university but didn’t get onto any courses. I chose jewellery as the second best option but I ended up loving it – I enjoy being in the workshop making things with my hands, and I wouldn’t have got that with fashion. What’s been the most important business lesson you’ve learnt? I’ve been running a business for so long but I’m still learning. Everything’s been a series of lessons and mistakes. The key thing is to try and remember why you’re doing it. Don’t make yourself ill. I got myself into a bit of a pickle about 10 or 15 years down the line; I was working mad long days and burning myself out. I didn’t enjoy it anymore. That was a turning point – I realised I had to make

INTRODUCING tea & a chat

‘When I was a kid, I wanted to be a punk, so I used to make dog collar necklaces.’



the business work for me or I had to let it go. I remortgaged the house, turned it into a limited company and employed a couple of people. Now I work much more reasonable hours, it’s a lovely job, rather than something that’s taken over my life. It’s important to have a rounded life. Tell us about your creative process. It depends what I’m designing. Sometimes I’ll be asked to work on a specific project, whereas my own collections are completely open. I see my collections as one body of

work – if I do one thing, I’ll do something else in response afterwards. So if I’ve just created something delicate and floral, I might then decide to design something graphic with simple lines. I’m always sketching and drawing. I’ll usually have about 25 ideas on the go. Sometimes I’ll find I’m particularly keen on something and start researching it in more detail – for example, if it’s a tropical design, I’ll go to Kew Gardens and do lots of sketching. I’ll then take my drawings back to the studio with me and work them



Alex’s workbench

renowned for its

at his south London

determination to

studio – the brand

bloom every year – a

has been based here

fitting symbol of

for 25 years.

eternal love.


Spring Halo, the



2017 engagement

cluster earrings,

collection. It’s

inspired by flowers

inspired by the

grown by Alex’s

violet, a flower



INTRODUCING tea & a chat


up into more of a specific design. Then I experiment making a few test models and turn them into proper pieces. At this point, I’ll sit down with the young designers who work in my studio with me. Now that I’m over 50 it’s really important for me to keep that connection with fashion-conscious young women, so it’s great to get their feedback. They’ll help with colourways, fittings and how things are worn – we all spark off each other.



A box containing

pieces from the latest Bon Voyage collection is part of the window display at Alex’s store. 02

Alex inspects one of

his charm bracelets. 03

Early models being

tested in the studio.



What do you think the secret to your label’s success has been? I’ve always been very wary of using the word ‘success.’ I wouldn’t describe myself as any more successful than, say, someone who works as a teacher and makes jewellery on the side – they’re still finding a way to do something they love. Some people take a different route and become better known. A lot of it’s luck, but part of it’s my personality, too. I love selling, just because I love telling people about what I do. A lot of creative people aren’t very good at selling what they’ve made. Having the skills required to run a business is luck in itself, and people liking what you make is also luck. You need to have tenacity, bravery, and to be happy to take risks such as employing people to work for you, or taking out loans.

INTRODUCING tea & a chat

‘I just made things I thought were lovely and it turned out women liked them.’



Did you consciously decide to design for women rather than men? It’s funny, most people assume I am a woman as my jewellery is very feminine and my name is unisex. I’ve always been a bit cursed by gender stereotypes – when I was a teenage punk rocker I’d wear pink PVC trousers and eyeliner and people would just assume I was gay. I never really thought about gender, I just made things I thought were lovely and it turned out that women liked them. I don’t actually wear jewellery myself – I Subscribe at

don’t even wear a watch! I prefer making things for other people to enjoy. I’m the same with cooking – I love doing it for others, but hate cooking for myself.



A gorgeous


display at the Alex

necklaces in the

Monroe boutique.


Visual merchandise

boutique store.

manager Suzy has

Who’s your creative hero? One person I look up to is Paul Smith. I love his values and how he runs his company. I once wrote to him asking if I could meet up with him for some advice, and he invited me in for a chat. Once you’re established, you’re expected to know it all, but you really don’t. It’s nice to be

A selection of


Vintage jars add a

won several industry

quaint British touch

awards for her work.

to the display.


INTRODUCING tea & a chat


able to ask someone else how they did it. Whenever I’m in a state I’ll say to myself: ‘What would Paul Smith do?’ What’s been the proudest moment of your career to date? Well, today I went for a cup of tea in a café and a mother and teenage daughter walked in. The girl was wearing my pineapple necklace, and I went and told them I’d designed it and that it looked really nice on her. They were both so happy, and told me it had been an 18th birthday present. Just getting to see people enjoy what you do is fantastic – some people never get any thanks for their work.



Alex with the

Goldcrest collection. Suzy sourced the vintage cabinets to hang on the walls of the boutique. 02

Starfishes reflect

the natural inspiration behind much of Alex’s work.


Alex Monroe Alex has been making jewellery professionally since 1988. All his pieces are handmade in the UK, most of them from his small South London workshop. From signature makes to bespoke items, Alex’s innovative designs are available to buy online at

If there were no budget restraints, what would your dream project be? I like the idea of taking our brand’s design language and applying it to other items. It’d be great to be make homewares, fabrics or wallpaper in our style. Finally, what’s the best piece of creative advice you’ve ever been given? I’m a bit pig-headed and don’t tend to listen to advice! However, if I was giving advice I’d say to others: work out who you are and what your style and vision is. Compromising yourself to make other people happy is always a disaster.

The Craft Channel is the home of craft shopping TV in the UK and broadcasts 24 hours of craft shows, seven days a week. 2a12&#.#0$#!2.*!#2-1.#,",&-30A,$2#0,--,A-05&-*#"7!0$2',% *-,%5'2&7-30$4-30'2#.#01-,*'2'#1$0-+2&#5-0*"-$!0$2@

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Our presenters and demonstrators are experts in their o#*"1,"2&#'0$3,,"',$-0+2'4#"#+-,1202'-,10# 130#2-',1.'0#***#4#*1-$!0$2#0;

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Glam squad Get party ready in an instant with Pauline Hagan’s catwalk-inspired statement earrings

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HOW TO MAKE… TASSEL EARRINGS MATERIALS Q Faux leather Q Metallic faux leather Q Earring hooks Q Two 7mm ( ") gold jump rings Q Six 4mm (1/8") gold jump rings Q Gold seed beads, 0.5cm ( ") Q Gold bugle beads Q Fine gold chain Q Gold jewellery wire Q Two pairs of pliers Q Craft knife Q Ruler Q Cutting mat Q Awl Q Strong glue 34 MOLLIEMAKES.COM 74

Update your wardrobe with a pair of statement earrings that’ll add serious glam to any outfit. Pair with jeans and a cami top for a girls night out, or with a little black dress to welcome in the New Year. In fact, we can’t think of any clothing combo these tasselled beauties wouldn’t improve – pjs and faux leather earrings, anyone? Taking cues from this season’s runways, these oversized accessories are surprisingly light so you can easily wear them all night long. And, if pink’s not your thing, opt for another eye-catching colour such as mint. Or, pair grey with silver metallic leather for a more muted look that’s just as luxe.

Start by preparing the faux metallic leather triangle for the top of your earrings. Make a paper template measuring 3.5 x 2.5cm (13/8 x 1"), then trace it onto the reverse of your leather four times. Cut out your shapes either using scissors, or with a craft knife. 02 Cut a second triangle template measuring 2.5 x 1.5cm (1 x 5/8"), trace it onto the reverse of your pink faux leather four times and cut out the shapes. 03 Glue the pink triangles onto the centre of the gold triangles, then glue two gold triangles together with wrong sides (WS) facing. Repeat with the other two gold triangles, then leave to dry. 01

Use your awl or a sharp sewing needle to punch a hole at each of the three points of the gold triangle on both earrings, just slightly in from the edge. 05 To make the tassels, cut two 10 x 7cm (4 x 2 ") rectangles from your pink faux leather. 06 Using a craft knife and a ruler, cut fringing along the short side of the leather rectangles, 1cm (3/8") down from one long edge. Our strands are roughly 3mm (1/8") wide – if you prefer, you could mark out your lines with a pencil on the WS of the leather before cutting. 07 Lay your tassels flat, then pick up a bugle bead with tweezers or your pliers and carefully apply a 04





small amount of glue to one side. Stick onto one of the fringes of your tassel, then repeat, scattering the beads randomly across the tassels until you’re happy with the look. Make sure not to stick any beads onto the uncut section of the tassel, then leave to dry. 08 Cut two 3cm (1 ") lengths of gold jewellery wire, then use your pliers to create a small loop at one end, and a hook at the other end. Place your tassel with WS facing up, and apply a dab of glue to the top left hand corner. Press your wire down into it, leaving the loop hanging over the top as shown. 09 Apply glue along the uncut edge of your tassel, then roll it up Subscribe at

tightly, being careful to keep the top of the tassel straight. 10 Cut four 2cm ( ") lengths from your chain. Open a 4mm (1/8") gold jump ring using the two pairs of pliers, thread on the ends of two lengths and an earring hook, and close it. Repeat with the other two lengths and a second jump ring.

