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Welcome By the time January rolls around, I’m always ready to jump into everything a new year brings – the positive feel of a fresh start, the promise of spring, 101 and far too many resolutions. This year though, I’m trying to do things differently. So, in this month’s issue we’re still embracing the new, showcasing creative makes like our floral resin earrings. But, we’re also taking time to be in the present with projects that help focus on the here and now. Take inspiration from our cosy leopard cover star and layer up, get outside and enjoy the crisp, cold air. And, after all that manic festive crafting, remind yourself just why we make with this month’s motivational gift.
It’s so important to reflect on last year’s achievements too, as well as your 2019 goals. Join me in creating our journal set on page 95, then dedicate one to celebrating you!
Yvette Streeter Editor
FOLLOW MOLLIE MAKES FOR DAILY INSPIRATION... MOLLIEMAKES.COM 3
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INSIDE THIS ISSUE
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ON THE COVER PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; MODEL: RATTASIREE PHASASIRAWAT
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Introducing THE LATEST FROM THE WORLD OF HANDMADE 10 Mollie loves What’s new in craft and design 14 Latest crush Shop and craft furry textures 18 Amigurumi leopard Hook a Pica Pau cutie and accessories 26 Meet the maker Sarah Fennell on big brand collabs 32 Sparkly statement socks Iron-on glitter vinyl is go 36 Good read Set creative intentions for 2019 39 Macramé clutch bag Your favourite knots, but brighter
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Living
Making
CREATIVE INSPIRATION FOR YOUR LIFE AND HOME
HAND-PICKED PROJECTS TO FALL IN LOVE WITH
44 Get the look Mix mid-century style with playful patterns for a vibrant space
76 Crochet cardigan Bobbles to steal your heart
46 At home with… Check out textiles designer Georgia Coote’s creative family home 51 Bright letter board Upgrade your slogan set-up, felt and spray paint at the ready 54 Whole cloth quilt Hand-quilt a blanket for baby 59 Origami mirror A folded paper masterpiece 62 Arm knit pouffe Get to grips with jumbo yarn
EXCLUSIVE! 67 Bonus papers Eight joyously whimsical patterns and posters designed by Lucia Wilkinson of BettyJoy Design Studio
85 Resin earrings Pretty petals and golden flakes make one amazing pair of hoops 88 Waxed canvas backpack Sew a bag that’s ready for adventure 95 Watercolour notebooks Paint and bookbind a fresh set of books in their own portfolio
NEVER MISS AN ISSUE
98 Templates All you need for this issue’s makes
24 Subscribe UK Subscribe and try five issues of Mollie Makes for just £5
106 Tea and a chat We have a good natter with indie shop owner Kirsty of home byKirsty
93 Subscribe overseas International subscribers save up to 78%
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Contributors Elli Beaven If Elli hadn’t been a quilt maker and workshop teacher, her dream job would have been as a museum archivist – her ever growing fabric ‘archive’ is evidence of her great skill in this area. Sew Elli’s whole cloth baby quilt on page 54. www.wholecloth.co.uk
Yan Schenkel Yan’s a sci-fi and adventure fan, and also loves spending all her money on children’s picture books, scissors and stationery. She listens to Bowie’s Magic Dance whenever she’s tired from work, dancing like nobody’s watching. Crochet Yan’s cute amigurumi leopard on page 18. www.picapauyan.com
Georgia Coote When she’s not working as a textile designer, Georgia channels her style icon Bianca the mouse from The Rescuers. Her other talents include a GCSE in Russian and making a mean sponge cake. Tour Georgia’s home on page 46. www.flowersinthewindow.co.uk
Chloé Joyce Chloé’s an Australian illustrator whose work focuses on lovely ladies and plant babies. When she’s not busy illustrating, you can usually find getting her hands dirty in her own planty wonderland or being taken for a walk by her adorable gentle giant fur baby Lulu. See Chloé’s beautiful illustration on page 36. www.chloejoyceillustration.com
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Cheers! Anna Alicia, Nellianna van den Baard, Anna Birtwhistle, Valerie Bracegirdle, Dominique Corlett, Sarah Dawson, Jessica Doughty, Kasia Fizser, HappyFabric, Rachel Hazell, Emma Jewell, Fiona Murray, Benita Nagra, Kirsty Patrick, Rattasiree Phasasirawat @ Mustard Models, Claudine Powley, Philip Sowels, Lottie Storey, Gem Tyler, Kenneth Veenenbos, Jesse Wild, Lucia Wilkinson
Sarah Fennell There’s nowhere Sarah’s happier than kneeling in her flowerbed pulling up weeds. She dreams of escaping to a remote Scottish island where she and her husband will live in a ramshackle cottage with just a few sheep for company. Find out how Sarah grew her design and print biz on page 26. www.sarahfennell.co.uk
mollie makes gift
Embroider some new year inspiration!
MEET THE MAKER FIBRE ARTIST JESSIE DOUGHTY CREATED THIS MONTH’S CRAFTY PENNANT “When I think about how crafting makes me feel, I always come back to the word ‘meraki’, which means to ‘do something with soul, creativity, or love; to put something of yourself into your work’. Seeing your idea become a piece of art you can hold in your hands is another level of happiness and
achievement. I take a lot of inspiration from mindfulness – my workspace is full of postcards and pieces of art that have positive mantras on them. Creativity is contagious. That’s why I chose the quote that I did for the design. This stellar little pennant is a great way to improve your
stitching precision and practice (or learn, if you’re a beginner) whipped backstitch! Use your pennant to decorate a nook, or make a gift for a creative pal.” Find Jessie on Instagram @jessiedoedesigns and at www.jessiedoe.com. Share your makes using #molliemakers.
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MAKE YOUR OWN
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www.buttonandblue.com @buttonandblue
Introducing THE LATEST FROM THE WORLD OF HANDMADE
New years often storm in with outlandish, un-keepable plans. We’re not making any grand promises this year, just lots of littler ones, and embracing the gentle breeze of a fresh start instead. Shop small, think ÃÕÃÌ> >L i > ` w Þ ÕÀ vi Ü Ì positivity (and pom poms). www.fatpompoms.etsy.com
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MOLLIE LOVES BOHEMIA DESIGN AND SOCIAL ENTERPRISE
SHOW YOUR NONFELINE LOVED ONES HOW MUCH YOU CARE with this card from Louise Lockhart of The Printed Peanut. Even though we all know cats truly have the top spot, occasionally it’s nice to show our humans we love them too. Luckily, Louise is here to help send colour and happiness to your nearest and dearest two-legged friends. www.theprintedpeanut.co.uk 10 MOLLIEMAKES.COM
PHOTOGRAPHY: NIKOLE RAMSAY
BeadWORKS Kenya have joined forces in an ethical collab that makes our eyes happy and our hearts full. Their Samburu collection features playful statement jewellery in delicate beading that’s light enough to be worn every day, and each purchase helps support the women that made them. Knowing you’re empowering the artisans from this north Kenyan community makes us feel just as good as sporting these gorgeous Kalama earrings does. www.bohemiadesign.co.uk
mermaids, starfish and retro vibes? We’re sold. Layer this Neptune’s Kingdom bedding set with tassels, velvet and texture for maximum dreaminess. We’re confident Neptune’s pad is decorated in peach, pink and mandarin too. www.kipandko.com.au
inspired by the aegean
THE SMALLISH HOUSE
When it comes to modern prints, whimsical characters and useful design, The Smallish House have it nailed. Designers Anna and Kate create adventure backpacks, prints, tees and toys, capturing the magic of the everyday in each piece. Remember that favourite sweet shop you had as a child? Or the perfect climbing tree on your street? It’s those moments that inspire the designs from The Smallish House, and each item is handillustrated, printed and sewn. www.thesmallishhouse.etsy.com
PHOTOGRAPHY: CEREINYN ORD
BRAND FOCUS
island she grew up on, Joanna Zenghelis’ home textiles have a sense of movement and pack a colourful punch. Overlapping lines, shapes and dots animate each printed piece, but we’re particularly smitten with the Sunny Shade pouch, ideal for stashing your current craft project. www.joannazenghelis.com
JUST LANDED Happydesign Think positive thoughts and be more Fearne with her new collection for Cath Kidston. Pretty prints and totes with slogans we can all get behind. www.cathkidston.com
NEED TO READ clever crochet Jess Coppom of Make and Do Crew’s new book, Corner to Corner Crochet, is a masterclass in creating modern homewares using this technique. Filled with fab patterns and step-by-steps, we’re offically hooked. www.sewandso.co.uk
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tea ceremonies are a tradition
KNITTERS, TAKE NOTE:
Norwegian brand HipKnitShop are shipping their ready-made knits, kits and wool worldwide, and there’s so much to be excited about. Top of our list is the Alba Sweater with braided cable detail and slouchy fit. Shop it as a kit or pattern, or choose from their range of modern designs and customise with Hip Wool from happy sheep in your fave colour. Don’t fancy making it yourself? The ready-tobuy items are made to Fair Trade principles by self-employed Peruvian families. HipKnitShop, we like your style. www.hipknitshop.no
PHOTOGRAPHY: MATS TORBERGSEN
across the world for a reason. Sitting down with a cuppa is special, and sipping from a hand-thrown mug can surely only elevate this ritual. Combining the texture and beauty of unglazed clay with a bold stripe of glaze, potter Mim Archer’s range of ceramics are just the ticket for awakening all your senses. www.madeandgood.com
FASHION
IF WALLS COULD TALK, ours would definitely ask to be adorned in a rugpunched collection of fibre goodness. If a full installation isn’t your thing, choose one as a unique way to show someone you care. www.neverperfectstudio.com
Velvet bows, paisley ties and floral pocket squares are Beau Tie’s speciality. With fine tailoring and sumptuous fabrics, it would be rude not to gift them. Plus, there’s a pet collection for your pooch. We know! www.beautieuk.com
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PHOTOGRAPHY: LUCY JOHNSON
BOOKMARK a cut above
www.knitandstitch -it.org.uk
The
Possibilities are Endless
Two fun-filled days of Craft Inspiration
The Exhibition for paper crafters, needle crafters, knitters and beaders Make it a date in your diary 22 February - 23 February 2019, 9.30am–5pm
Farnborough International, Hants (access via Gate F: Sat Nav GU14 6TQ)
Book in advance and save 1 day adult pass £7.50, 1 day concession pass £6 Concession, over 60, registered disabled & students
2 day adult pass £11.25, 2 day concession pass £9 2 day pass offered on a “buy 1 get one ½ price” basis – only available in advance
Accompanied U16’s free of charge
How to book
Recycle your magazine and seven days later it could come back as your newspaper
www.make-it.org.uk or call 08444 771 000
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Group bookings call 01784 212 887
NB. Small booking fee applies
(10 persons or more)
LATEST CRUSH
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WARM AND FUZZY It started with teddy coats, and now a whole herd of texture-rich fripperies have risen up, filling the void that’s been in our hearts since the tragic decline of the fluffy pen.
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Mohair, don’t care. Knit your way to the ultimate fluffy roll neck. www. woolandthegang.com 02 Go beyond the pom. www.oliverbonas.com 03 A princess-worthy yet delightfully practical bag. Want. www.shrimps.co.uk 04 The chenille patch that’s missing from your dungas. www.onrshop.com 01
Touchy-feely texture at its best. www.wallflower weavings.etsy.com 06 Ethically made for all the feels. www.projektityyny.com 07 Meet your new favourite four-legged friend. www.noths.com/grattify 08 Loungewear just got fancy. www.accessorize.com 09 Bring 70s vibes to the sofa. www.westelm.co.uk 05
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make it!
TURN OVER TO DIY THE WARM AND FUZZY TREND MOLLIEM
make it!
WARM AND FUZZY JUMPER HACK MATERIALS Plain sweatshirt Tailor’s chalk 1m (393/8") each of plain short pile faux fur in baby pink and baby blue (ours was from www.minervacrafts.com) Matching sewing thread
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On one of the sleeves, use tailor’s chalk to mark a line 1.5cm (¼") up from the cuff, then mark 17cm (6¾") up from this. Measure a further 17cm (6¾") up from this line and mark again. Cut the sleeve following these lines. Put the cuff aside. 02 Use these sections of sleeve as templates for the fur. Fold the fur in half and place the top of the first template along the fold. Measure and mark a 01
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1.5cm (¼") seam allowance around the three sides then cut out. Repeat with the second template on the second fabric. 03 With right sides (RS) together, pin and sew the two fur fabrics together along the long edge with a 1.5cm (5/8") seam allowance. 04 Open out the fabric and fold in half the other way with RS together, as shown. Pin and sew the long raw edge.
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Turn the sleeve RS out and the jumper wrong side (WS) out then, with RS together, insert the sleeve into the armhole cuff end first. Pin and sew. 06 Pull the sleeve out. Keep both the jumper and fur sleeve WS out and the cuff RS out, then insert the cuff into the sleeve, smallest point first. Pin and sew the cuff onto the sleeve. Turn RS out, then repeat Steps 1-6 for the second sleeve. 05
ANNA BIRTWISTLE Northern girl Anna loves snuggling up with a cup of tea and some crochet in her spare time. Designer by day, blogger and maker by night, she finds different ways to be creative every day, be it styling an outfit or cooking up a new recipe. www.madeupstyle.com
Wild camping
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
Embark on a crochet adventure with Yan Schenkel’s amigurumi leopard
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HOW TO MAKE A CROCHET LEOPARD MATERIALS Q Paintbox Yarns Cotton DK, 100% cotton, 125m/137yd per 50g, two balls in Soft Fudge (410) (Yarn A), one ball each in Champagne White (403) (Yarn B), Washed Teal (433) (Yarn C), Peach Orange (455) (Yarn D), Vintage Pink (456) (Yarn E), Coffee Bean (411) (Yarn F) and Pure Black (402) (Yarn G) Q 2.75mm (UK 11, US C/2) crochet hook Q Soft toy stuffing Q Four stitch markers Q Yarn needle ABBREVIATIONS (UK) st(s) stitch(es) sp(s) space(s) ch chain dc double crochet BLO work st through back loop only yrh yarn round hook inc increase by working 2dc in next st dc2tog double crochet 2 together – (insert hook in next st, yrh and draw loop through) twice, yrh and draw through all 3 loops 20 MOLLIEMAKES.COM
magic ring wrap yarn around forefinger twice to create ring, slip ring off finger and insert hook to pick up first st, ch1, then work necessary sts for Round 1 and close ring by pulling the loose end 5-tr cluster 5 treble cluster – (yrh, insert hook in st indicated, yrh and pull up loop, yrh and draw through 2 loops) 5 times, inserting hook in same st each time, yrh and draw through all 6 loops on hook, ch1 to complete st FPdc front post double crochet – insert hook from front to back, around back of indicated st and back through to the front, yrh and draw round back of post of indicated st, yrh and draw through 2 loops BPdc back post double crochet – insert hook from back of work to front, around front of indicated st and back through to back, yrh and draw round front of post of indicated st, yrh and draw through 2 loops
With that smile and those winter woollies, we’ve no doubt that this little leopard is a total softie. He’s wrapped up warm to explore the woods nearby, but is sure to be home in time for tea. Stitch markers will be your besties here as there are a few different elements to hook, but it’s the incredible detail that makes this project so wonderful. The hat and scarf are removable, so you could make a few outfit changes.
magic ring, 3dc, change to Yarn A, 3dc, pull ring tight [6 sts] Round 2 inc 3 times, change to Yarn B, inc 3 times [12 sts] Round 3 change to Yarn A, (1dc, inc) 3 times, change to Yarn B, (1dc, inc) 3 times [18 sts] Rounds 4-5 change to Yarn A, 9dc, change to Yarn B, 9dc [18 sts] Fasten off, leaving a long tail. Embroider the nose and mouth with Yarn G, using the images as a guide. Stuff the snout lightly
Tension Tension is not important, but the stitches should be dense to conceal the filling
Head Embroider the spots in Yarn F as you go, using the image as a guide Round 1 using Yarn A, make a magic ring, 6dc in ring, pull ring tight [6 sts] Round 2 inc in each st around [12 sts] Round 3 (1dc, inc) 6 times [18 sts] Round 4 (2dc, inc) 6 times [24 sts] Round 5 (3dc, inc) 6 times [30 sts] Round 6 (4dc, inc) 6 times [36 sts] Round 7 (5dc, inc) 6 times [42 sts] Round 8 (6dc, inc) 6 times [48 sts] Rounds 9-14 1dc in each st around Rounds 15-18 change to Yarn A, 10dc, change to Yarn B, 28dc, change to Yarn A, 10dc [48 sts] Round 19 (2dc, dc2tog) twice, 2dc, change to Yarn B, dc2tog, (2dc, dc2tog) 6 times, 2dc, change to
Finished size Approx. 15cm (6") high Instructions Most parts are made in the round in a continuous spiral. Do not join at the end of each round but continue to the next round. Use stitch markers to indicate the start of each round Snout The snout is made in two colours. When changing colour, do so on the last yarn over of the previous st Round 1 using Yarn B, make a
Yarn A, dc2tog, (2dc, dc2tog) 2 times [36 sts] Round 20 4dc, dc2tog, 2dc, change to Yarn B, 2dc, dc2tog, (4dc, dc2tog) 3 times, change to Yarn A, 4dc, dc2tog [30 sts] Sew the snout between Rounds 11 and 17, positioning it so the colours match. Place it on the opposite side of the start of the round Using Yarn G, embroider the eyes between Rounds 14 and 15, about 2 sts away from the snout then, using Yarn D, embroider cheeks Round 21 still in Yarn A, 3dc, dc2tog, 2dc, change to Yarn B, 1dc, dc2tog, (3dc, dc2tog) 3 times, change to Yarn A, 3dc, dc2tog [24 sts] Round 22 2dc, dc2tog, 2dc, change to Yarn B, dc2tog, (2dc, dc2tog) 3 times, change to Yarn A, 2dc, dc2tog [18 sts] Round 23 5dc, change to Yarn B, 10dc, change to Yarn A, 3dc [18 sts] Stuff the head firmly Round 24 5dc, change to Yarn B, 4dc, inc 3 times, 3dc, change to Yarn A, 3dc [21 sts] Round 25 inc 5 times, change to Yarn B, 13dc, change to Yarn A, inc 3 times [29 sts] Round 26 10dc, change to Yarn B, 5dc, (inc, 1dc) 3 times, 2dc, change to Yarn A, 6dc [32 sts]
Round 27 12dc, change to Yarn B, 14dc, change to Yarn A, 6dc [32 sts] Round 28 (1dc, inc) 4 times, 6dc, change to Yarn B, 10dc, change to Yarn A, 8dc [36 sts] Round 29 20dc, change to Yarn B, 6dc, change to Yarn A, 10dc [36 sts] Round 30 21dc, change to Yarn B, 4dc, change to Yarn A, 11dc [36 sts] Continue in Yarn A Round 31 (2dc, inc) 2 times, (inc, 2dc) 2 times, inc, 22dc, inc [42 sts] Round 32 1dc in each st around Round 33 4dc, (inc, 3dc) twice, inc, 29dc [45 sts] Round 34 1dc in each st around Divide the work to crochet the back and two front legs of the leopard. First, using the 4 sts in white on the front as a reference, find the middle front st of the body and place a stitch marker there. Then, divide the work identifying 9 sts for each front leg – 27 sts remain for body Body Round 35 22dc, ch8, miss 18 sts, 1dc, place the stitch marker in this last dc – it’ll be the beginning of each round from this point. The body will be formed of 27dc of the body and the ch8, leaving the 18 missed sts for the front legs Round 36 35dc (27 on the body and 8 on the ch) [35 sts]
Round 37 inc 5 times, 17dc, inc 5 times, 8dc [45 sts] Rounds 38-41 1dc in each st around Round 42 (7dc, dc2tog) 5 times [40 sts] Round 43 1dc in each st around Round 44 (6dc, dc2tog) 5 times [35 sts] Round 45 (5dc, dc2tog) 5 times [30 sts] Round 46 (3dc, dc2tog) 6 times [24 sts] Round 47 (2dc, dc2tog) 6 times [18 sts] Round 48 (1dc, dc2tog) 6 times [12 sts] Round 49 (dc2tog) 6 times [6 sts] Fasten off leaving a long tail. Using the yarn needle, weave the yarn tail through the front loop of each remaining st and pull tight to close First front leg Join Yarn A to the first st next to the body, which will be the first st of the first leg Round 1 9dc, ch2 and join the last ch and the fourth ch from the body making a dc, 3dc [15 sts] Rounds 2-8 1dc in each st around Round 9 2dc, (5-tr cluster, 1dc) 4 times, 5dc [15 sts] Round 10 in BLO, (1dc, dc2tog) 5 times [10 sts] MOLLIEMAKES.COM 21
HOW TO MAKE A CROCHET LEOPARD Round 11 (dc2tog) 5 times [5 sts] Fasten off leaving a long tail. Using the yarn needle, weave the yarn tail through the front loop of each remaining st and pull tight to close Second front leg Join Yarn A to the first chain st next to the first front leg, which will be the first st of the second leg Round 1 15dc (2sts on ch between legs, 9 sts on front and 4 on ch made to make back of body) Rounds 2-8 1dc in each st around Round 9 3dc, (5-tr cluster, 1dc) 4 times, 4dc Round 10 in BLO, (1dc, dc2tog) 5 times [10 sts] Round 11 (dc2tog) 5 times [5 sts] Fasten off leaving a long tail. Using a yarn needle, weave the yarn tail through the front loop of each remaining st and pull tight to close Back legs (make two) Round 1 using Yarn A, make a magic ring, 5dc in ring, pull ring tight [5 sts] Round 2 inc in each st around [10 sts] Round 3 (1dc, inc) 5 times [15 sts] Round 4 in BLO, 3dc, (5-tr cluster, 1dc) 4 times, 4dc [15 sts] Rounds 5-9 1dc in each st around Fasten off, leaving a long tail. Stuff 22 MOLLIEMAKES.COM
firmly and sew the legs to the body Ears (make two) Round 1 using Yarn G, make a magic ring, 6dc in ring, pull ring tight [6 sts] Round 2 inc in each st around [12 sts] Change to Yarn A Rounds 3-5 1dc in each st around Fasten off, leaving a long tail for sewing. Embroider the white details using the images as a guide Tail Round 1 using Yarn G, start with a magic ring, 8dc in ring, pull ring tight [8 sts] Rounds 2-6 1dc in each st around Change to Yarn A Rounds 7-16 1dc in each st around Fasten off, leaving a long tail for sewing. Stuff a little Scarf Foundation using Yarn C, ch59 Row 1 1dc in 4th ch from hook, *1dc, miss 1 ch, 1dc in the next ch; repeat from * to end, turn Row 2 ch2 (counts as 1dc, ch1), 1dc in the next 1ch-sp, *ch1, 1dc in next 1ch-sp; repeat from * to end, finishing with 1dc in the ch1 at the start of Row 1, turn Rows 3-9 ch2 (counts as 1dc, ch1),
1dc in next 1ch-sp, *ch1, 1dc in next 1ch-sp; repeat from * to end, 1dc in the ch1 at the start of the previous row, turn. Fasten off and weave in the ends. Make two pom poms in Yarn D and sew them to the scarf Hat Round 1 using Yarn E, make a magic ring, 6dc in ring, pull ring tight [6 sts] Round 2 inc in each st [12 sts] Round 3 (1dc, inc) 6 times [18 sts] Round 4 (2dc, inc) 6 times [24 sts] Round 5 (3dc, inc) 6 times [30 sts] Round 6 (4dc, inc) 6 times [36 sts] Round 7 (5dc, inc) 6 times [42 sts] Round 8 (6dc, inc) 6 times [48 sts] Rounds 9-11 1dc in each st around Round 12 16dc, ch5, miss 5 sts, 6dc, ch5, miss 5 sts, 16dc [48 sts] Rounds 13-14 1dc in each st around Rounds 15-16 (1FPdc, 1BPdc) 24 times [48 sts] Fasten off, weave in ends. Make a pom pom in Yarn E and sew it on Finishing Place the hat on the head to find where the ears should go, using stitch markers to mark. Remove the hat, flatten the ears and sew onto the head. Sew the tail to the back, centred. Dress the leopard.
MEET THE MAKER YAN SCHENKEL Yan’s an Argentinean professional crochet toy designer and the founder of Pica Pau. Besides working on her designs, she’s collaborated with illustrators, authors, and brands such as Fanny & Alexander and Anthropologie. She’s worked on everything from illustrating children’s books to designing for a crochet stop motion ad. She’s also the author of two amigurumi books. www.picapauyan.com
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DESIGNER SARAH FENNELL TALKS PAPER CUTTING, WORK/LIFE BALANCE, AND THE CAREER-BOOSTING POWERS OF SOCIAL MEDIA
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MEET THE MAKER
SEEING PATTERNS WITH SARAH FENNELL Words: DOMINIQUE CORLETT Photographs: KASIA FIZSER
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here’s something about Sarah Fennell’s bright and youthful abstract pattern designs – they’ve drawn quite a crowd on Instagram, even catching the eye of the design department at John Lewis. That particular spot lead to a collaboration that saw Sarah’s designs catapulted from her screen-printing studio in the West Midlands to John Lewis windows across the country, when they were featured on Spring/Summer 2018 menswear. Since then, Sarah’s been working on her latest fabric collection, Pleasure Gardens, which launched at the London Design Fair this September. Inspired by 18th century glasshouses filled with exotic plants, Sarah says the collection reflects her “joy in the botanical world”. Sarah studied textile design for fashion and interiors at Bath Spa University, graduating in 2015, and went straight on to set up her own business producing textiles and paper goods. She joined the Crafts Council’s Hot House programme the same year and now works from a leafy, riverside studio at the Maws Craft Centre in Shropshire. We caught up with her there for a chat about creative business. Describe your style in just a few words. Joy-infused colour palettes and naive, collaged shapes and motifs. What are you working on at the moment? I’m expanding my range of giclee prints and have just started a new artwork based on the Lawn Aviary at Birmingham Botanical Gardens. How did you get into your craft? I’ve always been creative. Art was my favourite lesson at school, but it wasn’t until I did my foundation course that I learnt about textiles and print application. I went on to study textiles at university. In my third year I discovered my passion for collage
All Sarah’s designs start life as a collage. She sometimes sketches, but mostly dives in with the paper and scissors.
MEET THE MAKER
and how I could translate that technique into print. Even then, I knew I wanted to work for myself and that setting up an eponymous brand was the way to go. And how did you get your business started? I bought a three metre print table second hand, found a studio space close to home and set up my print studio within a few months of graduating. It felt really important to keep the momentum of university going, so making plans for my business seemed incredibly natural. What’s the most important business lesson you've learnt so far? That your business will naturally evolve. When I first started I had a really set idea about what I wanted my product and my business to be. Over time, I’ve changed and grown, and realised that what might have worked at the start might not work forever. It’s OK to say goodbye to things you were fixed on and open the door to new things. Tell us more about your collab with John Lewis. I designed two prints for them that they used on about eight items of clothing in the Spring/Summer 2018 menswear collection, including T-shirts, shorts, swimwear, shirts and a sweatshirt. I’ve always posted my work on Instagram, and one day I got an email from John Lewis asking me to go to their London studio and take my portfolio. They liked one of my designs-in-progress and asked me to develop it and come up with a second one. Seeing my designs in the John Lewis window display was something I never could have imagined. I received so many photos from friends and family posing with the displays up and down the country! Instagram is a great platform for designers and makers.You never know who’s watching and where that might lead. I had a really positive experience of collaborating with a big brand, which was encouraging given all the fear about companies stealing ideas. Can you share your design process with us? Every single piece of artwork or pattern starts life as a collage. Cutting
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01
Lampshades
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There’s plenty of
made using fabric
colour and pattern
from Sarah’s latest
in Sarah’s studio.
collection. 02
Two of Sarah’s
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After collaging
comes the digital
giclee prints.
editing, always
Glasshouses in
with the radio on.
country house
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Sarah found her
gardens are a big
passion for collage
inspiration.
at university.
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“Cutting paper is the easiest way for me to translate thought into shape.” paper is the easiest way for me to translate thought into shape. I might do a quick sketch so I have something to work with, but most of the time I start instinctively cutting and pasting into my sketchbook. Depending on the product, I’ll then either scan it in and work with it digitally on Photoshop, or I’ll take it into the print studio and use the collage as inspiration for a screen-printed piece of work. Where do you find inspiration? It’s a cliché, but everywhere. I love the botanical world and old country houses – I’m at my most peaceful wandering around those places. I’m inspired by Japanese and Scandinavian aesthetics and find people’s homes inspiring – I’ll end up thinking of patterns that would suit the interiors or go with what’s in their closet.