Thread a seed bead onto each length of chain, then attach the ends of the chain to the tops of your triangles using the other two 4mm (1/8") gold jump rings. 12 Using the 7mm ( ") jump rings and pliers, attach your tassels to the bottom of the triangles using the tassels’ hooks to finish. 11

Pauline Hagan Pauline started designing jewellery over three years ago, creating eye-catching, bold pieces engineered to add intrigue to an outfit. Almost two years ago she quit her day job, moved to Prague, and made the leap to running Benu Made as her full-time business.




COMFORT BLANKET Why is crafting in the colder months so restorative? We explore the tradition, ritual and natural rhythms of seasonal making Words: LOTTIE STOREY Illustration: CHERYL RAWLINGS


icture the scene. It’s a hot summer’s day. The sky is blue, the grass is green and there’s the whiff of sun cream in the air. Crafters everywhere lie in parks with thick balls of chunky yarn, knitting woolly socks and scarves. No? Not quite right? OK, well swap the sun for snow, factor 30 for cinnamon and the outdoor scene for a plump sofa – now it makes sense. Why is it that the colder months seem to be a more natural fit with crafting? Bloggers Katy Orme of Apartment Apothecary and Charlotte Smith of Lotts and Lots reflected on this first hand with their Styling the Seasons project. Katy explains: “Celebrating the seasons is a wonderful opportunity to embrace creativity. Craft projects are a great way to explore nature, new ideas and traditions at the same time as creating memories and mementoes. It can be such a soothing, relaxing way to spend time at home during the colder days and darker evenings of winter.”

EMBRACE THE CHANGE Crafts like cooking and floristry inherently follow a natural timeline according to what’s in season, but how about other makes? “In winter, I lean towards crafts that can be done on the sofa, curled up with a cat,” says Emma Jones of Make & Fable. “I try to make decorations or art to replace the tinsel come January. The walls always look so bare after Christmas, I feel the need for something to cheer up my living room.” Emily Davidson, crochet fan and blogger at Mummy Limited, tends to concentrate on crafts that use yarn in winter. “It doesn’t need the light that I rely on for embroidery, plus working with the yarn itself just feels so warm, comforting and cosy.” That sensory element is a crucial part of the mix – think snuggling up on the sofa, hot drinks, compelling podcasts and a roaring fire. Add a blanket worked in soft, tactile yarn that warms you as you work and you have a dreamy winter’s evening not too different from a duvet day. There is indeed something very restorative about winter craft hibernation. “Losing myself in the rhythm of making is really relaxing,” Emily tells us. “Working with my hands uses

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a different part of my brain that is just so soothing. Feeling the yarn winding through my fingers and watching the project grow is almost meditative.” For blogger Victoria Haynes of the Owl and the Accordion, winter is a struggle, but this meditative effect can help. “The lack of sunlight makes me feel anxious and suffocated, so finding something to immerse myself in helps immensely. The repetition of knitting or crochet is so relaxing, especially when you add in a cuppa, the radio and some nice candles.”

HEALING POWERS Some doctors actually prescribe craft, thanks to its theraputic nature – Simmi Duffin of Grace’s Favours was advised to try making when suffering with postnatal depression. “I started sewing,” she recalls. “It became my saviour. I love the calm I feel while I’m sewing. You can’t sew angry as you don’t get beautiful results, so I’ve learned to calm myself. Now, I just feel a peace fall over me. And the fact I end up with something tangible at the end uplifts me.” Mindful crafting is proven to improve wellbeing, and there’s a logic to applying the same to Seasonal Affective Disorder (SAD). Just as every stitch takes us one step closer to the finished project, could it be that every evening we craft takes us closer and closer to lighter days and warmer months? “When nature feels sparse outside, I have a desire to bring warmth, colour and light into my home,” says Abi Partridge of Making for Living, whose crafting reflects the natural shades of the seasons. “I’m drawn to using richer berry colours in the winter, and not as many pastels as I might use in spring and summer.” These natural rhythms run deep. In this kind of seasonal crafting we’re repeating the actions of our ancestors, groups of women who sat around the fire making and stitching. The original purveyors of hygge, even. We can enjoy all the modern technology we like, but there’s something undeniable about being bound by tradition and ritual, following the natural seasons and our body clocks, and enjoying the inherent pleasure this brings. Comforting, in every way.












Try new techniques and chase away grey skies with Miki Hemphill’s crochet cushion


HOW TO MAKE… A CROCHET CUSHION MATERIALS Q Stylecraft Special Aran, 100% acrylic, 100g/196m per ball, one ball each in Aspen (1422) (Yarn A), Black (1002) (Yarn B), Cream (1005) (Yarn C), Fondant (1241) (Yarn E), Pomegranate (1083) (Yarn F), Gold (1709) (Yarn G) Q King Cole Big Value Neon DK, 100% acrylic, 100g/290m per ball, one ball in Sherbet (1316) (Yarn D) Q 4.5mm (UK 7, US 7) crochet hook Q 40cm (15 ") circular cushion pad Q Stitch markers Q Yarn needle


TENSION Q 4tr to each 2.5cm (1") when working around ABBREVIATIONS (UK) st(s) stitch(es) sp(s) space(s) st-sp(s) stitch space(s) ch chain ch-sp chain space cs slip stitch dc double crochet htr half treble tr treble xtr crossed treble SP-2 spike stitch over 2 rows SP-3 spike stitch over 3 rows yrh yarn round hook RS right side WS wrong side BYFO break yarn and fasten off

Mixing pretty pastels with neon brights, this cushion uses striking colour combos and textured stitch techniques to maximum effect. If learning new crochet skills (or hooking up a statement accessory) is on your to-do list for the new year, then give Miki’s project a go. In addition to basic stitches such as double crochet, you’ll use bobble stitch, puff stitch and spike stitch, all in alternating yarn colours, to build up eye-catching circular patterns. Turn to page 100 for a step-by-step guide to each of these, and practise them before starting – Miki’s top tip when finishing off a puff or bobble stitch is to pull the yarn tightly to make them stand out. Instructions To create a dense fabric, this cushion is made by crocheting into the spaces between stitches using a slightly smaller hook than normal.

The cushion is made in two pieces, front and back, which use the same pattern in different colourways. Familiarise yourself with the stitches before starting the cushion front. In this pattern, all bobble sts are worked from the WS. Magic ring Hold the yarn in your hand and wrap the working yarn around your forefinger twice to create a ring. Slip the ring off your finger and insert the hook to pick up the first st, ch1, then work the necessary sts for round 1. Close the ring tightly by pulling the loose end. Front Round 1 using Yarn A, start with a magic ring, ch3 (counts as 1st tr), 15tr into the ring, pull ring tight, join to 1st tr with a ss. BYFO [16 sts] Round 2 join Yarn B into any st-sp, ch3 (counts as 1st tr), 1tr into the

same st-sp, 2tr in each st-sp around, join to 1st tr with a ss. BYFO [32 sts] Round 3 join Yarn C into any st-sp between the 2tr shells, ch2, turn work WS facing and make a bobble st into the same st-sp, ch1, miss 1st-sp, (bobble st, ch1) in every alternate st-sp to end of round, join to 1st bobble with a ss. BYFO. Turn work back RS facing [16 bobble sts and 16 1ch-sps] Round 4 join Yarn D into any 1ch-sp, ch2, make a puff st into the same 1ch-sp, ch3, (puff st, ch3) in each 1ch-sp to end of round, join to 1st puff st with a ss. BYFO [16 puff sts and 16 3ch-sps] Round 5 join Yarn B into any 3ch-sp, ch3 (counts as 1st tr), (1tr, ch1, 2tr) into the same 3ch-sp, (2tr, ch1, 2tr) in each 3ch-sp to end of round, join to 1st tr with a ss. BYFO [64 sts and 16 1ch-sps] Round 6 join Yarn E into any st-sp between (2tr, ch1, 2tr) shells, ch2

and turn your work WS facing. Now, work a bobble st into the same st-sp, ch1, 1dc into the next st-sp, SP-3 into the centre of the Round 3 bobble st working over the 1ch-sp, 1dc into the next st-sp, ch1**, bobble st in next st-sp; repeat from * another 14 times, then repeat from * to ** once, join to 1st bobble st with a ss. BYFO. Turn work back RS facing [64 sts and 32 1ch-sps] Round 7 join Yarn A into a 1ch-sp to the left of a bobble st from Round 6, ch2 (counts as 1st htr), *1tr into each of next 2st-sps, 1htr into each of next two 1ch-sps; repeat from * another 15 times but on the last repeat omit the last htr, join to 1st bobble with a ss. BYFO [64 sts] Round 8 join Yarn B into any st-sp, ch1 (counts as 1st dc), 1dc into each st-sp to end of round, join to 1st dc with a ss. BYFO [64 sts] Round 9 join Yarn C into any st-sp, ch2, puff st into same st-sp, ch2,

miss 1st-sp, (puff st, ch2) in every alternate st-sp to end of round, join to 1st puff st with a ss. BYFO [32 sts and 32 2ch-sps] Round 10 join Yarn B into any 2ch-sp, ch1 (counts as 1st dc), SP-2 into the centre of the dc sts on Round 8, 1dc into the same 2ch-sp, ch1, (1dc, SP-2, 1dc, ch1) in each 2ch-sp to end of round, join to 1st dc with a ss. BYFO [96 sts and 32 1ch-sps] Round 11 join Yarn A into any st-sp, ch2 (counts as 1st htr), 1htr into each st-sp to end of round, join to 1st htr with a ss. BYFO [96 sts] Round 12 join Yarn F into any st-sp, ch3 (counts as 1st tr), 1tr into st-sp behind the tr you just made with the ch3 to make the 1st xtr. Now, work xtr around working into the st-sps, join to 1st tr with a ss. BYFO [96 sts] Round 13 join Yarn A into any st-sp, ch2 (counts as 1st htr), 1htr into each 74 MOLLIEMAKES.COM 41