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MOLLIEMAKES.COM 29
MEET THE MAKER
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Describe your creative space. The studio is set in a converted tile factory in Jackfield, Shropshire – I adore old buildings. I’m fortunate enough to have a shop area, print workshop and small office. The studio has high ceilings and that rustic-industrial feel without being too over-the-top. It’s fairly neutral, with the injection of colour coming from the textiles and objects I fill the space with. I enjoy using salvaged pieces of furniture both at home and at the studio – in the shop I’ve used an old oak door found onsite as a table top. 01
Sarah sells
at the Maws Craft
lampshades and
Centre and online.
cushions made in
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One of Sarah’s
her bright fabrics
signature colourful
both in the shop
collages in progress
space at her studio
on her desk.
Do you have a design hero? Finnish designer Maija Isola, who created designs for Marimekko in the 1960s which are still being produced today. I love her approach to line and stylising of motifs. What do you love best about what you do? So many things! Finishing a piece of work and knowing my heart and soul went into creating it. I love the feeling of pushing a design to its boundaries and thinking, “this is as good as it’s going to get, now is the time to stop”. Setting my own goals and having the power to say no. Are there any elements you don’t enjoy? My number one gripe with the self-employed life is the loneliness. I don’t
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“I love finishing a piece of work and knowing my heart and soul went into creating it.” think we talk about it enough, but I find working on my own can be cripplingly lonely. Sometimes I realise I haven’t said a word out loud all day until I get home to my husband in the evenings. What’s the best piece of advice you’ve been given? Have a portfolio career – multiple income streams from a variety of work activities, which all strengthen and contribute to each other. This has led me to regularly teaching at Birmingham City University as a visiting tutor, giving lectures at universities around the country about my textiles and running workshops. And finally, do you have a dream project? I’d love to collaborate with Marimekko or Anthropologie. Those are my dream clients. My prints stocked in Liberty would also be very exciting! Sarah’s new Pleasure Gardens collection of vibrant prints and textiles is available on her website at www.sarahfennell.co.uk. She also shares her collages on Instagram @freckledfennell.
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON MODEL: RATTASIREE PHASASIRAWAT
Twinkle toes Up your sock game with Marnie Goodman’s vinyl stars, in association with HappyFabric
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HOW TO MAKE STAR SOCKS MATERIALS Q Heat transfer vinyl (we used HappyFabric’s HappyGlitter in Silver Black and Royal Blue from www.happyfabric. co.uk) Q Two different starshaped paper punches (ours were from www. hobbycraft.co.uk) Q Sheer socks Q Thick card Q Paper clip Q Greaseproof paper Q Eraser
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Call it a crafty gal cliché, but when we caught wind of the statement sock trend we immediately saw it as an opportunity for glitter. Dainty sheer socks are everywhere right now, and iron-on glitter vinyl is an easy way to put your stamp on them. Stock up on different sized star punches, or track down hearts, confetti dots or flower shapes and dream up your own design – then wave your feet in the air like you just don’t care. Pre-heat the iron to 150oC, which is the two dot setting on most irons. This is a vital tool when using heat transfer vinyl. 02 Lay one of the socks flat on thick card. Using a pencil, draw around 01
the sock leaving a 1cm (3/8") border to create a template, then cut it out. This template will be used to stretch the sock out ready for the vinyl to be applied. Use the cardboard template to then make a further two templates in greaseproof paper. Paperclip the greaseproof paper templates either side of the cardboard template – this’ll stop the vinyl adhering to the cardboard when heated. Rub out any pencil lines before sliding the template into the sock as pencil may transfer onto the fabric. 03 Slide the template into one of the socks. Make sure when you pull the sock onto the cardboard template that it’s evenly stretched and there are no creases in the fabric of the sock.
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Take the heat transfer vinyl and begin to cut out star shapes with the paper punches. If you’re using HappyGlitter or HappyFlock, remove the plastic carrier sheet on the top of the vinyl before you use the paper punches. This will make it much easier to punch, and will prevent the punch from becoming blunt, as HappyGlitter and HappyFlock are slightly thicker than other vinyls. 05 Lay the sock on a firm surface and give it a quick pre-press with the iron to remove any moisture in the fabric. This will allow the heat transfer vinyl to adhere to the fabric properly. 06 Begin to lay out a starry design on the sock, glittery side up, using the image as a guide. Lay the 04
bigger stars down first and then add the smaller stars around them. You’ll want to aim for an even amount of each colour vinyl. 07 Once you’re happy with the placement of the stars, cover the sock with greaseproof paper. 08 Use the iron to apply pressure to the vinyl and sock on top of the greaseproof paper. Be sure to apply a good amount of pressure for 10-15 seconds in each area as this’ll also help the vinyl adhere to the fabric of the sock and stay in place during washing. Repeat all over the sock until all of the vinyl stars are completely fused to the fabric. Press again in any areas you feel need an extra blast of heat to stick firmly. Repeat Steps 3-8 for the second sock.
MEET THE BRAND HAPPYFABRIC HappyFabric is a craft company that specialises in heat transfer vinyl for crafters to play with at home. They have a huge range of colours and materials to cover any craft project and they’re suitable for beginners. www.happyfabric.co.uk
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ILLUSTRATION: CHLOÉ JOYCE
MIDWINTER MAKERS’ MANIFESTO FORGET SETTING RESOLUTIONS – THERE’S A BETTER WAY TO HARNESS THE MOMENTUM OF A NEW YEAR, MAXIMISE CRAFTING AMBITIONS AND KEEP IT ACHIEVABLE
Words: LOTTIE STOREY Illustration: CHLOÉ JOYCE
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here are points in the year when thoughts, mood or culture make us naturally inclined to start afresh. September is one, with its post-holiday, back-to-work feels and new pencil smell. January is the other big one. The standard marketing message – new year, new you – may be appealing to those of us who enjoy starting over and beginning a new page, but is New Year’s Day really the best time to throw out the old and begin all over again? Not necessarily. This year, try finding ways to ditch the pressure in favour of focusing on the good, and spend time deciding how you want the creative months ahead to look. TAKING STOCK The post-Christmas lull shouldn’t just be spent looking forward to 2019 – it’s also a good time to have a look back on what you achieved in 2018, both personally and creatively. You might like to have a scroll through your camera roll or social media profiles, or flip back through your notebooks and sketchbooks from the year gone by to jog your memory and help hone in on those best bits and yay moments. As well as the big wins, think back to some of the less obvious steps you took – perhaps you completed a huge project, or maybe mastering a new stitch took your crafting in an unexpected new direction? Whatever your wins, be sure to write them down and then set an alert in your calendar for six months from now – a kind message to future you to remind you just how far you’ve come. NEW YEAR, OLD YOU Want to dive deeper? Being more intentional about pausing to reflect and document throughout the year could be just what you need to set you up for 2019. Stylist and writer Hannah Bullivant (www.seedsandstitches.com) has a plan. For the past nine years, she and her husband Dave have collaborated on their January Book. “Put simply, it’s the notebook we use to review the year that’s passed and plan for the year to come,” says Hannah. “We credit this process for being the basis for many of our mega life decisions, from having babies to working on our marriage, changing careers, hiring coaches and making better health decisions.” Bold claims indeed! “The reason our January Book is so effective is because of how little we stop to do this,” she explains. “We
get so caught up in the details of our everyday that we forget to stick our heads up above the noise and just look at where we are against where we’d like to be.” Looking back and putting pen to paper can reveal your new direction, but you also need to give yourself time. As Hannah points out: “It’s called ‘The January Book’ because as well as being something to start the year with, it refers to the fact it can take the whole of January if you want it to.” Hannah’s January Book is an easy way to structure your planning in a way that fits with your life. After all, one of the nicest things about growing older is you begin to know yourself better. What works for someone else might be exactly what doesn’t work for you, so it’s important to figure out your own personal likes and dislikes. Elise Blaha Cripe (www. elisejoy.com) agrees. “I’ve learnt so much by just being honest about who I am and what I can do,” she says. “And then working hard to improve and grow!” As the creator of daily planner and goal setting workbook the Get toWork Book, Elise knows plenty about how best to manifest your intentions. “Write them down, share what you’re working towards out loud, document your progress and build milestones along the way. Make yourself check in and be willing to re-evaluate.” RING THE CHANGES The beginnings of a plan, then. But as part of our makers’ manifesto, let’s be kind to ourselves while maintaining that momentum. Emma Hodgson (www.thelifestylecoach.me) is a lifestyle coach and mentor. Her words of wisdom when contemplating a new year? “My best advice is to only set goals you really want to achieve; ones that align with your why and your vision. Don’t make resolutions just for the sake of it, or you’ll only feel disappointed for not seeing them through.” So what can make the difference when trying to realise your aims throughout the year? “A goal is for life, not just for Christmas!” she laughs. “Write your goal out every day, not just on January 1st. This sends a clear message to your subconscious mind, helps you get crystal clear on what you actually want and keeps you motivated in order to get it.” Whatever your intentions, however you choose to mark the passing of the year and the progression of your craft, just make that journey count. Celebrate the little things along the way, and achieving those goals will be all the sweeter.
MOLLIEMAKES.COM 37
JOURNAL YOUR WAY TO YOUR BEST EVER YEAR B R E AT H E
Control your breath to connect with your body and calm your mind
B I R T H D AY S T O REMEMBER
MONTHLY GOALS
T H I N G S I ’ M G R AT E F U L F O R
NOTES
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Plan each month and keep track of your goals with handy ‘to-do’ lists YOGA: S TA R T T O D AY Finding a hobby that lets you express yourself creatively or physically can be a real mood booster Yoga is great if you want to try a more active pastime these relaxing poses will ease you in gently
HAPPY BABY
This pose is an nstant mood booster putting you in touch with your nner child Not only is t fun to do but t also opens your h ps where we often store tension and releases the lower spine and the sacrum.
M E T H O D Lie on your back Bring your knees into your chest then reach around he outside of your legs to grab the outside of your feet gently holding on to them Have a play around in the pose you can invite some gentle movement into it by rock ng from side to side or forwards and backwards or by extending one leg and then the other Hold for as long as you’re still enjoying the pose.
Tw st out any tension from your day in this pose
Smiling in this pose can make it even more fun
SUPINE SPINAL TWIST
Twists are a great way to stretch out the spine which is helpful if you’ve been sitting at a desk all day This is also an excellent pose to practise after eating or if you’re feel ng bloated it slightly compresses your digest ve organs st mulat ng blood flow to them when you release from the pose which wi l help them to function better
M E T H O D Start by lying flat on your back Bend your knees and bring your feet to the floor Gently push through your heels to lift your h ps off the floor moving them to the left before placing them back down W th your knees still bent br ng them to the right side finding an angle that feels comfortable for you You may need to place a pillow or cushion under your knees if they’re raised off the floor Stay here for 10 slow even breaths then return to a neutral position. Repeat on the other s de
LEGS AGAINST T H E WA L L
Th s is the perfect pose for whenever your legs are feeling tired By raising your legs above your heart some of the effects of gravity on your system are reversed promoting better circulation and digest on and allowing any tension in the legs to drain away
SUPPORTED CHILD’S POSE
This is deal to do before bed for a good night’s sleep as it stimulates the parasympathetic nervous system which encourages the body to rest and digest It also feels like a big supportive hug which is lovely to have at any time when life is getting stressful
M E T H O D Come to a kneeling position w th knees apart Take a bolster or some pillows and pop them n the gap between your legs then fold forward so that you’re lying on the bolster or pillows Turn your face to one side and relax into he pose Take 10 slow even breaths here then turn your cheek to the other side and repeat.
M E T H O D Seated w th your legs straight out in front of you bring one side of your body close to a wall In one movement rotate to lie back on the floor perpendicular to the wall so that your legs sw ng up to rest on the wa l You can put a cushion under your head or lower back to get comfortable and your arms can be spread w de or down by your sides. Stay here for 10 slow, even breaths.
Feel comforted as the pillows hold your weight
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Find new ways to relax and unwind with simple activities and prompts E AT F R E S H, F E E L G R E AT
WINTER
PUMPKIN IN SEASON October December NUTRITION Rich in fibre and antioxidants great source of vitamin A and potassium
Small gradual changes to your diet are easier to implement than fads Making sure you eat seasonally is the easiest way to eat well
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at ng fresh food that’s n season is not only great for the environment as it can be sourced more locally but also enhances its flavour when veggies are naturally ready to be picked they ll
SPRING
A S PA R A G U S IN SEASON April May NUTRITION Good source of vitamin K vitamin B1 and antiox dants SELECT AND STORE Look for vibrant green or purple tinged spears that are f rm not bendy with plump moist ends Tr m the bases and store the stalks upright standing in a l ttle water until ready to use EXTEND THE SEASON Chop and blanch fresh asparagus for 2 3 minutes then keep in the freezer for up to a year
ONLY
£9.99 INC. FREE P&P*
RECIPE SUGGESTION Toss whole asparagus spears n a l ttle olive oil to coat then sprinkle with Parmesan cheese salt and pepper Roast in a preheated oven (180C Gas Mark 4) for 10 15 minutes until tender, and enjoy as a side.
taste so much better Here’s our guide to colourful seasonal vegetables w th t ps for sourcing the freshest produce and ideas for mak ng the most of the r un que flavours
SUMMER
COURGETTE (ZUCCHINI)
IN SEASON June August NUTRITION High in water content source of vitam ns A and C folate and potassium SELECT AND STORE Opt for small young courgettes rather than older b gger ones Look for firm bright and shiny sk n without any blemishes Store them in the vegetable section of the fridg for up to three days before cooking EXTEND THE SEASON Grate the courgette including the skin then freeze When thawing drain any excess liquid RECIPE SUGGESTION Swap bananas for grated and dra ned courgette to make a sweet and moist bread Courgette flowers can also be stuffed with ricotta and baked for a light and delicious appetiser.
AUTUMN
BEETROOT IN SEASON August October NUTRITION Packed with antioxidants and minerals great source of folic ac d manganese fibre and potassium SELECT AND STORE Look for smooth hard and round beetroot Smaller ones will be sweeter and more flavoursome Make sure that the taproot at the bottom of the beetroot is slender and that any leaves attached are dark green and crisp Keep it n the fridge for up to 10 days remov ng the greens before storing
SELECT AND STORE Smaller varieties are better for cooking than larger ones which are better for carving Check for firm skin that’s unblemished and doesn’t have any bruises and a hollow sound when tapped Store in a cool well ventilated place for a few weeks EXTEND THE SEASON Peel and chop the pumpkin nto chunks Boil for around 20 minutes then blitz in a blender to make a purée Freeze to use later on in savoury or sweet recipes RECIPE SUGGESTION Make a r sotto of your choice While it’s cooking remove the top of the pumpkin and take out he seeds and the stringy flesh in the middle When your risotto is ready pop t into the pumpkin and bake for around 30 minutes until the pumpkin is soft and the skin s browned Serve whole scooping out pumpkin flesh with the risotto to add flavour.
EXTEND THE SEASON Simmer cooked beetroot in a pan of white wine vinegar along with sugar sa t and any other spices you’d like for around 10 minutes then pop into a jar Store them in a cool dark place for six weeks and then enjoy RECIPE SUGGESTION Boil whole beetroot for around 40 m nutes or until tender Peel and thinly slice then arrange n thin layers on a plate Serve as a carpaccio with rocket shavings of Parmesan cheese roasted hazelnuts and a mustard sauce of your liking.
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Take small steps each month to bring more happiness to your everyday life
O RDER YO U R CO PY TODAY
ORDER ONLINE WWW.BUYSUBSCRIPTIONS.COM/HAPPIER CALL 03330 162 138† AND QUOTE ‘52 WEEKS TO A HAPPIER YOU PRINT 1’ †UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. *Price above applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include p&p. All orders subject to availability. Please allow up to 28 days for delivery.
I have this thing with pink
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
Your love affair with colourful macramé starts here with Gem Tyler’s clutch bag
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HOW TO MAKE A MACRAMÉ CLUTCH BAG MATERIALS Q United Knots Soft Rose Pink Macramé Cord Single Ply, 100% cotton, 210m/229yd per 1kg, one spool (ours was from www.macrame uk.com) Q Clothing rail or similar Q Two S-hooks Q Yarn needle Q Magnetic popper Q Matching sewing thread Q Sewing needle Q Bristle brush
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Beautiful textured wall hangings in soft cream shades have their place – preferably in our homes, surrounded by all our plant babies – but we know there’s more to macramé than that. Why stop at neutrals? Find the boldest cord you can to create a divinely knotted clutch bag with fringing, leaves and satisfyingly knobbly berry details. Before starting, turn to page 98 to familiarise yourself with the different knotting techniques. Cut one 1m (393/8") length of cord and 22 4m (157½") lengths of cord. Tie the 1m (393/8") length to a clothes rail or something similar by each of its ends so it resembles a clothesline. Now attach each of the 22 4m (157½") lengths of cord to the middle of the ‘clothesline’ using lark’s head knot. 02 Starting on the left and working towards the right, tie a row of square knots. Begin the second row, skipping the first two cords and the last two, as shown. Repeat for a total of 31 rows so you have a rectangle of square knots, creating the body of the bag. 01
Untie each end of the 1m (393/8") length of cord from the rail and lay the rectangle of square knots on a flat work surface. Fold it in half so the top and bottom rows meet. 04 Use the cords that were previously the ‘clothesline’ to sew each side together. Once the yarn needle has been threaded with the clothesline cord, begin on the left-hand side and weave it through the loops that run along the edge of the square knots, sewing both sides together and working towards the bottom of the bag. Once you reach the bottom, continue sewing the cord along the bottom edge – this adds strength and means the sewing cord is disguised among the square knots. 05 Repeat Step 4 on the right-hand edge to complete the body of the bag, then tie the two loose ends in a knot where they meet inside the bag at the bottom for extra strength. Neatly trim the ends. 06 You should have a pouch with 44 long cords trailing from one edge – these will be used to make the flap of the bag. Use the two S-hooks to hang the bag upside03
down from the bottom with the opening facing away. All the working cords should now be trailing down towards the floor. Starting on the left-hand side, count 10 cords in – this will be the lead cord. Using a clove hitch knot, one by one tie each of the nine working cords from right to left by looping them around the lead cord twice and pulling to tighten, creating a slight arch – this forms the top part of the first leaf. 07 To close the leaf shape, select the 10th cord in from the left again. As per Step 6, this is now the lead cord. Tie each of the nine working cords on the left-hand side using a clove hitch knot, encouraging a slight curve to create the leaf shape. Using the next eight cords along, work another leaf shape in the same direction. 08 Next, you’ll create a diamond shape with a berry knot inside using the middle eight cords of the bag flap. To begin the diamond pattern, select the two most central cords – these will be the lead cords for working the three remaining cords that hang to the left and right
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of them. Starting on the left, hold the lead cord diagonally across the three working cords and tie each using a clove hitch knot. Repeat in reverse for the right-hand cords, creating an upside-down V shape. 09 Following the instructions on page 98, tie a berry knot below the upside-down V shape using the six central cords. Use the two lead cords hanging freely on each side to close the diamond shape below the berry knot, repeating Step 8 and tying clove hitch knots to form a second V shape. 10 Continuing to work on the left-hand side, begin creating the two leaves that make up the second row of the pattern. Skip the first four cords, selecting the fifth cord as the lead cord. As per Steps 6-7, work a leaf in the reverse direction of those above using the next eight cords. Repeat to create another leaf in the same direction using the next seven cords. 11 Repeat both the first and second rows of the leaf pattern on the right-hand side of the clutch bag flap, working in reverse to keep the design symmetrical.
Using the eight central cords, repeat Steps 8-9 to create another diamond shape containing a berry knot. This time, make sure to cross the two inner-most lead cords over one another, as shown, to avoid any gaps in the design of the flap. 13 To strengthen and close the leaf design on the bag flap, use the two outer cords as the lead cords and work a row of clove hitch knots towards the centre of the design in a V shape. Repeat twice more to create three rows on each side. 14 Now the bag flap design is complete, trim off the excess lengths of cord, either by eye, or using a ruler as a guide. Brush them out to create a fringe. 15 Once the fringe has been completely brushed out, you can trim it down further to your desired length. We trimmed ours to approximately 3cm (1Âź"). 16 Remove the bag from the S-hooks. To finish, use a sewing needle and matching thread to sew one side of the popper to the underside of the flap, and the other side onto the front of the bag underneath the flap. 12
MEET THE MAKER GEM TYLER MacramĂŠ artist Gem lives in Bristol with her partner and two cats. She loves working with bright colours and has filled her home with plants. Working on her knots among the foliage is her happy place. www.mindymoonmakes. etsy.com
MOLLIEMAKES.COM 41
132 PAGES OF FABRIC INSPIRATION + FOLD-OUT PATTERN SHEET
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The team behind Mollie Makes bring you a collection of fantastic fabric projects. From wardrobe hacks and unique accessories to cute gifts and handmade decor ideas, our step-by-step guides will get you stitching, sewing and quilting.
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Call 03330 162 138 AND QUOTE ‘MOLLIE SEWING VOLUME 2 PRINT 1’ Online WWW.BUYSUBSCRIPTIONS.COM/MOLLIESEWING2 UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. Overseas please call +44 (0)1604 973 746. * Price applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.
Living CREATIVE INSPIRATION FOR YOUR LIFE AND HOME
A creative mind deserves a creative space to come home to, so let your personality shine through the colours, patterns and details you surround yourself with. Different dĂŠcor in every room? Go for it. A pink bed? Why the heck not. Dream in technicolour. www.made.com
MOLLIEMAKES.COM 43
GET THE LOOK PATTERN AND PLAY Pack your home with retro personality, taking an anything goes approach to mixing prints with sentimental details. It’s mid-century done the fun way.
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We defy anyone to find a more upbeat print than this Rifle Paper Co. classic. Hang it by your bed for sunnier mornings, or near the kitchen sink for positive washing-up contemplation. www.riflepaperco.com 01
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What better backdrop for vintage finds and beloved hand-me-downs than an illustrated wallpaper inspired by mid-century science motifs? Plus, this design is printed in the UK. www.missprint.co.uk 02
Brooklyn brand Winter Water Factory is all about the prints, graphic and modern with retro sensibilities. Their garments and cushion covers are only made with 100% organic cotton. www. winterwaterfactory.com 03
OMM Design’s beyond cute tin tea set is a teddy bears’ picnic essential. The mini play crockery features wide-eyed animals engaged in all kinds of japes. Cue dreams of a grown-up sized version. www.berylune.co.uk 04
Square, fearless orange and downright functional – when a clock looks like it’s straight off the office wall of a plucky 1960s copywriter, it’s worth watching. And yes, it does that flippy thing. www.iloveretro.co.uk 05
Living 04 03
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BRAND FOCUS Too many pjs
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Too Many Pjs is a Londonbased nursery and children’s interiors brand. Designed by Erin Plant using sustainable fabrics, you’ll find rainbow playmats made from vintage fabrics and organic cottons, a new baby blanket and toddler bedding range featuring an original Space Age print, and lots of other goodies. www.toomanypjs.com
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WEBSITE TO WATCH Mustard vintage Sometimes a little ceramic lady holding a watermelon is the exact candlestick holder that’s been missing from your life. Kitsch Kitchen know how to bring the whimsy, so don’t fiesta without it. www.trouva.com 06
If plates can be hung as art, a chopping board this striking is definitely wall worthy. This wooden wonder is from the Mini Moderns Paisley Crescent range. Lean in close to spot the tiny bicycles. www. visualimpact.co.uk 07
Furniture hunters Mustard Vintage are passionate about mid-century style. Drawing a blank on the search for the sideboard of your dreams? They’ve got you. In their online shop, they stock beautifully restored retro treasures alongside prints, planters and mirrors – a mix of new and vintage gems. www. mustardvintage.com
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Designer-maker and mum
of two Erin is committed to sustainability in her business. 02
We’re pretty smitten with
the space vibes in The New Hope collection. 03
Too Many Pjs also create
alphabet baby blocks with sensory fabrics.
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AT HOME WITH...
GEORGIA COOTE CELEBRATES PATTERN AND COLOUR IN HER WELCOMING FAMILY HOME
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Words: SARAH DAWSON Photographs: FIONA MURRAY
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hen Georgia Coote and her husband, Ian, moved into this 1950s ex-council house in Chelmsford six years ago, it was a bit of a time warp. “The house only had one owner prior to us moving in, and there were some wonderful 50s gems we inherited from them. Having said that, it was very dated – each room was covered in at least three layers of textured wallpaper!” So began the family’s labour of love, to transform this neglected house into the gorgeous home it is today. Of course, it wasn’t all plain sailing in the early days: “We moved in when my eldest daughter was just one. Decorating with a young family can be pretty challenging,” notes Georgia. “As a result, it’s taken a lot longer than it could have, but we’ve really appreciated doing it and it’s nice looking back on photos to see how it’s evolved.” Now, the home is shared by Georgia, Ian, their daughters Delilah, seven, and CeCe, five, as well as Oreo and Pumpkin the rabbits. As a creative couple – Georgia is a textiles designer and maker, while Ian works as a graphic designer – decorating their home has been a collaborative effort. “When Ian and I first moved in together, like many couples we just cobbled our things together, but gradually we’ve honed a style that’s ‘us’. Ian likes a graphic, modernist style, while I’m an altogether chintzier affair! I think we meet in the middle – I cosy up his style and he reigns mine in, making it less fussy. I like to think our home reflects both our creativity and our personalities.”
“I like to think our home reflects both our creativity and our personalities.”
MOLLIEMAKES.COM 47
AT HOME WITH... “Floral prints remind me of my mum’s Laura Ashley dresses.”
Blending a love for mid-century and Scandi-style interiors with a passion for patterns and colour, Georgia has an ‘anything goes’ attitude to decorating her home: “I don’t think I’d ever be able to follow one particular style.” But at the centre of it all is a sentimental attachment to design. “Patterns are incredibly nostalgic for me,” she explains. “Beautiful floral prints will always remind me of my
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Mum’s Laura Ashley dresses when I was growing up, and a long-time obsession with retro-printed cloths and crockery will always spark memories of rummaging through charity shops as a student.” As a family with young children, but also as someone who works from home, creating a space that’s multifunctional has been essential. “The bureau in the lounge – bought from a local vintage store – is
one of my favourite pieces. The drawers house my sketchbooks and scanner, and the desk can be pulled down when I’m working,” says Georgia. “So often vintage furniture is fantastically space-saving for smaller homes.” “Happy, bright and homely” is how Georgia describes her house, and it definitely has a fun, 50s feel, brought together by some top charity shop finds.
“Both the sideboard and telephone in the lounge were absolute bargains. The sideboard in particular was only £15 – I’ve always wanted one just like this and it’s without a doubt my best discovery.” Celebrating pieces with history is important to Georgia, none more so than their old Ercol rocking chair. “It’s handsdown the most precious item in the house. It’s from my family home and I
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love that both my children were rocked to sleep in it, as well as my sister and I.” The kitchen is Georgia’s favourite room in the house. “It’s very small, but I feel like we’ve arranged everything to make the most of every inch of space. It’s a galley kitchen, which leads to a tiny dining area – this was a coal shed we knocked into. I love the stripy wall, with my shelves of mismatched crockery. The serving
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Delilah’s
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The family made
bedroom was
these Picado flags,
inspired by her love
inspired by Disney
of Frida Kahlo.
Pixar’s Coco.
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Georgia had to
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The tranquil
be creative to make
master bedroom is
the most of Cece’s
full of sentimental
tiny bedroom.
bits and pieces.
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AT HOME WITH...
hatch is fantastic – my Grandma has one and I’ve always loved it. It’s actually so functional for family life too – if I’m in the kitchen, then I can keep an eye on the girls in the lounge. Plus, it’s ideal for playing shops!” Family has always been at the heart of this renovation project, and Georgia has lovingly restored this house into a gorgeous family home. “It’s a constant
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juggle of working out how to store the amount of plastic tat that comes from having kids and incorporating treasured vintage pieces into your home.” If you ask us, she’s got that balance spot on. Textiles designer Georgia shares her makes, finds and creative family life online at www. flowersinthewindow.co.uk. You can also check her out on Instagram @georgia_coote.