HOW TO MAKE… A CROCHET CUSHION st-sp to end of round, join to 1st htr with a ss. BYFO [96 sts] Round 14 join Yarn B into any st-sp, ch3 (counts as 1st tr), 1tr into same st-sp, 2tr into each st-sp to end of round, join to 1st tr with a ss. BYFO [192 sts] Round 15 join Yarn C into any st-sp between 2tr shells, ch2. Turn your work WS facing, make a bobble st into the same st-sp, ch2, miss 3 st-sps, bobble st into the next st-sp, ch2, (bobble st, ch2) in every 4th st-sp to end of round, join to 1st bobble with a ss. BYFO. Turn work RS facing [48 sts and 48 2ch-sps] Round 16 join Yarn D into any 2ch-sp, ch2, make puff st into same 2ch-sp, ch3, (puff st, ch3) in each 2ch-sp to end of round, join to 1st puff st with a ss. BYFO [48 sts and 48 3ch-sps] Round 17 join Yarn B into any 3ch-sp, ch2 (counts as 1st htr), (1htr, ch1, 2htr) into same 3ch-sp, (2htr, ch1, 2htr) in each 3ch-sp to end of round, join to 1st htr with a ss. BYFO [192 sts and 48 1ch-sps] Round 18 join Yarn E into any st-sp directly above a puff st, ch2 and turn your work WS facing, make a


bobble st into the same st-sp, *ch1, 1dc into the next st-sp, SP-3 into the centre of the bobble on Round 15 working over the 1ch-sp, 1dc into the next st-sp, ch1*, bobble st in next st-sp; repeat from * another 46 times, then from * to ** once, join to 1st bobble with a ss. Turn your work back RS facing. BYFO [192 sts and 96 1ch-sps] Round 19 join Yarn A into a 1ch-sp to the left of any bobble st, ch2 (counts as 1st htr), *1tr into each of the next 2 st-sps, 1htr in each of next two 1ch-sps; repeat from * another 47 times but on the last repeat omit the last htr, join to 1st htr with a ss. BYFO [192 sts] Back Repeat the front pattern but change the colours as follows:

Yarn A – Pomegranate Yarn B – Cream Yarn C – Black Yarn D – Sherbet Yarn E – Aspen Yarn F – Fondant Finishing Weave in all ends on both the front and the back pieces. Place front and back pieces with WS together, then place a stitch marker through the top st-sp above every other bobble stitch on both pieces all around the work, taking care to catch both sides [24 stitch markers] Join Yarn G into any st-sp, ch1, 1dc through the next st-sp on both pieces to join, miss 1 st-sp; repeat from * to end of round, join to 1st dc with a ss. BYFO [96 sts] Weave in all remaining ends.

Miki Hemphill Miki is a self-confessed crochet addict and yarn hoarder, and lives with her seven cats and future husband, Mr B. She co-hosts the Colour Pop Craft Swap on Instagram @setfreemygypsys0ul, sells her makes and patterns on her Etsy shop, and posts DIY tutorials on her website.


E u Fl E Update a plain T-shirt with on-trend ruffles – Christine Leech shows you how

Sew ing h









HOW TO MAKE… A RUFFLE TEE MATERIALS Q T-shirt Q Jersey fabric (or a similar weight fabric to your T-shirt), 25cm (97/8") Q Strong sewing thread Q Matching sewing thread

The statement ruffle is all over the high street this season, cascading down the front of high necked blouses, adorning dresses, and transforming plain jersey tees into our new fashion obsession. Follow Christine’s straightforward steps to customise an old top and get in on this easy-to-wear trend. Measure the length of the area you’ll be placing the ruffle along using a tape measure. We’ve referred to this as measurement A. 02 Multiply this by two to get the length of jersey fabric you’ll need to make the ruffle – we’ve referred to it as measurement B. 03 Cut a rectangle of fabric, 16cm (63/8") x measurement B. Fold the fabric in half along the length with right sides together, then sew along both short ends. 04 Trim away the seam allowance, then turn the ruffle right side out and press, creating a sharp edge along the folded line and ends. 05 Set your sewing machine to the longest stitch and, using a strong 01


thread, sew along the length of the ruffle, approximately 0.5cm ( ") in from the raw edge. Make sure you leave roughly 20cm (77/8") of excess thread at the beginning and end. 06 Starting at one side of the ruffle, carefully begin pulling one of the long threads to start ruffling the fabric up. Continue gathering until your ruffle is the same length as measurement A. If you’re using a fabric other than jersey, you may need to sew two parallel lines of stitches, then gather both rows to keep the ruffle in place. 07 Lay your T-shirt on a flat surface. Pin the ruffle in place, with the main body of the ruffle lying upwards towards the neck of the T-shirt. 08 Carefully tack the ruffle in place. Try and tack 0.5cm ( ") closer

to the neckline than the line of gathered stitch, as this helps to stop the ruffle from bunching up when you sew it on. 09 Using matching thread, sew the ruffle to the T-shirt between the tacked line and the gathered stitch. Remove the pins and the tacking. 10 Manipulate the T-shirt and ruffle fabric so you can cut away the excess fabric on the raw edges of the ruffle. If possible, try and cut away the gathered stitch, as less bulk at the back means the ruffle will lay flatter at the front. 11 Flap the ruffle back so it lies flat on the T-shirt and press. Carefully trim the ruffle down to a width you are happy with – trimming away the fold of the fabric also makes the finished ruffle fall nicely.

Christine Leech Christine is forever sticking things to sweatshirts and chopping up jeans to make bespoke pieces. Always inspired by new season trends, she loves finding crafty ways to incorporate them into her wardrobe.


A handpicked collection of fabrics ... delivered to your door



INSPIRATION ALERT! SPACES, PLACES & NEW DESIGNERS TO WATCH Melbourne-based homeware label Arro Home boasts a signature collection of quirky-cool cushions to give even the plainest room an injection of personality. It’s a great place to find kilim rugs reimagined in contemporary colourways too.

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Washing up’s a whole lot more fun with Donna Wilson’s foxy tea towel pals. If it’s your walls that need a helping hand, perk them up with this vibrant Palm Springs print by US artist Jess Phoenix. www.berylune.,


Liven up a cheese course with Oliver Bonas’ Spruzzo set of three cheese knives – they’ll go down a treat at a New Year’s Eve party buffet. 48 MOLLIEMAKES.COM 74


Yup, we’ve got more throws than places to throw them too, but we can’t resist adding Leif’s mint and ochre Angles Blanket to our cosy collection.

Sitting comfortably? You will be if you add Bloomingville’s mellow yellow rattan armchair to your living space. It also comes in pink and blue.

Add some character to your morning coffee with House of Rym’s Oh What a Friendly Face stackable mugs. Each colourway’s personality has a little story behind it.

It’s always nice to see a welcoming face when you get home, and you’ll find a whole host of them with Swedish fabric designers Spira’s characterful cushions.

These shades are made from paper and wood

BRAND FOCUS Studio Snowpuppe Netherlands-based Studio Snowpuppe was launched by architect Martinelli Anna van den Baard and industrial designer Kenneth Veenenbos. The pair make creative origami-inspired lighting from paper and wood, offsetting their tactile designs with bright splashes of vibrant colour. Find the collection at

Designs are offset with bold colours

WEBSITE TO WATCH Miesje Chafer Screenprinter and textile designer Miesje Chafer hand-prints and makes her cushions, lampshades, tea towels and fabric plant pots in her home studio, creating pieces with bold, innovative patterns. Her fun, colourful designs are an easy way to inject some sunshine into your home and fight back against the winter blues. Subscribe at

The pieces are designed in the Netherlands


LIVING home tour

This page: Amy mixes budget options with designer-maker products. Here, Ikea bedding sits with fancy velvet cushions. Opposite: This dining room table was a school desk – Amy added the hairpin legs herself.