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The vintage
in the kitchen were
BT telephone
painstakingly
was an amazing
painted by hand.
charity shop find. 02
This gallery wall
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Georgia
upcycled this
changes to show off
dressing table,
the girls’ artwork.
inherited when
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The bold stripes
they moved in.
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; DESK BUDDIES PENCIL CUP, ROUGH DRAFT MINI NOTEBOOK – PEARLESCENT & CONFETTI, COMPLIMENT PENCIL SET ALL FROM BANDO, WWW.UK.BANDO.COM
It’s positive vibes only for 2019 with Emma Jewell’s jazzy letter board
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HOW TO MAKE A LETTER BOARD MATERIALS Q A4 picture frame Q Letter board letters Q White paint Q Neon pink spray paint (ours was from Rustoleum www. makeityours.co.uk) Q 8m (8.75 yd) pine trim, 6 x 6mm Q Lilac felt Q Glue gun Q Craft knife Q Cutting board Q Paint brush Q Sandpaper
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Letter boards are where it’s at for punny slogans and motivational quotes, but why should they only come in monochrome or millennial pink? Upcycle a picture frame with felt to make your own version in the colour palette of your dreams. We went a bit unicorn on this one, but it’s up to you which direction you take it in – muted pastels, glitter extravaganza or rainbow crayon brights. Use your bright new letter board to freshen up your craft space, desk or inspiration corner ready for 2019. Spacing is everything with this project – evenly spacing out the wooden pieces will make for a better hold on the letters.
Open up the picture frame and remove the backing board. Use it as a guide to cutting the pine trim pieces – they need to be a few millimetres shorter than the width of the backing board. Mark the lengths with pencil. 02 Cut the pine trim at the marked measure points using a craft knife and cutting board. You’ll need enough of them to fill the picture frame. Sand off any rough edges with sandpaper. 03 Paint the picture frame white and leave it to dry. 04 Cover the work surface, then lay out the letters, ensuring all of them are face up. Always use spray paint outside or in a well-ventilated area. Following the manufacturer’s 01
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instructions, spray the letters with neon pink spray paint. Lightly spray them a few times from different angles to get an even coverage all over. Leave to dry. 05 Lay out the pine trim lengths along the right side (RS) of the backing board parallel to each other, using the letters to find the correct spacing. The letters should fit comfortably. Mark the position of each pine trim length with pencil as you work your way down. 06 Stick the pine trim lengths down in their marked places using a glue gun to secure them. 07 Cut a piece of felt the same width as the backing board and twice the length. Glue the top edge of the felt to the top of the
first piece of pine trim using the glue gun, as shown. 08 Next, push the felt fabric in between the first pine trim wood pieces with a ruler or credit card, as shown, ensuring it’s pushed evenly into the gap. 09 Repeat Steps 7 and 8, working your way down until the whole backing board is completely covered with the felt. 10 Neatly cut away any excess felt from the bottom of the board. 11 Replace the frame onto the front of the board. If it no longer clips in, stick the frame to the front of the board using the glue gun. 12 Arrange the letters on the board as desired, lining them up so they slot into the grooves.
MEET THE MAKER EMMA JEWELL Emma makes projects for her blog, as well as running The Glittery Hands Box (a craft subscription box) and The Craft and Cocktail Club (a monthly craft night). She uses as much glitter as possible in her sparkly makes. www. emmajewellcrafts.co.uk
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PHOTOGRAPHY: JESSIE WILD; STYLING: SARAH MALONE AND SALLY BUFTON; WOODEN STANDING STARS FROM COX AND COX WWW.COXANDCOX.CO.UK
Dream small Hand-quilt Elli Beaven’s beautiful whole cloth blanket for a precious bundle
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HOW TO MAKE A WHOLE CLOTH QUILT MATERIALS Q 1m x 80cm (393/8 x 31½") Lilac Washed Linen (Fabric 1) (ours was from www.thehackney draper.co.uk) Q 1m x 80cm (393/8 x 31½") fine pale blue linen fabric (Fabric 2) Q 1m x 25cm (393/8 x 97/8") Kokka Fabrics Nani IRO Colourful Pocho Double Gauze in Sourire (Fabric 3) Q 1m x 80cm (393/8 x 31½") natural fibre wadding Q Lilac hand quilting thread Q Sewing thread to match Fabric 3 Q Contrasting thread Q Erasable fabric marker Q Template plastic
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A calming lilac quilt is a bedtime must for a new bubba, we reckon – all hand-stitched love and gently crumpled linen. The Baptist fan pattern repeat gives glorious trad-meets-modern texture and is carefully sewn in matching pastel thread. For a bolder look, you could quilt yours with a contrasting thread, or use different colours to stitch little rainbows. A stronger shade or print for the binding fabric would up the impact too. Cut an 18 x 2.5cm (71/8 x 1") strip of template plastic. Use a pen to mark 0.5cm (¼") in from one end, then mark every 2.5cm (1") after that. Pierce each of the seven holes with a pin, then enlarge all but the first with the point of a pair of scissors, pushing them all through from the same side so that all rough edges are on top. 02 Layer the backing fabric – Fabric 2 – on a table, followed by the wadding and then Fabric 1, smoothing out wrinkles as you go. This is the quilt sandwich. Make sure all the pieces are slightly larger 01
than the final size of the quilt, as the linen will shift slightly during the tacking and quilting process. 03 Keeping the quilt sandwich laid out flat, and starting at one corner, use contrasting thread to tack stitches roughly 5cm (2") long down the length of the quilt. Once you reach the other end of the quilt, sew a 10-15cm (4-6") tacking stitch to one side and start a new line, as shown. Continue until the whole quilt is tacked together. 04 Use a ruler and the erasable fabric marker to draw a 70 x 90cm (275/8 x 35½") rectangle on Fabric 1, the size of the finished quilt. 05 Place the template along the bottom line at the right-hand side, positioning the first hole over the corner. Using a pin to hold it in place at the corner, place the fabric marker in the first enlarged hole and slide the template up and to the right, pivoting on the pin, drawing an arc until it reaches the right-hand side of the rectangle. Keep it there as you move the fabric marker to the next hole up before sliding it down to the
bottom edge. Move the marker up to the next hole and continue sliding back and forth until all six arcs of the fan are drawn. 06 Move the pin and template to the point where the outer line of the first fan meets the bottom edge of the quilt and start the next fan, drawing the arcs with the template in the same way. Continue to the far edge of the quilt. Start the next row directly above the first fan, placing the pin where the outermost arc of the fan below meets the right-hand side of the rectangle. Continue this row as before, and repeat until the whole quilt is covered with fan arcs. 07 Begin quilting in the lower right-hand corner, bringing the needle with your chosen quilting thread through from the back to where you want to start stitching. Pull the thread until the knot reaches the backing fabric, then continue until the knot ‘pops’ through the backing fabric to rest inside the quilt sandwich. Work your way up and down the fan arcs in the same way you drew them.
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Once fully quilted, remove the tacking stitches. Using a ruler to ensure the edges are straight, cut away any excess fabric and wadding without cutting through any of the quilting stitches. 09 Cut four 6cm (23/8") strips across the width of Fabric 3. Join the strips by laying the ends at 90º with right sides (RS) together. Sew diagonally across the corner and trim away the excess. Press the seams open to create a single length of binding, then the press whole length in half with wrong sides (WS) together. 10 Leaving a 20cm (77/8") tail and starting in the centre of one side at the front of the quilt, align the raw edges of the binding and the quilt, RS together. Sew using a 0.5cm (¼") seam allowance, backstitching at the beginning to secure it. 11 At the corner, stop 0.5cm (¼") from the bottom edge. Rotate the quilt slightly so the remainder of the seam runs into the corner point of the quilt. Remove from the machine and fold the binding up at 45o along the sewn line. Bring it 08
down again so the raw edge aligns with the next edge of the quilt and the fold lines up with the previous edge. Continue sewing the binding. Repeat for the remaining corners and stop approximately 25cm (97/8") before the start point. 12 Lay the quilt out and overlap the two ends of the binding. At the centre of the opening, measure 6cm (23/8") of overlap and trim away the rest. Lay the two binding ends RS together at 90o and sew together as per Step 9 to join. Align the binding with the quilt edge and finish sewing it down. 13 Turn the quilt over and fold the binding edge to the back. Using a fine coordinating thread, hand-sew down the binding, catching just a small amount of binding fabric in each stitch. Make sure the stitches only go through the backing fabric and wadding or they will be visible on the front. At the corners, fold over into a neat mitred corner and secure with a couple of extra stitches. Once finished, machine wash on a gentle cycle to remove the pattern markings, then dry flat.
MEET THE MAKER ELLI BEAVEN Elli’s a textiles obsessive and mum of three. She’s the maker behind Wholecloth Studio, producing modern quilted goods from repurposed and waste textiles. She also coruns new East London workshop space Manus. www.wholecloth.co.uk
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Adv Ad verr ise ent fea ea u urre
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THE HAPPY MAIL
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HENRY & ELIZA
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Image: Shutterstock
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Hey, good looking! Transform a mirror with a geo paper frame by Nellianna van den Baard and Kenneth Veenenbos MOLLIEMAKES.COM 59
OVERVIEW DIAGRAM
10 mm double-sided tape
270 mm
270MM
10MM ASSEMBLY TAB
Segment 15x
HOW TO MAKE AN ORIGAMI MIRROR MATERIALS Q 210-270gsm paper, one 68.5 x 27cm (27 x 105/8") piece and one 64 x 27cm (25¼ x 105/8") piece Q Circular mirror, 30cm (117/8") diameter, 0.5cm (¼") thick Q Split batten with distance to wall of 1.5cm (5/8") Q Mirror fixing tape Q Double-sided sticky tape Q 2mm hole punch Q 1m (393/8") cord
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Get a dose of clean papercraft precision with this modular mirror frame project – there’s something so satisfying about neat folded lines. Rather than creating an add-on to a mirror, you’ll craft a structure that the mirror sits inside. Make it your own with patterned paper, or pop a string of little LED lights inside the frame. For folding and constructing, refer to the Pleating Diagram and Diagrams 1-5 on page 98. On each piece of paper, score vertical lines along the length of the paper – see Overview Diagram – to the measurements given at the base of the Segment Diagram. Each segment measures 4.5cm (17/8") wide and has a set of two partially scored 0.75cm (3/8") sections, labelled Column A, and two fully scored 1.5cm (5/8") sections, labelled Column B – see Segment Diagram. There will be a 1cm (3/8") section remaining on the right-hand edge, which will become an assembly tab. The larger piece of paper will have 15 segments, and the smaller 14. 02 Score the four horizontal lines that run across the full paper width 01
– see Overview Diagram – referring to the measurements given on the Segment Diagram. 03 In each segment, cut out the 0.5cm (¼") rectangle shape in Column B – see knife symbol on Segment Diagram. 04 Referring to the measurements given on the Segment Diagram, mark points A, B, C, D, E, F, G, H and I in Column B and points J, K and L in Column A, then score diagonal lines between the marked points as shown in the Segment Diagram. Repeat for each segment and continue to partially mark and score lines across the assembly tab section – see Overview Diagram. 05 Apply double-sided tape to the 1cm (3/8") section on the right-hand edge of the scored piece – see Overview Diagram. Cut the corners of the assembly tab at a 45º angle. 06 Use a 2mm hole punch to punch holes 0.75cm (3/8") in from the side and bottom edges in each 1.5cm (5/8") scored section – see Overview Diagram and Segment Diagram. 07 For each piece of paper, pre-fold each of the scored vertical and horizontal lines in both directions: note that not all the vertical lines extend to the full
height of the paper. In the first segment on one of the pieces of paper, fold the paper vertically along the central scored line between the two 0.75cm (3/8") sections – note that this vertical line does not extend to the full height of the paper – and pre-fold the diagonal scored lines in this section in both directions. 08 Fold the paper vertically along the central scored line between the two 1.5cm (5/8") sections and pre-fold all the diagonal scored lines in this section in both directions. Repeat for the remaining segments on the first piece of paper before replicating on the second piece of paper. Pleat the paper along the scored vertical lines of each segment as indicated on the Pleating Diagram – again, not all the lines extend to the full height of the paper. 09 Working on each piece of paper in turn, and folding across the full width of the paper, mountain fold the scored horizontal line labelled h1 on Diagram 1 over an angle of 90o, i.e. fold along the edge of the table or work surface. 10 Mountain fold the scored horizontal line labelled h2 on
SEGMENT DIAGRAM 270MM
MAKING UP 17 Remove the backing from the double-sided tape on the right-hand edge of one folded piece and attach to the left-hand edge of the other piece to create one long strip of folded paper. Remove the backing from the double-sided tape on the
right-hand edge of the second folded piece and attach the ends of the model together to begin to create the mirror frame shape. 18 Thread a 1m (393/8") length of cord through the punched holes and gently pull the cord to close the back of the frame; secure the ends of the cord by tying a sliding knot – see page 98. To keep the frame shape secured, make a third knot close to knot 2, then trim off the remaining cord. 19 Make a rectangular hole in the back of the origami model as indicated on Diagram 4; this should be the necessary size to accommodate the split batten fixture you are using. Now you can insert the mirror into the origami frame. Place the folded model on a clean work surface. Gently place the mirror into the 0.5cm (¼") slots cut out at the start of the project. 20 Attach the split batten to the mirror with mirror fixing tape by pressing the mirror and the split batten firmly together. Attach the finished hanging system to the wall following the manufacturer’s instructions, then refer to Diagram 5 on page 98 to hang the mirror in position.
BETTER LIVING THROUGH ORIGAMI This project appears in Better Living Through Origami by Nellianna van den Baard and Kenneth Veenenbos (£15.99), published by Sew and So. The book features 20 paper makes from the duo behind Studio Snowpuppe. www.sewandso.co.uk
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Diagram 1 over an angle of 90o. 11 Valley fold the scored horizontal line labelled h3 on Diagram 1 over an angle of 180o, i.e. fold in half. 12 Mountain fold the scored horizontal line labelled h4 on Diagram 1 over an angle of 90º. 13 In the first segment on one of the pieces, valley fold the two scored lines labelled d1 on Diagram 2. Repeat for the remaining segments. 14 Mountain fold the two scored lines labelled d2 on Diagram 2 by pushing down at the point marked X. Repeat for remaining segments. 15 Valley fold the two scored lines labelled d3 on Diagram 2. Repeat for the remaining segments. 16 Valley fold the two scored lines labelled d4 on Diagram 3. Repeat for remaining segments. Replicate on the second piece of paper.
Pretty big deal
PHOTOGRAPHY: JESSIE WILD; STYLING: SARAH MALONE AND SALLY BUFTON
Fall for plus-size yarn and the art of arm knitting with Becca Parker’s pouffe
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HOW TO MAKE AN ARM KNIT POUFFE MATERIALS Q Woolly Mahoosive Get Stuffed, 100% polyester, 53m/58yd per 1kg, 2kg in Dove Grey (ours was from www.woolly mahoosive.com) Q Double size fitted sheet in grey Q Small bean bag refill (ours was from www. dunelm.com) Q 60mm knitting needles (optional) Q Strong twine or cotton yarn TENSION Tension is not important, but you may find it helpful to practise arm knitting before you start to even out your tension
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ABBREVIATIONS st(s) stitch(es) k knit p purl RS right side WS wrong side FINISHED SIZE Approx. 50cm (19¾") diameter
Forget what you thought you knew about chunky yarn – there’s a new girl in town and she’s bigger and better than ever. With jumbo yarn, you can arm knit your way to a squidgy new home accessory in an afternoon. There are no needles required for this simple, dumpling-shaped beanbag, and you only need to be able to knit and purl. Hello, lazy weekend project. Arm knitting As with knitting in the round, arm knitting doesn’t require turning the work, as you’re passing the stitches across from the left arm to the right arm and back again without turning. This means continuous knit rows form stocking stitch. If you decide to use knitting needles for this project instead of arm knitting, you’ll need to work a knit row
followed by a purl row and so on instead to form standard stocking stitch, and the purl rows in the pattern will become knit rows. Arm knitting can be hard work on the arms. If you’d like to take a break at any point, carefully slide your arm free of the live stitches and thread in a broom handle to hold them in place. Casting on Cast on to your left arm. Make a slip knot for the first stitch, then cast on the rest of the required amount of stitches using the thumb method. Knit stitch First row (worked from left arm to right) hold the working yarn with your left hand where it joins the cast on stitches. Use your right hand to pull the nearest stitch
over your left hand, then pull up the loop of yarn in your left hand through the stitch from back to front, creating the first stitch of the next row. Turn this first stitch so the working yarn is on the left, then place it on your right arm. Work along the rest of the row in the same way. Second row (worked from right arm to left) pass the first stitch from your right arm to your left hand, untwisting it. Use your right hand to pull the working yarn through the stitch from back to front, creating a new stitch. Turn the stitch so the working yarn flows to the right, then place the stitch on your left arm. Continue along the row in the same way, untwisting each stitch as you go so it sits flat. Work all the following knit rows in the same way as the second row, swapping lefts and rights over if
you’re working from left arm to right arm. Purl stitch Pass the first stitch from your right arm to your left hand. Use your right hand to pull the working yarn through the stitch from front to back, creating a new stitch. Turn the stitch so the working yarn flows to the right and sits at the front of the work, and then place the stitch on your left arm. Continue along the row in this way. Work all following purl rows in the same way as the second row, swapping lefts and rights over if you’re working from left arm to right arm. Casting off For this design, the cast off is worked from left to right arm. First, work 2 knit stitches from left to
right arm, then pass the first stitch over the second. Work another knit stitch from left to right arm, then pass the previous stitch over this. Repeat until the end of the row. Instructions The piece is worked flat, then seamed at the back and gathered to create a sphere Cast on 12 sts to your left arm Rows 1-3 k Row 4 p Rows 5-7 k Rows 8-27 repeat Rows 4-7 five times Row 28 p Cast off, leaving a long tail for sewing Making up With the WS facing, use the long yarn tail and your hands to weave a running stitch along one of the MOLLIEMAKES.COM 65
HOW TO MAKE AN ARM KNIT POUFFE
Beanbag inner Place the double fitted sheet inside the arm knitted piece as if putting a bin liner in a bin. Little by little, pour the polystyrene bean bag filling into the sheet, pausing at intervals to reach in and stretch out 66 MOLLIEMAKES.COM
the sides of the pouffe and push the sheet down to make more room. Once all the beans are in, carefully gather up all the edges of the sheet and tie very firmly with strong twine or thick cotton yarn. Alternatively, if you have a couple of friends on hand to assist you, you may find it easier to have them hold out the sheet while you pour all the beans in before fastening it off and placing it inside the knitted outer. Finishing Make sure any yarn tails are on the inside. For the base of the pouffe, use a length of yarn and your hands to weave a running stitch along the remaining edge. Pull the yarn to gather it together, then tie it off, weaving the end to the inside. Reshape the pouffe to make it plump and round.
MEET THE MAKER BECCA PARKER By day, Becca is Production Editor for Mollie Makes. By night she’s side hustling, creating accessories for brides and colour lovers. Any downtime is devoted to knitting, running, and hitting up the library. www.tobe adornedshop.etsy.com
FLORAL HOOP PHOTOGRAPHY: LESLEY MAYFIELD PHOTOGRAPHY
long edges. Pull the yarn tail to gather, creating the base of the pouffe, then turn RS out. For the back seam, use the remainder of the yarn tail or cut a new length of yarn and tie to the yarn tail on the inside. With your hands, use mattress stitch to seam the two short edges of the piece. It’s easiest to do this with the RS of the work facing you so you can make sure the seam is invisible – there should be an even three rows of stocking stitch between each purl row all the way around the pouffe.
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Making HAND-PICKED PROJECTS TO FALL IN LOVE WITH
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We’ve come over all loveydovey for these sparkly hearts. Use them to top soppy Valentine’s gifts or just share the crafty love – any excuse to play with glitter. Follow Tell Love and Party’s fab tutorial to make your own using the humble pipe cleaner. www. tellloveandparty.com
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; MODEL: RATTASIREE PHASASIRAWAT
LOVED UP Wear your heart on your actual sleeve with Claudine Powley’s bobbly crochet cardigan
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HOW TO MAKE A CROCHET CARDIGAN MATERIALS Q Knitcraft Leader of the Pac, 90% acrylic, 10% alpaca, 169m/185yd per 100g, 7 (7, 8) balls in Cream (ours was from www.hobbycraft.co.uk) Q 5mm (UK 6, US H/8) crochet hook Q Yarn needle Q Stitch markers TENSION Approx. 13 sts x 10 rows in htr to measure 10 x 10cm (4 x 4") ABBREVIATIONS (UK) st(s) stitch(es) sp(s) space(s)
ch chain ss slip stitch dc double crochet htr half treble tr treble yrh yarn round hook RS right side WS wrong side rep repeat 5-tr cluster 5 treble cluster – (yrh, insert hook in st indicated, yrh and pull up loop, yrh and draw through 2 loops) 5 times, inserting hook in same st each time, yrh and draw through all 6 loops on hook, do not ch1 to finish, work straight into next st FPtr front post treble –
FINISHED SIZE Measurements
S
M
L
To fit bust
85-90cm
95-101cm
107-112cm
(33½-35½")
(373
(421/8-441/8")
53.5cm
59cm
64.5cm
(211/8")
(23¼")
(253/8")
Garment back width Length Sleeve length
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/8 -39¾")
60cm (235/8") 43.5cm (171/8")
yrh, insert hook from the front of the work to the back, around the back of the indicated st and back through to the front, yrh and draw round the back of the post of the indicated st, (yrh and draw through 2 loops) twice BPtr back post treble – yrh, insert hook from the back of your work to the front, around the front of the indicated st and back through to the back, yrh and draw round the front of the post of the indicated st, (yrh and draw through 2 loops) twice
Bobbles, love hearts and cosy crochet – what’s not to fall for? This Valentine’s Day, we’re going to be our own not-so-secret admirers and spoil ourselves with a good armful of alpaca yarn so we can make a start on this gorgeous cardi. The single colour design means it’s the texture that really stands out – you’ll be dabbling in clusters and post trebles to create the ribbing and bobbles. Bring it on, we’re already smitten. Instructions The pattern is written for size S with instructions for M and L shown in brackets where different i.e. S (M, L). The cardigan is made flat in five separate pieces – the back, two fronts and two sleeves – which are sewn together and a ribbed front band is added. To make it longer or shorter, you can adjust the number of rows, but always adjust by an even number e.g. work 2, 4 or 6 rows more or fewer. If you make it longer you may need more yarn. When working the sleeve, place a stitch marker around the increase sts to check you’re always increasing on alternate sides.
Back Ribbed hem band Foundation ch65 (69, 77) Row 1 1tr in 3rd ch from hook (2ch missed counts as 1tr), 1tr in each ch to end, turn [64 (68, 76) sts] Row 2 ch2 (counts as 1st st), *1FPtr, 1BPtr; rep from * to last st, 1FPtr (worked around 2ch), turn Rep Row 2 twice Main body Row 1 (RS) ch2 (counts as 1st htr here and throughout), 2htr in next st, *12 (9, 9) htr, 2htr in next st; rep from * 1 (2, 2) times, **11 (8, 10) htr, 2htr in next st; rep from ** 2 (3, 3) times, turn [70 (76, 84) sts] Row 2 ch2, 1htr in each st to end, turn Rep Row 2 a further 50 times to give 4 rows of rib and 52 rows of htr Shape shoulders Row 1 (RS) ss across first 4 sts, 1dc, 60 (66, 74) htr, 1dc, 1ss, turn leaving remaining sts unworked Row 2 ss in dc and first 2 htr, 1dc, 54 (60, 68) htr, 1dc, 1ss, turn leaving remaining sts unworked Row 3 ss in dc and first 2 htr, 1dc, 48 (54, 62) htr, 1dc 1ss, turn leaving
remaining sts unworked Row 4 ss in dc and first 2 htr, 1dc, 42 (48, 56) htr, 1dc, 1ss, fasten off Front right (as worn) Ribbed hem band Foundation ch23 (27, 31) Row 1 1tr into 3rd ch from hook, (2ch missed counts as 1st st), 1tr in each ch to end, turn [22 (26, 30) sts] Row 2 ch2 (counts as 1st st), *1FPtr, 1BPtr; rep from * to last st, 1FPtr (worked around the 2ch), turn Rep Row 2 twice
(12,16) htr, fasten off Front left (as worn) Work as for front right until shape shoulders
Main body Row 1 (RS) ch2 (counts as 1st htr here and throughout), 1htr in each st to end, turn Rep Row 1 a further 51 times to give 4 rows of rib and 52 rows of htr
Shape shoulders Row 1 (RS) ss across first 4 sts, 1dc, 17 (21, 25) htr, turn Row 2 ch2, 13 (17, 21) htr, 1dc, 1ss, turn Row 3 ss in dc and first 2 htr, 1dc, 11 (15, 19) htr, turn Row 4 ch2, 7 (11, 15) htr, 1dc, 1ss, fasten off With RS together, pin the shoulder seams, matching up the shaping. Using a yarn needle and matching yarn, sew using mattress stitch, leaving a 0.5cm (Âź") seam allowance
Shape shoulders Row 1 (RS) ch2, 16 (20, 24) htr, 1dc, 1ss, turn leaving remaining sts unworked Row 2 ss in dc and first 2 htr, 1dc, 14 (18,22) htr, turn Row 3 ch2, 10 (14,18) htr, 1dc, 1ss, turn leaving remaining sts unworked Row 4 ss in dc and first 2 htr, 1dc, 8
Sleeves (make two) Ribbed cuff Foundation ch35 (35, 37) Row 1 1tr into 3rd ch from hook (2ch missed counts as 1tr), 1tr in each ch to end, turn [34 (34, 36) sts] Row 2 ch2 (counts as 1st st), *1FPtr, 1BPtr; rep from * to last st, 1FPtr (round the 2ch), turn Rep Row 2 twice MOLLIEMAKES.COM 79
HOW TO MAKE A CROCHET CARDIGAN Main sleeve Ch2 does not count as first st throughout sleeve The first st of each row should be worked into the base of the ch2 Row 1 (RS) ch2 (does not count as st), 2htr in first st, 1htr in each st to end, turn [35 (35, 37) sts] Row 2 ch2, 1 (1, 2) htr in first st, 1htr in each st to end, turn [35 (35, 38) sts] Row 3 ch2, 1 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [35 (36, 39) sts] Row 4 ch2, 17 (18, 19) htr, 5-tr cluster, 17 (17, 19) htr, turn Row 5 ch2, 1 (2, 1) htr in first st, 1htr in each st to last st, 2 (1, 2) htr in last st, turn [36 (37, 40) sts] Row 6 ch2, 16 (16, 18) htr, 5-tr cluster, 3htr, 5-tr cluster, 15 (16, 17) htr, turn Row 7 ch2, 1 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [36 (38, 41) sts] Row 8 ch2, 14 (15, 16) htr, 5-tr cluster, 7htr, 5-tr cluster, 13 (14, 16) htr, turn Row 9 ch2, 2 (2, 1) htr in first st, 1htr in each st to last st, 1 (1, 2) htr in last st, turn [37 (39, 42) sts] Row 10 ch2, 13 (14, 16) htr, 5-tr 80 MOLLIEMAKES.COM
cluster, 4htr, 5-tr cluster, 4htr, 5-tr cluster, 13 (14, 15) htr, turn Row 11 ch2, 1 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [37 (40, 43) sts] Row 12 ch2, 14 (16,17) htr, 5-tr cluster, 1htr, 5-tr cluster, 3htr, 5-tr cluster, 1htr, 5-tr cluster, 14 (15, 17) htr, turn Row 13 ch2, 1 (2, 1) htr in first st, 1htr in each st to last st, 2 (1, 2) htr in last st, turn [38 (41, 44) sts] Row 14 ch2, 1htr in each st to last st, 1 (1, 2) htr in last st, turn [38 (41, 45) sts] Row 15 ch2, 1 (1, 1) htr in first st, 1htr in each st to last st, 1 (2, 2) htr in last st, turn [38 (42, 46) sts] Row 16 ch2, 11 (13, 15) htr, 5-tr cluster, 15htr, 5-tr cluster, 10 (12, 14) htr, turn Row 17 ch2, 2 (2, 2) htr in first st, 1htr in each st to end, turn [39 (43, 47) sts] Row 18 ch2, 9 (11, 13) htr, 5-tr cluster, 3htr, 5-tr cluster, 11htr, 5-tr cluster, 3htr, 5-tr cluster, 9 (11, 13) htr, turn Row 19 ch2, 1 (1, 1) htr in first st, 1htr in each st to last st, 1 (2, 2) htr in last st, turn [39 (44, 48) sts] Row 20 ch2, 7 (10, 12) htr, 5-tr
cluster, 7htr, 5-tr cluster, 7htr, 5-tr cluster, 7htr, 5-tr cluster, 7 (9, 11) htr, turn Row 21 ch2, 1 (2, 2) htr in first st, 1htr in each st to last st, 2 (1, 1) htr in last st, turn [40 (45, 49) sts] Row 22 ch2, 7 (9, 11) htr, 5-tr cluster, 4htr, 5-tr cluster, 4htr, 5-tr cluster, 5htr, 5-tr cluster, 4htr, 5-tr cluster, 4htr, 5-tr cluster, 6 (9, 11) htr, turn Row 23 ch2, 2 (1, 1) htr in first st, 1htr in each st to last st, 1 (2, 2) htr in last st, turn [41 (46, 50) sts] Row 24 ch2, 8 (11, 13) htr, 5-tr cluster, 1htr, 5-tr cluster, 3htr, 5-tr cluster, 1htr, 5-tr cluster, 7htr, 5-tr cluster, 1htr, 5-tr cluster, 3htr, 5-tr cluster, 1htr, 5-tr cluster, 8 (10, 12) htr, turn Row 25 ch2, 1 (2, 2) htr in first st, 1htr in each st to last st, 2 (1, 1) htr in last st, turn [42 (47, 51) sts] Row 26 ch2, 1 (1, 2) htr in first st, 1htr in each st to end, turn [42 (47, 52) sts] Row 27 ch2, 2 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [43 (48, 53) sts] Row 28 ch2, 21 (24, 26) htr, 5-tr cluster, 21 (23, 26) htr, turn Row 29 ch2, 1 (2, 1) htr in first st,
1htr in each st to last st, 2 (1, 2) htr in last st, turn [44 (49, 54) sts] Row 30 ch2, 20 (22, 25) htr, 5-tr cluster, 3htr, 5-tr cluster, 19 (22, 24) htr, turn Row 31 ch2, 2 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [45 (50, 55) sts] Row 32 ch2, 18 (21, 23) htr, 5-tr cluster, 7htr, 5-tr cluster, 18 (20, 23) htr, turn Row 33 ch2, 1 (2, 1) htr in first st, 1htr in each st to last st, 2 (1, 2) htr in last st, turn [46 (51, 56) sts] Row 34 ch2, 18 (20, 23) htr, 5-tr cluster, 4htr, 5-tr cluster, 4htr, 5-tr cluster, 17 (20, 22) htr, turn Row 35 ch2, 2 (1, 2) htr in first st, 1htr in each st to last st, 1 (2, 1) htr in last st, turn [47 (52, 57) sts] Row 36 ch2, 19 (22, 24) htr, 5-tr cluster, 1htr, 5-tr cluster, 3htr, 5-tr cluster, 1htr, 5-tr cluster, 19 (21, 24) htr, turn Row 37 ch2, 1 (2, 1) htr in first st, 1htr in each st to last st, 2 (1, 2) htr in last st, turn [48 (53, 58) sts] Row 38 ch2, 1htr in each st to end, turn Row 39 ch2, 1htr in each st to end, fasten off
Making up Lay the cardigan out RS up. Lay one sleeve on top of cardigan with WS facing, matching the centre of the sleeve top with the shoulder seam. Pin the sleeve along the cardigan edge and sew in place using mattress stitch. Repeat for the second sleeve. Lay out the cardigan with the RS of the fronts and backs together. Pin the sleeve seams and side seams, matching up the rows and the hearts. Sew one long continuous seam from the cuff to the hem. Repeat on the other side.