Amy Davies’ mid-century home brings together all the colours of the rainbow Words: LARA WATSON Photography: FIONA MURRAY

“Without rainbow order, there is no order,” jokes Amy Davies, co-owner of Royal Leamington Spa’s dinkiest, most colourful department store, Berylune. If you know and love Berylune and its happy online shop filled with great homeware, kids’ stuff and stationery, among other things, you’ll be right at home in Amy’s eclectic, playful, 60s-built property. “I love good design,” says Amy, who shares her home with fiancé, Barney. “Not necessarily


LIVING home tour


LIVING home tour

RAINBOW BRIGHT This colourful shelf features a range of Penguin Classics, which Amy collects and also sells in her shop. Penguin titles were first published by Allen Lane in 1935, and their iconic book covers were originally colour-coded as follows: orange for fiction; blue for biography and green for crime. Amy also has a few modern Classic editions, with beautifully ornate cloth covers.



a particular style – though I love the quality and look of mid-century furniture – but simple things that’ll last for years, mixed with IKEA and the modern designers we stock in the shop.” Looking around, it’s impressive how personal Amy and Barney have made this rented space, maximising its beautiful light and unusual layout in the four and a half years they’ve been here. “We have very small rooms upstairs and a tiny kitchen,” explains Amy. “But the living area is a big open plan L-shape. I love this house’s proportions, and it suits our lifestyle.” It makes sense then that they tackled the living room first. “I got all our furniture in there, but it’s taken me two years and my sister Emily saying, ‘it’s all the wrong way round!’ for us to arrange it as it is now – how it should be!” Amy worked in antiques shops before starting Berylune with her sister Emily and friend Zoe in 2012, so she’s always been surrounded by 52 MOLLIEMAKES.COM 74


beautiful items, and is quite thrifty with her shopping. “I don’t know where we’re going to move next, so I don’t spend a lot on large items, but I am a collector. I love ‘things’. Since having the shop, I’ve noticed my tastes change quite quickly, and I’m never so enamoured with something that I can’t switch up my style.” Amy’s current favourites in her living room are the Ercol sofa her mum bought her on eBay, the sideboard, and the cocktail cabinet she bought for the shop that wouldn’t fit through the door. “It came home with me. A nice perk!” The sideboard cost £4 from a charity shop, “as it had a big sticker on it I didn’t mind washing off.” DIY is key to Amy getting the look she wants at home. In the dining room, reproduction white chairs and a pair of Amy’s favourite stackable 60s designs sit at a makeshift dining table – a school desk she bought and fixed hairpin legs to. The same goes for soft furnishings, and Amy has


In the kitchen, a 60s

glazed cabinet is filled with a rainbow of Amy’s car boot and charity shop finds. 02

Cable & Cotton

Pick ‘n’ Mix lights sit atop a framed Donna Wilson tea towel. 03

Amy bought the

cheery ceramic plant pot from White Doll Arts while on holiday in Fowey.

Amy loves her limited edition Donna Wilson Bowie plate, which has pride of place on her wall. The Big Lebowski picture was a housewarming gift from Amy to her fella Barney when they moved in together.

LIVING home tour



a dedicated sewing room upstairs. “I like to have a day off, have my breakfast in there and spend all day making. It’s such a joy to make stuff, and I do it for relaxation. It’s different to my work for the shop, very much for me.” Take a closer look and you’ll see some things have been done so well, they’ve merged with the house: “My Billy bookcase shelves in the craft room can’t come back out as I jammed them in!” There are a lot of shelves in this house. Amy uses reproduction Tornado shelves, sold in Berylune, to display vignettes of her collections. “We love rainbow order in the shop, and I love my rainbow book collection! I’m searching for a couple more colours to complete it. Some are from my childhood, some are Penguin Classics and some are more recent – Alice in Wonderland was a gift from my grandparents.” Amy also keeps her eyes peeled for additions to her tin caravan collection. “We have a saying 54 MOLLIEMAKES.COM 74

in the shop: ‘Two’s a coincidence, three’s a collection!’ One of my favourite things to do at car boot sales is rummage around in boxes of toy cars, digging out vintage caravans.” With so much catching her eye, how does Amy manage to bring it all together? “I never settle with the first way I lay things out. I’ll rearrange things for hours! If there’s a gap, I add a plant. Run with colours you love and it all comes together. If you love it, you’ll find a way with it.”


Amy makes all her

own clothes (bar jeans and underwear!). 02

A closer look at

Amy’s shelves shows a postcard of her hero, David Attenborough, in his younger days.

AMY DAVIES Amy Davies is co-founder and owner of Berylune, the ‘pint-sized department store’ in Royal Leamington Spa. Selling an eclectic mix of retro-style interior items, modern crafts and whatever else takes their fancy, you can browse in person or online at

Hey baby Celebrate a little one’s arrival with Sandra van Katwijk’s playful cot blanket


HOW TO MAKE… A BABY BLANKET MATERIALS Q Phildar Phil Alaska, 100% wool, 50g/31m per ball, five balls in Ecru (0032) (Yarn A) and one ball each in Orange (0005) (Yarn B), Eglantine (0003) (Yarn C) and Fjord (0002) (Yarn D) Q 10mm (UK 000, US 15) circular knitting needles at least 60cm (235/8") long Q Yarn needle TENSION Q Approx. 9 sts and 13 rows to 10cm (4") over st st on 10mm needles


ABBREVIATIONS (UK) st(s) stitch(es) k knit p purl st st stocking stitch RS right side FINISHED SIZE Approx. 58 x 58cm (23 x 23")

Welcome a new baby with a blanket that shows how excited you are to meet them. Knitted in a soft chunky yarn, Sandra’s picked contemporary colours for a fun project you can gift to both boys and girls. If you want to up the style stakes, knit the letters in black for a monochrome look, or choose soft pastels for a subtle finish. Ideal for tucking into a cot or pram, the blanket’s smaller scale also makes it a great introduction to intarsia – the technique of knitting motifs with multiple colours. Instructions The main body of the blanket is knitted in stocking stitch with a moss stitch border, while the letters are added using intarsia. Unlike techniques such as Fair Isle, only one colour is worked across the row with intarsia, so you won’t carry the yarn across the back of the work.

Prepare your yarn before you begin, as each area of colour in the chart requires its own yarn supply. You’ll use an entire ball for the larger areas, but use yarn balls cut to the correct lengths for the smaller areas. On the intarsia chart (see page 100), each new colour on the first row is labelled. You’ll need the following lengths for Yarn A and C: Yarn A A1 – 6m (6yrds) A2 – 2m (2yrds) A3 – 6m (6yrds) A – all remaining Yarn A Yarn C C1 – 7m (7yrds) C – all remaining Yarn C Making the blanket Using Yarn A, cast on 49 sts. Row 1 [k1,p1] repeated to end, finishing with k1 Repeat this row 7 times more. Now work st st centre section and

moss st border: Row 9 (RS) [k1,p1] 5 times, k39, [k1,p1] 5 times Row 10 [k1,p1] 5 times, p39, [k1,p1] 5 times Repeat Rows 9-10 until work is 21cm (8 ") from cast on edge. Now work intarsia chart, starting with Row 1 of the chart at the bottom right. The knit rows read from right to left and the purl rows read from left to right: Row 1 [k1,p1] 5 times, knit the centre section, joining in yarns as indicated, [k1,p1] 5 times. Continue working the st st centre with moss st edging for the whole chart. Twist the yarn when changing colour to prevent holes at these positions. When you come to a colour change, lay the old yarn over top of the new yarn. Then pick up the new yarn and knit or purl across to the next colour change section. There’s no need to join the stitches

in the first row of colour cast on stitches. You’ll start to join the yarn during colour changes on the second row or purl side. Once you’ve completed the intarsia chart, continue with st st centre and moss st border in yarn A. Row 1 (RS) beginning with a knit row, [k1,p1] 5 times, k39, [k1,p1] 5 times Row 2 [k1,p1] 5 times, p39, [k1,p1] 5 times Repeat Rows 1-2 until work is 52cm (21") from cast on edge, finishing after a purl row. Finish with the moss st upper border:

Row 1 (RS) [k1,p1] repeated to end, finishing with k1 Repeat this row 7 times more. Cast off loosely. Finishing Weave in all loose ends, running the yarn tails through a couple of stitches to secure them. To block your blanket, lay a large towel on a table. Spray the blanket front and back with water, then lay on top of the towel. Gently pull into shape, spray again, then cover with another towel and press down gently. Leave to dry overnight.

Sandra van Katwijk Sandra lives with her husband and three girls in Victoria, Canada, in a home happily overflowing with knitting projects. Inspired by her love of bold graphics, you’ll find the modern baby blankets she designs for sale in her Etsy shop, Yarning Made.


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Ne i Combine monochrome shades and geometric shapes to make Lou Orth’s contemporary table set




HOW TO MAKE… A TABLE SET MATERIALS Q Fat quarters of Moda Fabrics Thicket by Gingiber fabric, one of each in Swirls White Black, Crosshatch Black White, Stripes Black White, Dashes Black White and Triangles Black White Q Fat quarter of black cotton fabric Q Matching sewing thread Q Wadding, 50 x 38cm (19 x 15") Q Rotary cutter Q Cutting mat Q Erasable fabric marker 60 MOLLIEMAKES.COM 74

Give your dining table a sleek update with this Scandi-inspired set. Whether you’re looking to impress dinner guests or make your evening meal more of an occasion, put your sewing machine to good use and create your own version of this simple patchwork project. We’ve used monochrome fabric for a clean, contemporary feel, but this versatile design is a nice way to show off any selection of patterns and prints. Or, colour block plain fabrics in complementary shades. When pressing your blocks, press the seam to the side of the darker fabric to create a neat finish. And, when sewing your binding, make sure to use matching thread – we used a contrasting shade just to highlight the technique.

Cut the fabrics into squares. You’ll need: seven 13cm (5 ") squares of Swirls White Black, two 13cm (5 ") squares of Crosshatch Black White, two 13cm (5 ") squares of Stripes Black White, two 13cm (5 ") squares of Dashes Black White and one 13cm (5 ") square of Triangles Black White. 02 Cut seven 5.5cm (2 ") x width strips of black fabric for binding, then cut the remaining patterned fabric into two 38 x 25cm (15 x 10") rectangles and two 15cm (6") squares for backing. Cut two 38 x 25cm (15 x 10") rectangles and two 15cm (6") squares of wadding. 03 Place one Swirls White Black square and one dark print square with right sides (RS) together, then using your marker, draw a line 01

diagonally from one corner to the other. Repeat with the remaining six Swirls White Black squares. 04 Take one pair of squares and, using a 0.5cm ( ") seam allowance, sew a seam either side of the line. Cut along the line to separate the triangles, then open out, press and trim to 11cm (43/8") square. Repeat with the remaining six pairs. 05 The two blocks using the Triangles Black White fabric will make your coasters, so put these to one side. Using the guide above, arrange your remaining blocks to form the two placemats. 06 Sew the blocks together along one raw edge a pair at a time, with RS together and using a 0.5cm ( ") seam allowance. Join the three rows of two first, then sew

the three rows together in the same way. Repeat for the second placemat, then press well. 07 To assemble both the coasters and the placemats, place your backing fabric RS down, the same sized piece of wadding on top, then your coaster or placemat fabric RS up. Pin the layers of fabric and wadding in place. 08 To quilt the coasters, top stitch two straight lines 0.5cm ( ") away from the diagonal seam. To quilt the placemats, top stitch one straight line 0.5cm ( ") away from the diagonal seam. Trim away any excess wadding and backing. 09 To make the binding for your placemat, overlap the ends of two strips of black fabric at a 90° angle with RS facing. Sew a diagonal

seam as shown in the diagram, then press open. Trim away the excess fabric, then add another half a strip of black fabric to the sewn length in the same way. Repeat for the second placemat. 10 Cut the remaining binding strip in half, then fold all four along the length with RS together and press. Place a short strip of binding along the edge of your coaster with right

sides together and raw edges aligned, then pin in place. Sew all the way around using a 0.5cm ( ") seam allowance, then fold the binding over the raw edges. Fold the edge of the binding under and hand stitch in place all around. Repeat for the second coaster. 11 Repeat Step 10 to finish the two placemats, using the two longer strips of binding remaining.

Lou Orth Lou is a self-confessed fabric addict who lives in Oxfordshire with her young family. Sewing is her passion, specifically all things patchwork and quilt related. As well as blogging about her sewing projects, you’ll find pictures of her makes on her Instagram feed @imstudiolou.


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#shelfie Showcase your treasures with Hester Van Overbeek’s hexagon shelves










HOW TO MAKE… HEXAGON SHELVES MATERIALS Q Plywood, 120 x 60cm (473/8 x 235/8"), 1.2cm (3/8") thick Q Saw Q Vice Q Cardboard for template Q Paint Q Protractor Q D ring picture hooks Q Small screws Q Wood glue Q Masking tape Q Drill with 2mm (1/8") wood drill bit Q Nails, 2mm (1/8") thick Q Hammer Q Paint brush Q Sandpaper


If you’ve got magpie-like tendencies, use this set of geometric shelves to display your wares. Having them on show might even make you more likely to use that fabric/washi tape/pretty yarn you bought on a whim that’s currently hiding at the back of a drawer. Either way, at least you’ll be decorating your walls with a pop of colour that’s definitely worthy of a #shelfie Insta post. Sawing the ends of your wood to create the shelves can be a bit fiddly, so just take it slowly and keep each cut as neat as you can. Or, you could always ask nicely at your local DIY store and persuade them to do it for you instead. Cut your plywood into four 15cm (6") wide strips. Three of 01

the lengths will each make one hexagon, and the other length will make the shelf inserts. 02 Cut three of the lengths into six 20cm (77/8") pieces, giving you 18 lengths in total. You’ll now need to saw the ends of each piece at a 60° angle to make your hexagons. 03 Use the protractor to draw a 60° corner template onto your cardboard, then cut it out. 04 Mark a corner onto your first 20cm (77/8") piece, then carefully cut along the line using the saw. 05 Mark off another corner on the opposite end of the piece facing the opposite way to form one side of your shelf, then cut as before. 06 Repeat Steps 3-4 on your remaining 20cm (77/8") pieces, then sand off any rough edges so they’re ready to be painted.

Paint the shorter side of your planks, using three different colours for each of the six sides. Leave to dry, then apply a second coat of paint if needed. 08 Mark out three evenly spaced points, 1cm ( ") in, along one end on the longer side of your planks. Drill them in at an angle as shown, as you’ll nail the sides together using these holes as a guide. 09 Apply glue to the end of a plank with pre-drilled holes. Press against the end of a plank without holes, then tape the joint together to hold it while the glue dries. 10 Repeat Step 9 with four more planks to complete your hexagon, then stick tape across the shelf to secure it. Leave to dry. 11 Hammer nails into the predrilled holes to help keep it sturdy. 07





Position two D ring hooks along the top of your shelf, 2cm ( ") in from either side. Screw in place. 12

To make the cross shelves 13 Measure the width and height of your hexagon, then cut these lengths from your remaining strip. 14 Repeat Steps 3-4 to cut the ends of your horizontal length at 60° angles – the vertical piece will have straight ends. Mark a cut 1.2cm (3/8") wide and 7.5cm (3") long across the middle of each plank, then cut out. 15 Sand the cut, then push the two planks together along the join (as shown in the picture) to form a cross shape. 16 Paint all eight sides of the shelves the same colour as the hexagon. Leave to dry, applying a second coat if needed.

Push your shelf unit in place, sanding the sides if it doesn’t quite fit. You may need to use a hammer to ease it in place – if so, put an offcut of wood in between to prevent damaging the shelf. 17

To make the single shelf 18 Cut a 30cm (117/8") length from your remaining strip, then repeat Steps 3-4 to cut both ends of the shelf at a 60° angle.

Paint both sides of the shelf the same colour as the hexagon it will sit inside. 20 Hold the shelf in place inside the hexagon, marking where it will sit. 21 Mark out three evenly spaced points just above each line, then drill holes all the way through. 22 Apply glue to the ends of your shelf, then push in place and leave to dry. Once dry, hammer nails into the pre-drilled holes to secure it. 19

Hester van Overbeek Author of Furniture Hacks and Crafting with Mason Jars, Hester has a new book out in February 2017 – Making Concrete Pots, Bowls and Platters. She also posts weekly DIY tutorials on her website, showing you how to turn your house into a stylish handmade home.


EXCLUSIVE PAPERS! Cut, paste and stick Clover Robin’s snowy collage prints to celebrate all things winter. Don’t forget to share your makes using #molliemakers Illustrations: CLOVER ROBIN WWW.CLOVERROBIN.ETSY.COM



OH, YOU PRETTY THINGS! MOODBOARDS & MUSINGS TO INSPIRE US Gone are the days when party dressing meant leaving our coats at home and freezing at the bus stop. Find inspiration for an altogether more cosy New Year’s Eve look at Oasis – any outfit that involves accessorising with an animal mask is a winner for us.