MEET THE MAKER CLAUDINE POWLEY Designer Claudine lives in Cornwall with her husband and children. She’s always loved creating one-of-a-kind clothing, but these days she opts for a hook over the sewing machine. She shares yarny inspo on Instagram @iron_lamb. www.ironlamb.etsy.com
Front band With RS facing, join the yarn to bottom corner of the right front Foundation ch2 (counts as 1tr), work 89tr evenly up right front edge, 22tr across back neck and 90tr evenly down left front edge, turn [202 sts] Aim for 15sts per 10 rows Row 1 ch2 (counts as 1st st), *1FPtr, 1BPtr; rep from * to last st, 1FPtr (round the 2ch), turn Rep Row 1 a further two times, fasten off and weave in all ends.
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; MODEL: RATTASIREE PHASASIRAWAT
Stay golden
Treasure petals and precious metals with Benita Nagra’s hoop earrings
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HOW TO MAKE RESIN EARRINGS MATERIALS Q 150ml Gedeo Crystal Resin Kit Q Gold flakes (we used Nuvo Gilding Flakes in Radiant Gold) Q Flower petals Q Two sterling silver earrings backs and fastenings Q Two 6mm gold jump rings Q Two gold screw eye pin bails, 8 x 4mm Q Fine 1mm screw bradawl Q 6cm (23/8") hoop style silicone mould
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Q 1cm ( /8") stud style silicone mould Q Jewellery pliers Q Measuring cups Q Wooden stirrer Q Pipette Q Tweezers 3
Petal faffers, this is your time to shine – encapsulate pressed flower pieces and golden flakes forevermore with a spot of resin wizardry. For these earrings, we’ve opted for a notice-me statement hoop style, but you could make yours in whatever shape you like, as long as there’s a mould for it. And how about saving petals from a special bouquet for handmade jewellery with even more meaning? Leave the petals to dry, laid out in a tray or pressed between weights, such as pages in a heavy book. Use darker flower petals as the pigment is less likely to fade in the resin over time. You’ll know they’re dry when they’re crispy and paper-like – allow two or three weeks minimum. Trim them and remove any stems before using. 02 To measure out the resin in the measuring cups, add the correct 01
ratio of resin to hardener, in this case it is 2:1. You’ll need approximately 30ml in total for these earrings, therefore mix 20ml resin with 10ml hardener. 03 Resin is very sensitive so follow the ratio exactly and mix well. You can pour the mixture from one cup into another to ensure a thorough blend. Mix the resin and hardener thoroughly in a disposable cup with a clean wooden stirrer until the mixture goes from clear to cloudy, then back to transparent again. Ensure the moulds for the earrings are clean and dust free and leave the resin to settle before pouring. 04 For the earring studs, fill the smaller moulds halfway with the resin mixture using the pipette. Add in two or three gold flakes using tweezers and ensure they’re covered in the resin. 05 For the hoop shape, fill the moulds halfway with the resin
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mixture, then add in the flower petals and gold flakes using tweezers. Mix around in the resin mixture to ensure all the pieces are coated and create an even arrangement you like. 06 Next, fill all the moulds to the very top with the resin mixture, using the pipette for a smooth finish. If any bubbles do form in the moulds, use a pin to pop them to ensure clarity. Have some additional moulds on standby to fill with any leftover resin and make some extra earrings. 07 Before the resin sets, add in the earring fixtures to the studs. You can do this after around 13-14 hours while the resin is still malleable. Push each earring back into the resin, ensuring the base of the earring back is covered and it stands straight. Keep adjusting them to a standing position until the resin is set if they begin to lean.
After 24 hours, you can remove the four resin pieces from their moulds. Peel the shapes away slowly and use a sharp pair of scissors to trim any excess resin. 09 Use the small screw bradawl to begin the hole on the base of the stud earring, as shown. Once a small hole is made, use this to place the screw bail. 10 Turn slowly and keep straight until the screw is completely in the resin. You can use pliers to turn the screw for a more secure hold. Be sure not to over tighten – stop once you reach the eye of the screw pin. 11 Create the hanging fixings for the hoops. For each earring, use a 6mm jump ring and open it with pliers. Thread one through each hole in the resin hoops. Keep the jump ring open and thread on the screw eye bail fixed in the stud, then close the rings tightly. Add the earring backs to finish. 08
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MEET THE MAKER BENITA NAGRA Benita’s based in London where she runs her homeware and jewellery business, The Abstract Bee. After leaving the world of finance, she now fills her days making concrete and resin pieces and candles and cards. www. theabstractbee.com
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Made for adventure Hit the trail with Anna Alicia’s waxed canvas roll-top backpack
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
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HOW TO MAKE A CANVAS BACKPACK MATERIALS Q 50cm (19¾") each of waxed canvas in wine (Fabric 1) and caramel (Fabric 2) Q 50cm (19¾") medium weight cotton canvas (Fabric 3) Q 3m (1181/8") dark brown webbing, 2.5cm (1") wide Q Matching sewing thread Q Four sets of magnetic poppers, 1.5cm (5/8") wide Q Two D rings, 3cm (1¼") wide Q Two strap adjusters, 3cm (1¼") wide Q Tailor’s chalk
Intrepid to you could mean wild camping, surviving the commute, or just rinsing the free wifi at that café all day on only one latte. This is the kind of rucksack you’ll want at hand for those fearless weekends or everyday adventures – it’s practical but definitely a looker, and is roomy enough to house a laptop, notebook, snacks and your latest project. What we love about waxed canvas is that it’s water repellent, and it’ll develop a lovely ‘vintage leather’ look as it’s handled – to speed this up, scrunch up your pieces a bit then flatten out again before you sew them. You’ll need to use a sewing machine needle suitable for heavier weight fabrics. From Fabric 1, cut a 38 x 35cm (15 x 13¾") piece for the front pockets, a 20 x 25cm (77/8 x 97/8") piece for the back base, a 16 x 16cm (63/8 x 63/8") piece for the pocket flap and two 7 x 7cm (2¾ x 2¾") squares for the strap loops. 01
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From Fabrics 2 and Fabric 3, cut two 55 x 35cm (215/8 x 13¾") pieces. 02 Take the front pockets piece and fold in half so the two 35cm (13¾") edges meet. Unfold and mark two points 2cm (¾") down from the fold and 14.5cm (5¾") in from each side. At each of these two points, add a negative side of one of the magnetic poppers. To do this, cut a 4mm slit about 3mm to the left of one of the marks and another 3mm to the right. Insert the little ‘arms’ at the back of the popper through the slits and fold them down securely. Repeat at the other mark with the second popper. Fold the pockets piece in half again, making sure the poppers end up on the outside. Sew along the folded edge about 3mm in. 03 Lay out one of the Fabric 2 panels with the short edges at the top and bottom, and lay the pocket panel on top, aligning the bottom raw edges. Pin in place, then mark and sew two vertical lines down the pocket panel, each 10.5cm (4¼") in
from the sides. Finally, mark and sew across the panel 5cm (2") up from the bottom edge. 04 To make the flap for the middle pocket, fold the flap piece in half, unfold, then mark two points 2cm (¾") down from the fold and 5cm (2") in from each side. At each of these two points, add a positive side of one of the magnetic poppers as per Step 2. Fold the flap piece in half again along the fold, this time with the poppers on the inside. Pin and sew along the two short edges. Turn the flap right side (RS) out. Fold the open long edges to the wrong side (WS) by 1cm (3/8") and pin. Sew along the open edge about 0.5cm (¼") in, then continue sewing around the other three edges, about 2-3mm in. 05 Place the flap on top of the pocket so the edge that was open is at the top and the poppers match up. Pin the flap in place along the top edge and sew to the front panel along the pinned edge, 0.5cm (¼") down from the top.
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To finish the front panel, add the negative sides of the remaining set of magnetic poppers – these will match up with the webbing tabs. Mark two points 28cm (11") down from the top edge of the front panel and 10.5cm (4¼") in from the sides. Fit the poppers at these points as per Step 2. 07 Next, assemble the back panel. Start by taking the Fabric 1 base piece and folding one of the longer edges over by 1cm (3/8"). Lay out the other Fabric 2 panel and place the base piece on top, aligning the raw edges at the bottom, and positioning the folded edge at the top with the edge folded under. Sew along the folded edge approximately 3mm in. 08 Take the two small 7 x 7cm (2¾ x 2¾") squares of Fabric 1 and fold each edge to the WS by 1cm (3/8"). Sew in place roughly 0.5cm (¼") in. Next, cut two pieces of webbing, each 8cm (31/8") long. Fold each piece in half and thread through one of the D rings. Pin one of the 06
squares on the back panel, 7cm (2¾") in from the right-hand side and 7cm (2¾") up from the bottom edge. Pin the other square 7cm (2¾") in from the left-hand edge and 7cm (2¾") up from the bottom edge. Tuck the ends of one of the webbing D ring loops under the top of each square by 1.5cm (5/8") and pin in place. Sew around the edge of each square, 4mm in, then sew from corner to corner diagonally across to secure it. 09 Lay out the back panel with the D ring loops at the bottom. Cut two 15cm (6") lengths of webbing and place one of them 15cm (6") down from the top edge of the panel, keeping it horizontal and central. Pin in place, then fold the ends to the WS by 1cm (3/8") and pin. Take the other length of webbing and fold it round to form a flattened loop, as shown. Tuck both cut ends of the loop under the pinned strip, keeping them central, and pin in place. Cut two 75cm (29½") lengths of webbing
and tuck one end of each under the horizontal strip, either side of the loop – make sure to tuck at least 1.5cm (5/8") of the ends under. Sew all the way around the edges of the horizontal strip, about 3mm in, sewing twice to make sure the straps and loop are secure. 10 Take one of the long webbing straps and thread the loose end through a strap adjuster, through the D ring front to back, then back up and under the central bar of the adjuster again, from top to bottom. Leave 5cm (2") of webbing sticking out of the strap adjuster, fold the end under by 1cm (3/8") and pin and sew to the strap. Repeat this step to make the second strap. 11 Next, add the tabs that close the bag. Cut two lengths of webbing, each 30cm (117/8"). Fold over one end of one of the pieces by 1cm (3/8") and pin that end to the back panel, 9.25cm (3¾") in from the right hand edge and about 2.5cm (1") below the strip of webbing holding the straps in MOLLIEMAKES.COM 91
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HOW TO MAKE A CANVAS BACKPACK
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Turn the bag RS out and tuck the lining inside the bag with WS facing, matching the seams of the bag and lining. Fold the top raw edges to the WS by 1cm (3/8") and pin the bag and lining. Sew around the top edge about 0.5cm (¼") in. 15 Place the bag RS up, then fold the top edge towards you by roughly 5cm (2"). Fold it over again by about 6cm (23/8"), then bring the tabs to the front from the back. Add the positive side of a popper to the end of one of the tabs, 3.5cm (13/8") up from the end, and facing up. Next, fold the end of the tab to the WS by 1cm (3/8"), then again by 4cm (15/8"), and pin. 16 Check the popper matches up with its counterpart piece on the front of the bag – you can adjust the fold measurements slightly if needed. Sew across the tab 2-3mm below the folded end, and also 2-3mm from the end of the tab. Repeat Steps 15-16 to add the remaining popper piece to the other tab to finish. 14
MEET THE MAKER ANNA ALICIA Designer-maker Anna runs her eco-ethical jewellery and homeware label A Alicia from East London. That’s where she lives with her artist husband, their little one, and a multitude of books and plants. www. aalicia.bigcartel.com
HEADSHOT PHOTOGRAPHY: JACQUI MELVILLE WWW.JACQUIMELVILLE.COM
place. Repeat on the left-hand edge. Sew both of the ends in place with a 4.5cm (17/8") long rectangle approximately 2-3mm in from the edges, and with a cross through the centre, as shown. 12 Lay out the back panel RS up and make sure all the straps and tabs are folded into the middle and not overlapping the edges. Lay the front panel on top, RS down, making sure both panels are the right way up, with the Fabric 1 sections at the bottom. Pin and sew 1cm (3/8") in along the sides and bottom, leaving the top open. 13 To square off the bottom corners, adjust the fabric so the seams sit on top of each other, then flatten it out, as shown. Measure 4cm (15/8") up the seam from the tip of the corner, then pin and sew a horizontal line across the seam at that point. Trim away the fabric at the corner, leaving a seam allowance of roughly 0.5cm (¼"). Repeat Steps 12-13 with the two Fabric 3 lining pieces.