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Lampshade Parade are renowned for their unique, made-to-order lampshades in an assortment of sizes, colours and statement prints. Update your living space for 2017 with their beautiful swan shade, and explore their website for more on-trend designs. 02


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Inspired by the black swans of South Western Australia, these sweet swan stud earrings are digitally printed onto cream perspex and decorated with fringes of raw brass spike drops. They’re an easy way to update any outfit this winter. 06


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P rt boot Make your New Year pics instantly Insta-worthy with Lana Red’s photo backdrop








HOW TO MAKE… A PHOTO BACKDROP MATERIALS Q Foil fringed curtain Q Sticky tape Q Large sheet of patterned paper Q Paper Q Crepe paper Q Ribbon or twine Q Paper decorations Q Balloons Q Props


If you’re throwing a party to celebrate New Year, make sure it’s one to remember by installing a photo booth in a corner of your living room. Following Lana’s simple tutorial, set up your camera then add some props – and a few bottles of fizz – for a evening of fun and a collection of memories. If you don’t have access to a digital camera, use your backdrop as a selfie station instead. Create your own hashtag (#molliemakers anyone?) and share your pick of the pics the morning after.

Choose a space in your room to set up the backdrop, then hang the foil curtain. We used small nails to attach it to the wall, but you could use adhesive tack or tape instead. 02 Roll out the large sheet of paper onto the floor, positioning it underneath the curtain. Secure the paper with tape to prevent it from moving. You could also hang a sheet of paper behind the foil curtain to add a pop of colour to the wall, or to add a plain background if your walls are already patterned or painted in a bold colour. 01

To make the first paper garland, cut symmetrical shapes from your paper – this is easier if you fold it in half first, then cut the shapes along the fold. Repeat until you have enough to make a long garland. Lay the shapes on the floor, side by side, then run a length of twine or ribbon along the middle. Secure it to each shape with tape. 04 Take two long pieces of crepe paper and place them on top of each other. Fold the pieces in half along the length, then fringe the ends by cutting small straight lines 03

Lan ' p for e n u ou hot boot ... Q Play around with the way you hang the garlands, draping them at different heights, or stacking them above each other. Q Add extra accessories around your photo backdrop, such as clusters of pom poms hung at different heights. Q Have someone stand in front when you’re setting up the camera. Auto-focus on your model, then switch the auto-focus off. That way, in the pictures taken after, the camera will always capture the right subject. Q Mark a standing point on the floor with washi tape to ensure everyone stands the same distance from the camera. Q Mark the position of your tripod legs in the same way – if someone bumps into it, you can easily put it back in position. Q Create a prop table next to your backdrop, just outside of the shot. Having props to hand adds a touch of spontaneity to the photos, and is great for getting a good variety of pictures. Q Buy or borrow a camera trigger – this handy device means your guests can take photos without anyone having to stand behind the camera.



into the paper. Repeat this all the way across, then tape a length of twine along the inside to hang it. 05 Cut out a rectangular piece of paper for the third garland. Fold the top of the paper over a length of twine and secure it with tape. Repeat, making and folding rectangular pieces to create a bunting-style garland. 06 For the fourth garland, lay out a long piece of crepe paper on a flat surface. Cut triangular shapes from the bottom of the paper, then fringe the triangles left on the garland by

cutting vertical lines roughly 2.5cm (1") down from the top. 07 Use small nails or tape to hang the garlands across the backdrop.

Scatter your decorations on the floor and position your props nearby, then set up your tripod and camera in front of the backdrop. 08

Lana Red Lana has a background in art and design, and loves sharing her beautifully photographed images on her DIY and lifestyle blog, Lana Red Studio. Be it showcasing innovative craft tutorials or capturing her own fashion collection, Lana’s unique blog is always filled with visual inspiration and new ideas.


5J O AN N S UA AL RY E 20 17


crochet heart coasters for Valentine’s day

craft a colourful pajaki chandelier

create artisanal clay dishes



beauty edit


Show your make-up essentials some love with Ali Burdon’s cosmetic bags







HOW TO MAKE‌ COSMETIC BAGS MATERIALS For the large bag Q 35 x 45cm (13 x 17 ") outer fabric (we used Art Gallery Fabrics Observer in Overshot Gold) Q 40 x 45cm (15 x 17 ") lining fabric (we used Art Gallery Fabrics Observer in Mesh With Me Worn) Q 35 x 45cm (13 x 17 ") iron-on medium weight interfacing Q 35 x 45cm (13 x 17 ") iron-on fleece Q 35cm (13 ") zip Q 7mm ( ") double loop split ring

For the small bag Q 25 x 31.5cm (97/8 x 123/8") outer fabric (we used Art Gallery Fabrics Observer in Overshot Haze) Q 30 x 31.5cm (117/8 x 123/8") lining fabric (we used Art Gallery Fabrics Observer in Triangle Tokens Ink Metallic) Q 25 x 31.5cm (97/8 x 123/8") iron-on medium weight interfacing Q 25 x 31.5cm (97/8 x 123/8") iron-on fleece Q 25cm (97/8") zip Q 7mm ( ") double loop split ring


Never without your favourite red lipstick or flicky black eyeliner pencil? Then keep them on-hand by storing them in these dressing table and handbag-worthy make-up bags by Ali Burdon. The smaller version is handy for storing brushes, while the larger one is great for weekends away. Made in a similar style, both are a fairly straightforward sew, and all seams are 0.5cm ( ") unless noted. Making the large bag 01 Cut your outer fabric, lining, interfacing and fleece each into two 35 x 22.5cm (13 x 87/8") pieces. 02 Apply the iron-on fleece to the reverse of the outer fabric and the iron-on interfacing to the reverse of the lining, following the manufacturer’s instructions. 03 Cut two 6 x 2.5cm (23/8 x 1") zip tabs from your remaining lining fabric. Fold one piece in half along

the width with wrong sides (WS) together and mark the centre. Open out the fabric out and measure and mark 2cm ( ") either side. Fold in the short edges to the marked lines, and press in place. Repeat with the second piece to make the other tab. 04 Place the end of the zip on top of a folded edge, aligning the raw edges. Fold the other side of the zip tab over the end of the zip to enclose it. Pin and sew in place, close to the fold and avoiding the end of the zip. Repeat at the other end of the zip with the second tab. 05 Place the zip along the length of an outer fabric piece with right sides (RS) together and edges aligned. Place a piece of lining fabric on top, RS together and raw edges aligned. Pin the layers and sew together 0.5cm ( ") down from the edge using a zipper foot. 06 Repeat Step 5, this time aligning the unsewn edge of the zip with





your remaining outer fabric piece. Open out, press, then top stitch a line either side of the length of the zip using a zipper foot. 07 Cut a 5 x 6cm (2 x 23/8") side tag. Fold in half along the length with WS together, unfold, then fold in the long edges to the centre line. Fold in half along the length again, then sew along the long edges, 0.5cm ( ") in from the edge. Fold in half along the length and pin to the RS edge of a piece of outer fabric, 2.5cm (1") down from the zip, with raw edges away from the fabric. 08 Open the zip, then pin the outer fabrics RS together and the lining fabrics RS together. Ensure the zip tabs are folded between the outer pieces. Sew around all four edges, leaving a 10cm (4") gap in the bottom edge of the lining. 09 Open out a corner of the outer fabric, aligning the side and bottom seam. Find the point where you

can mark a 8.5cm (33/8") line across the corner, perpendicular to the seam, then sew in place. Trim off the excess fabric, then repeat the step with the other three corners. 10 Turn the bag RS out through the hole along the bottom of the lining, then neatly stitch the gap closed. 11 Cut a piece of zip pull fabric measuring 10 x 3.5cm (4 x 13/8"). Fold one short edge to the WS by 0.5cm ( "), then fold in half along the length with RS together. Sew the raw edges closed. 12 Turn the zip pull through to the RS, then hand stitch the short

folded edge closed. Thread the split ring onto the end of the zip, then thread the zip pull fabric through. Twist at the centre point, then fold and sew across the pull to secure. Making the small bag 13 Using the template on page 100, cut two pieces each from your outer fabric, lining fabric, iron-on interfacing and iron-on fleece. 14 Repeat Steps 2-9, this time marking a 6cm (23/8") line in Step 9. 15 Repeat Steps 10-12 to finish, cutting your zip pull fabric to 8 x 3cm (31/8 x 1 ") in Step 11.

Ali Burdon Ali is a designer-maker and craft blogger specialising in patchwork, sewing and crochet. She loves being part of an online crafty community and organises regular swaps of all kinds of mini stitched projects on her blog.


Rachel (left) and Kate (right) catch up to discuss their latest plans for The Fold Line


This dress is from Rachel Pinheiro’s Billie Collection for Tribe Patterns


LOVING good read


Winners of the Mollie Makes Handmade Champion Award Kate Underdown and Rachel Walker share their journey to create a crafting community


achel and I first met working at sewing café Sew Over It, and discussed how great it would be to have an online sewing community. Every time we met up we couldn’t stop talking about this unique idea – that’s how we knew we had to do it! We wanted our community, The Fold Line, to have three elements: a forum for people to interact, a pattern database, and a blog where we could share content. We found a web developer and started there. Currently, there are over 10,000 people on the site. We have an active forum, and people are often organising meet-ups between themselves and striking up friendships, which is what we always hoped would happen. We then took it one step further by arranging a sewing weekend for 50 people in Cambridge last year. I think community and interaction are important parts of the making process. If you sew, but none of your friends do, they don’t understand – show them something you’ve made and they’ll say, ‘oh, right.’ Other makers appreciate all the work that goes into a project. Also, it helps inspire you for your next make. Right now we’re both working in other jobs – Rach is still part time at Sew Over It and I work in marketing

and social media – so our aim is to eventually reduce our other work commitments and gain a better worklife balance. We do love it, but takes up a lot of time. We both work remotely, so every day we’ll check in with each other first thing. We’ll see if any new patterns have been released overnight, and plan out our week and any blog posts or videos we’ll be creating. I’ll also spend a bit of time on social media. We’ve just launched a pattern company called Tribe Patterns, which is designed by and for the sewing community – bloggers design the patterns, then we bring them to life. We’re also running competitions where people submit designs and others vote on what they want to see made into a pattern. Winning the Mollie Makes award has been a huge achievement for us. When you work on your own it’s easy to get bogged down in things, never stepping back to say, ‘actually, this is going really well’. To stand in front of eight other creative women who are absolutely nailing it, and have them tell us they thought we were doing something great, was just amazing.” Join The Fold Line’s community at to find ideas, patterns, crafty news and sewing pals galore.



“I prefer working with a business partner as you can share the workload, bounce ideas off each other and celebrate successes together. However, just because you’re good friends with someone it doesn’t mean you’ll work well together. Try working on a test project first. It’s important to have a relationship where you can say what you think without offending the other person. Rach and I are very direct with each other.”


Get organised

“Practise good time management. Sit down and plan out your day – or your allocated time – hour by hour, so you’re more likely to make the most of it.”


“Don’t think you have to know everything. We’re not hugely knowledgeable about computers, and while it’s challenging getting someone else to fix things for us,

it’s not impossible. You can’t do it all yourself, so just outsource. There’s no point wasting time trying to do something when you could give it to someone else, then focus on moving the business forward instead.”

Get tech savvy

“If you and a friend really want to work together but don’t live near each other, don’t be put off! It wouldn’t make any difference if Rach and I lived at opposite ends of the country – we check in with each other about four times a day, and use tools such as Google Drive and Trello to organise and share our work.”

Be brave

“Don’t be scared to do it. If you don’t push yourself out of your comfort zone, you’ll never do anything in life. There have been a lot of times where Rach and I have really had to exert ourselves, but it always ends up being even better than we thought it would.”


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journal journey Set creative goals and be inspired with a personalised journal for 2017 – Teri Muncey shows you how...

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HOW TO MAKE… A JOURNAL MATERIALS Q Large notebook with plain pages Q Patterned paper Q Double-sided sticky tape Q Ruler Q Scissors Q Craft glue Q Washi tape Q Coloured card Q Pom pom trim Q Letter stickers


Resolve to make 2017 your most productive year with the help of journalling. Forget the ’dear diary...’ days of your teenage years – contemporary journalling is an easy way to get organised and achieve goals while developing a personal source of creative inspiration. Follow Teri’s steps to create your journal, then find out how make it work for you with our tips. Place your patterned paper print side down and lay the notebook on top – there should be at least 10cm (4") of paper around the outside. 02 Use a pencil to mark around the outside of the notebook. Add 5cm (2") to the marked outline, then cut out. Snip out a triangle shape at each corner, and at either end of where the spine will lie. 01

Stick double-sided tape around the edges of the outer and inside covers, and along the spine. Glue the middle of the outer covers. 04 Peel off the tape backing from the outside of your notebook. Place onto the paper, back cover first, then fold around onto the front. Take the tape backing from the inside strips, fold in all edges, then use washi tape to secure. 05 Cut two squares of coloured card to finish the inside front cover, 03

overlapping the edges of the paper. Glue one in place, then cut the other in half diagonally. Place one half on top of the glued sheet so the diagonal runs from top left to bottom right, then washi tape around all four sides to secure. 06 Glue a strip of pom pom trim along the diagonal pocket edge. Repeat Step 5 with the inside back cover of the notebook. 07 Use the letter stickers to personalise the front cover.

Teri Muncey Teri is a blogger and freelance designer living in West London. Working from her cosy flat, Teri is a self-confessed stationery and typography nerd, and her mind is generally filled with new craft projects she can come up with to indulge this.

r use your inside covees, pocket to store nots tickets or photo Visit www.molliemakebrush to download Teri's ders lettered page hea

cut and paste a 2017 calendar in the front of your journal to record all your important dates




There are endless ways you can use your journal to organise all aspects of your life. Above and over the page, Teri’s put together some visual inspiration for you, and you can download a selection of her brush lettered page titles at www.molliemakes. com to cut and stick inside your journal. Here are some of our layouts to get you started: Habits: Start the new year with a new set of positive habits and record your progress each day. To-do lists: Whether it’s a daily, weekly or monthly schedule – or

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use bulldog clips tos attach photos, notes and other keepsake

a combination of all three – plan out your tasks and goals. Finances: Set targets to help you save money, or just budget your monthly expenses so you can keep track of your spending.

Lists: Make a note of books you’ve always been meaning to read, or films you’d like to watch. When you’ve got some spare time, refer back to it and then tick them off as you finish them.

Goals: Is there something you want to achieve this year? Break down the steps you need to take to do this to help focus you.

Thoughts: Unwind when you come home by using your journal as a notebook – why not collect inspiring quotes or positive moments from your day?

Planning: Organise a trip or holiday, or note down decorating ideas and inspiration for your home, cutting out and pasting in pictures you can annotate.

Health: Set up a checklist of things to do each day or each week – this could be exercising regularly, drinking more water, or scheduling time out to relax.


Create mini tick k wor lists to help you als towards your go

paperclip mement os special occasions of to your pages

by Teri created a page backgroundthin adding an image and Applying a layer of watercolour on top 90 MOLLIEMAKES.COM 74

Teri made polaroidstyle pics by leavingd n white borders arou os t the edge of her pho

don't worry abou keeping your pagest pristine - fill ever inch with fun deta y ils!


invest in a selection of differen t from brush pens for page header pens, fineliners and fountain pens for s to notes Subscribe at

Designer-maker Nikki McWilliams tells us how creative journalling has changed her life. “I started a journal after reading Sarah Barnes’ post about it on her blog, I’d been using a calendar app on my phone but missed the tactile elements of keeping a physical planner, so decided to give it a try. I use my journal every day as it helps me take stock of my time and stay cool when workloads are heavy. Every evening I write my to-do list for the following day’s tasks so I can hit the ground running when I get up! My journal incorporates my work and personal activities. It basically organises my whole life! I have pages for long-term planning, as well as daily and monthly checklist-type entries too. The pages I’ve found most useful so far are those that help me plan my monthly social media content goals, and my self-care. It’s easy to get lost in work, so I like the balance of having business goals alongside personal things like cooking a special meal, making things for fun and spending time with my friends. If you’re starting a journal, remember it’s important to experiment in the first few weeks. What works for some might not work for you, and that’s OK – the idea behind creating your own journal is that it can be personalised to suit the way you work and live. I always find starting a fresh sketchbook or notebook daunting, but the secret is just going for it and not worrying about mistakes. So far, I’m planning on journalling all through 2017 – I even have some planning pages for 2018! Whenever I think of something new, I add a new section. I’ve just created one to help me train for a half marathon in the spring, as well as one for designing new products over the year. Nikki’s love of British culture and the tea break inspires her biscuit-themed homeware. Visit her shop at


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Woodland pals Make Kirsty Hartley’s super-cute animal bags for your little wild things

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HOW TO MAKE… ANIMAL BAGS MATERIALS Q Iron-on double-sided bonding web Q Dark brown corduroy fabric Q Tailor’s chalk Q Press studs Q Matching sewing thread For the fox bag Q Cotton fabric, 60 x 60cm (235/8 x 235/8") Q Lining fabric, 60 x 60cm (235/8 x 235/8") Q Cream corduroy fabric Q Copper faux leather (we got ours from www. creativecraft


Q Two pieces of Velcro, 2.5cm (1"), 2cm ( ") wide For the bear bag Q Cotton fabric, 60 x 60cm (235/8 x 235/8") Q Lining fabric, 60 x 60cm (235/8 x 235/8") Q Silver faux leather Q Two pieces of Velcro, 2.5cm (1"), 2cm ( ") wide

Full of character, these bags are just the right size for kids to stash all their bits and pieces. A purse filled with pennies, that important rock found at the park, a notebook filled with doodles – pretty much all the essentials. Use a 1cm (3/8") seam allowance on all fabric pieces except the eyes, noses and inside ears – you’ll need to add this onto your templates when cutting out these shapes. Making the fox 01 Using the templates on page 100, cut a main bag piece, front bag piece and four ears from your cotton fabric. Cut a main bag piece and front piece from your lining fabric, then cut the face piece from the cream corduroy fabric. 02 Press back the raw edges of your face piece by 1cm (3/8"), trimming any excess. Pin into place on the main bag piece using the template as a guide, then top stitch in place

0.5cm ( ") in from the edge. Snip the ear darts to the marked point. 03 Cut four 60 x 6cm (235/8 x 23/8") pieces from your cotton fabric. Press the long edges and one short edge to the wrong side (WS) by 1cm (3/8"), then fold in half along the length with WS together and top stitch all around. 04 Sew a Velcro square to the short end of a strap without a raw edge, then repeat with the second strap. 05 Back your metallic and dark brown corduroy fabrics with iron-on bonding web, following the manufacturer’s instructions. 06 Use the templates to cut out the appliqué pieces, then press a metallic ear piece onto a cotton ear piece, covering with a cloth so as not to damage the fabric. Repeat to make the second ear front. 07 Place an ear front and plain ear piece with right sides (RS) together and sew 1cm (3/8") in from the edge. Trim any excess seam allowance,





then turn RS out, press, and top stitch around the appliquĂŠ. 08 With RS facing, position the ears on the cotton fabric main bag piece using the picture as a guide. Place the short end of the strap with the raw edge centrally on top of the ear, aligning the raw edges. With RS together, fold the back of the main bag piece towards the front and sew the ears and strap into place along the dart. 09 Turn the main bag piece RS out, then position the eyes and nose onto the front of the bag using the template as a guide. Press and top stitch in place. 10 Fold in the darts on the cotton fabric front bag piece with RS together, then sew in place along the WS. Position the front bag piece on the main bag piece as per the template and with WS together, covering the section without the face detail. Align the raw edges, then sew around the curved edge. Subscribe at


Repeat Step 10 to join together the lining fabric front bag piece and main bag piece. 12 To assemble the bag, place the front bag pieces with RS together and sew from one strap position to the other along the curved edge, leaving the straight edge open. 13 Turn RS out through the straight edge, then fold in the edges the WS and pin. Top stitch in place 0.5cm ( ") in from the edge. 14 Sew either side of the press stud to the front bag piece and the inside of the main bag piece using the template as a guide, making sure they line up correctly. 11

Making the bear 15 Using the templates on page 100, cut a main bag piece, front bag piece and four ears from your cotton fabric. Cut another main bag piece and a front piece from your lining fabric. 16 Snip into the ear darts on your cotton fabric main bag piece to the marked point. Repeat Steps 3-7, then fold in the bottom of the ear, using the picture as a guide, to create a small tuck. 17 Repeat Steps 8-14, making sure that on Step 9 you layer the corduroy nose piece on top of the metallic nose piece.

Kirsty Hartley Kirsty lives in the Lancashire hills with her partner and three children. When she’s not writing and making lovely things, she can be found exploring the woods near her family home with her two lurcher puppies, Willow and Sunny.


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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 YOUR FREE GIFT BY ALINA BUNACIU PAGE 7





MATERIALS Q Scissors Q Fabric glue Photocopy the templates opposite and cut out two brooch backings from your cream felt, a dachshund from your light brown felt, and a tail and an ear from your dark brown felt. 02 Position the dachshund centrally onto a brooch backing piece, then using two strands of 01

light brown thread, sew in place. Using the same thread and the pictures as a guide, sew on the tail and the ear pieces. 03 Cut out the collar and coat trim from the gold faux leather and the coat triangles from your remaining felt, using the pictures for colour reference. 04 Using two strands of white embroidery thread, sew the collar and coat trim in place, using the outer shape of the coat

template as a placement guide. Add the coat triangles one at a time, sewing around the outside of each one with white thread. 05 Using two strands of black embroidery thread and backstitch, embroider the eye and the nose onto your dachshund’s face, then use the white thread to sew on the gold charm at the base of the collar. 06 Turn the second brooch backing right side up – this

will be side that will forms the reverse of your brooch – and attach the brooch pin using fabric glue. If you prefer, you can sew it on using matching embroidery thread instead. 07 Place your dachshund brooch front and brooch back with wrong sides together, aligning the edges. Using blanket stitch and two strands of white embroidery thread, sew all the way around the outside to finish.

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.




Collar Cut 1 Tail Cut 1

Brooch backing Cut 2

Coat trim Cut 1 Ear Cut 1

Dachshund Cut 1

Coat triangles Cut 1 of each


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.

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Photocopy at 200%

Small bag Cut 2


BOBBLE STITCH *Yrh, insert hook into st, yrh and pull through st (3 loops remain on hook), yrh and pull through 2 loops on hook (2 loops remain on hook); repeat from * another 4 times (you will have 6 loops on hook), yrh and pull through remaining 6 loops. Secure with ch1.

PUFF STITCH *Yrh, insert hook in st, pull through loop pulling hook up to the height of a tr; repeat from * another 3 times (at first you will have 3 loops on the hook, then 5, then 7 and finally 9 loops), now yrh and pull through all the loops on the hook. Secure with ch1.

SPIKE STITCH Spike stitch is an elongated tr or htr. For SP-2, instead of inserting your hook directly into the row below, insert hook into the 2nd row below and complete as a htr stitch. For SP-3, follow the same instructions as for SP-2, but this time insert hook into the 3rd row below and complete as a tr stitch.

CROSSED TREBLE Make a tr in the first st (or sp), wrap the yarn round hook to make a second tr, take the hook in front of the first tr made, place it into the st (or sp) before the first tr going from front to back, yarn over hook and pull through st. You now have 3 loops on the hook, (yarn over and pull through 2 loops) twice.

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.



BY KIRSTY HARTLEY PAGE 94 Photocopy at 200%

Sew h ere

Sew front bag piece to here

Cut to insert ears



Main bag piece


Press stud position


Sew front bag piece to here

Sew h ere

Cut to insert ears


Main bag piece


Press stud position 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.

Subscribe at





Fox face piece Cut 1

Fox and bear eye Cut 2 each

Fox ear Cut 4 outer ear pieces and 2 inner ear pieces

Bear ear Cut 4 outer ear pieces and 2 inner ear pieces

Bear nose Cut 1 Front bag piece

Press stud position

Fox and bear nose Cut 1 each Dart

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.


To feature in the Marketplace contact Jordana Widt (0117 300 8539, or Isabel Higuero (0117 300 8538, CRAFT KITS & ACCESSORIES



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Hampshire 01329 608017 Excellent selection of Riley Blake, Michael Miller, Japanese, Disney, Robert Kaufman, Makower and novelty fabric. Wool – Sirdar, Rico, James Brett, Debbie Bliss, Designer Yarns, Petra Crochet Cotton.

Cornwall 01579 347237 Fabrics from Moda, Stoff, Lewis & Irene, Makower, Kaffe Fassett and Free Spirit with threads from Gutermann, Mettler, Madeira and Marathon. Also paints, textile products, fine art, and lampshade kits.





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Origami artist Esther Thorpe talks about the current papercraft revival

Name: Esther Thorpe Occupation: Origami

Esther loves sharing her origami skills at workshops




Origami is having an increasing influence over interiors, fashion and craft

A selection of Esther’s latest multi-modular geometric shapes

Running workshops is my favourite thing to do, so it’s ace to see this in demand. I think this desire isn’t down to the popularity of geometrics, but due to origami’s therapeutic qualities. It doesn’t matter what we’re folding, at every workshop, attendees always comment on how calm they feel. Origami has strong links with mindfulness, so I recommend getting your fold on, and inviting some peace into your life while making something beautiful!

Currents Visit Esther’s website at to book her workshops, shop her products and read her blog. You can also follow her on Instagram @origami_est

Next issue: Weaving appeal with Lucy Davidson 106 MOLLIEMAKES.COM 74

Wearing: A cosy oversized jumper by Young Double from Studio NL. Drinking: T2 French Earl Grey tea – my husband bought it for me and my world just got a whole lot more exciting. Listening to: HAIM – their earthy tones get me motivated to work.



artist and author

I love paper and I love folding it. It’s such an enjoyable activity, and what you can create with paper is almost limitless – who wouldn’t want to become an origami ninja? It’s geometrics that really have my heart. Five years ago when I started to blog about what I was folding, I didn’t have a clue that by 2016 there would be a revival in this beautiful art form. Origami is having an increasing influence over interiors, fashion and craft, and it’s incredible. What’s most exciting is seeing people so interested in learning.



CROCHET GIRL GANG PAINTBOX CAL Exclusively available on

0845 544 2196

Mollie Makes N°74 - 2017