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NEXT MONTH in
102
on sale 24TH JANUARY
HEXI CROCHET BLANKET KNIT KIDS’ WELLY WARMERS TRY MODERN PATCHWORK
tches!
GIFT AND CONTENTS SUBJECT TO CHANGE
crochet Katie Jones’ hea rt pa
PLUS
FRIDA KAHLO PAPERCUT FELT BEAR TOY PAINTED SHIRT HACK EASY-SEW PROJECT BAG LATCH HOOK CLOUD STATEMENT PLANT STAND 94 MOLLIEMAKES.COM
Take note PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
Bind your own watercolour notebooks – Rachel Hazell shows you how
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HOW TO MAKE A SET OF NOTEBOOKS MATERIALS Q Five sheets of A4 copy paper, 80 or 100gsm Q Three 15 x 37cm (6 x 145/8") strips of thick watercolour paper, 160gsm minimum Q One 38 x 55cm (15 x 215/8") piece of thick watercolour paper, 160gsm minimum Q Watercolour ink or paint in blue, yellow and pink Q Small paint brush Q Metal ruler Q Cutting mat Q Craft knife Q Sewing needle Q Waxed linen thread Q Bone folder (optional)
A new year calls for a fresh set of notebooks – clean, blank pages for dreaming big, starting over or getting organised. Take time out this month for a bit of folding, stitching and painting to create a neatly bound notebook set in a matching portfolio case. Each of the three books inside is bound using a variation of pamphlet stitch, which looks impressive but is so simple to do. To customise your bound notebooks, you could attach beads, tags or feathers to the tail ends, add an affirmation to the cover of each book in loopy lettering, or personalise the portfolio with your initials. Cut the five A4 sheets in half along the width to create the notebook pages. Create a narrow 01
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spine by folding a 15 x 37cm (6 x 14 /8") cover sheet almost in half, just 2mm short. Make a firm crease with a bone folder or your finger. Open out and repeat at the other end, giving neat parallel lines. Follow this step to make narrow spines on each of the three cover sheets. 02 Using a paint brush, watercolour inks or paints and the main image as a guide, paint the covers with inky patterns and leave to dry. 03 For each book, fold three sheets of the paper for the pages in half along the width and nest together. For Book One, use the template on page 98 to mark three dots on the folded edge and pierce holes through the three sheets. Mark and pierce three holes down the centre of the spine on the cover too. 04 Book One is made using three-hole pamphlet stitch. 5
Starting at the middle hole, take the needle and thread from the outside to the inside, leaving a tail of at least 3cm (1¼") – hold onto this. Go up to the top hole and through it to the outside again. 05 Next, miss out the middle hole, taking the needle back into the centre through the bottom hole, creating a long stitch down the spine, as shown. 06 Finally, come out through the middle hole, making sure the needle and thread and the tail are on opposite sides of the long stitch before tying a double knot. Trim the ends to roughly 3cm (1¼"). 07 Mark where the edge of the paper sits on the cover using your nail, then fold in the cover flaps. 08 Book Two is bound by sewing two separate pamphlet stitches on the same spine. Make six holes
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using the template on page 98, as per Step 3, then repeat Steps 4-6 in the top three holes. Tie off and trim the ends, then repeat with the remaining three holes to sew a second pamphlet stitch. 09 Book Three has three pamphlet stitches down the spine. Referring to the diagram on page 98, make nine holes and repeat Steps 4-6 three times along the spine. 10 To create the portfolio, lay the pile of books in the centre of the 38 x 55cm (15 x 215/8") sheet of watercolour paper. Use the template on page 98 for reference but take the measurements from your own books. Start by drawing a rectangle around the books with a 1mm border on all sides. 11 Next, pencil in the side walls of the portfolio, which will be the height of the books plus 2mm. This
design has tiny tabs visible too. Now mark out two side flaps that are half the height of the base rectangle and two side flaps that are the full width of the base. Cut out the portfolio shape, then score the lines using a bone folder. 12 Paint the outside of the portfolio with the same pattern used for the books. To fasten, make two paper buttons by painting oval shapes onto an offcut of the thick watercolour paper. Cut out, then cut a length of thread long enough to wrap around the case a few times. Sew through the centre of one button, push along to the middle of the thread length, then use the ends to sew the second button to one flap of the portfolio, using the main image as a guide. Place the books inside, fold in the flaps and use the thread to secure.
MEET THE MAKER RACHEL HAZELL Rachel’s a book artist who takes people on creative journeys, and is also the author of Bound: 15 Beautiful Bookbinding Projects. (Kyle Books).Her BookLove e-course starts 14th Jan 2019. www.thetravelling bookbinder.com
MOLLIEMAKES.COM 97
HEADSHOT AND BOOKBINDING PHOTOGRAPHY: SUSAN BELL; TOOLS PHOTOGRAPHY: ULI SCHADE
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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 WWW.MOLLIEMAKES.COM
YOUR GIFT
By Jessica Doughty PAGE 7
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MATERIALS Q 10cm (4") embroidery hoop (optional)
If you’re not familar with the embroidery techniques used in this project, turn to page 100 before beginning for a handy step-by-step guide. Place the front pennant fabric piece in an embroidery hoop, if 01
you’re using one. Using three strands of yellow thread and whipped backstitch, stitch the words ‘crafting’ and ‘soul’. 02 Embroider the rest of the text with backstitch and three strands of green thread. Use backstitch and six strands of coral thread for the stars. Use backstitch and three strands of coral thread to stitch the dots. 03 Remove the embroidered piece from the hoop. Cut out the
front and back fabric pieces for the pennant following the outer dotted lines. Place the front and back pieces with right sides (RS) together, making sure the solid grey lines are matching. Sew using the white sewing thread and a 0.5cm (¼") seam allowance (along the grey line), leaving the top open. Turn RS out. 04 Fold the top raw edges to the wrong side by 0.5cm (¼"), then fold the top of the pennant over
the wooden dowel. Sew along the top edge, just underneath the wooden dowel, using the white sewing thread. 05 Make a mini pom pom using the teal yarn and either a fork or a small pom pom maker. 06 To finish off the pennant, tie the pom pom to one end of the dowel, using the image as a guide. Finally, cut a 22cm (8¾") length of yarn and tie onto both ends of the dowel for hanging.
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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Templates YOUR GIFT
By Jessica Doughty PAGE 7
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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Templates STITCH GUIDE
use our handy guide for the embroidery techniques in this issue
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BACKSTITCH This stitch is ideal for outlines, and it’s the one you’ll find you use the most. Come up from the back at point 1, then go down at point 2. Come up at point 3, then go back to point 1 and bring the needle through to the back.
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WHIPPED BACKSTITCH This is a great way to embellish a line of backstitch, adding thickness, texture or some extra colour. Start with a line of backstitch. Come up at point 1. Slide the needle under the first backstitch from the top down. Slide the needle under the next stitch from the top down. Repeat. Bring the needle down at point 2 when you reach the end of the line of backstitch.
BOOKBINDING
by Rachel Hazell PAGE 95
BOOK ONE TEMPLATE
BOOK TWO TEMPLATE
BOOK THREE TEMPLATE
Scale to fit your book
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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Templates BOOKBINDING
by Rachel Hazell PAGE 95 Scale to fit your book
PORTFOLIO GUIDE
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.
MOLLIEMAKES.COM 101
Templates MACRAMÉ KNOT GUIDE
use our handy guide for the macramÉ clutch PAGE 39 01
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Lark’s head knot Fold the cord in half along the length. Slip the folded string on top of the object the lark’s head knot will be tied onto. 02
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You’ll need two folded cords, secured with lark’s head knots, creating four cords. The two outer cords are the working cords. 02 Move working cord 1 over cords 2 and 3, towards the right. Pass working cord 1 under working cord 4.
Move working cord 4 to the left, passing it under the two middle cords and over working cord 1. Pull on both working cords to tighten the knot, while holding the middle cords steady. 04 The two working cords have now switched places. Move working cord 1 to the left,
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Clove hitch knot Begin by selecting the outer most cord – this is the lead cord. Lay it diagonally across the remaining working cords.
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Selecting the first working cord, loop it over and then through the middle of the two cords, as shown. Pull to tighten. 03 Repeat Step 2, using the same cords. The 02
To tighten the lark’s head knot, hold the two cords in one hand and the object you’ve them tied around in the other. Pull until the knot is fastened at the top. 04
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Pull the cord down around the object you’re tying the knot over, without twisting the cords, then pull the other two strands through the loop, as shown.
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Square knot
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passing it over the middle cords and under working cord 4. 05 Move working cord 4 to the left, under the middle cords and over cord 1. 06 Tighten the square knot by pulling on both the working cords, while holding the two middle cords steady.
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clove hitch knot is complete. 04 You can then continue to work the remaining cords and tie a rows of clove hitch knots to create patterns.
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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Templates MACRAMÉ KNOT GUIDE
use our handy guide for the macramÉ clutch PAGE 39 01
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Berry knot Begin with four strands of cord. Making sure to leave 1cm (3/8") at the top, tie three square knots in a row. You can tie a berry knot using a larger quantity of cords simply by using the two most outer cords on either 01
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side as the lead cords and gathering the other cords in between the square knots. You’ll need to do this when following the macramé clutch bag tutorial in this issue. 02 You will now feed all of the right-hand tails of cord through the right hand loop that you
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left at the top in Step 1. Do the same for all the tails on the left. 03 Now pull tight to create the berry shape. 04 Finally, using the two most outer cords on either side, tie another square knot to secure your berry knot.
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Guide Cord 1
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Double half hitch knot 01 02
Pass cord 1 around the guide. Bring cord 1 over and around the guide.
Cord 1
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Bring cord 1 back through the loop that has formed. This makes a half hitch knot. 04 Pull the knot snug and slide it up. 03
Guide
Continue taking cord 1 around the guide again to tie another half hitch knot. 06 Pull the knot snug and slide it up. 05
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.
MOLLIEMAKES.COM 103
Templates ORIGAMI MIRROR
by Nellianna van den Baard and Kenneth Veenenbos PAGE 59
Mollie Makes (ISSN 20460228) (USPS 20517) January 19 is published 13 times a year (monthly, with a Christmas issue in October) by Immediate Media Company Bristol Ltd., Tower House, Fairfax St. Bristol BS1 3BN, United Kingdom. Distributed in the U.S. by NPS Media Group, 2 Corporate Dr., Suite 945, Shelton, CT 06484. Periodical Postage paid at Shelton, CT and additional mailing offices. POSTMASTER: Send address change to Mollie Makes, 3330 Pacific Ave., Suite 500, Virginia Beach, VA 23451. 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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ORIGAMI MIRROR
by Nellianna van den Baard and Kenneth Veenenbos PAGE 59 DIAGRAM 4
DIAGRAM 5
EDITORIAL Editor Yvette Streeter Art Editor Sarah Malone Deputy Art Editor Sally Bufton Commissioning Editor Lindsey Newns Production Editor Becca Parker Picture Editor Emma Georgiou Digital Content Editor Phoebe Burt molliemakes@immediate.co.uk
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Call: 0117 300 8206 Senior Advertising Manager Penny Stokes Client Partnership Manager Beckie Pring Senior Sales Executive Emily Williams
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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 Production Coordinator Lily Owens-Crossman
LICENSING
Director of International Licensing and Syndication Tim Hudson tim.hudson@immediate.co.uk
BUYING TEAM Paul Torre, Karen Flannigan, Jennifer Morgan
MANAGEMENT
Managing Director, Lifestyle Catherine Potter Assistant Publisher, Lifestyle Catherine Dean Group Senior Editor Julie Taylor Chief Executive Officer Tom Bureau Group Managing Director Andy Marshall
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For new orders and back issues sales call 03330 162 148 or visit www. buysubscriptions.com/craft. For enquiries relating to your subscription email molliemakes@buysubscriptions.com or call +44 (0) 1604 973 757.
Sliding knot Make an overhand knot at one end of the cord, then pull tight to secure. 02 Make another overhand knot next to the first knot. Before pulling the second knot tight, thread the end of the cord labelled A 01
back up through the second knot, as shown. 03 Slide the second knot along the cord so it’s positioned next to the first knot, then pull the end of the cord labelled A through the second knot to tighten. This enables you to open and close the knot.
COPYRIGHT GUIDELINES FOR PROJECTS We have requested permission from designers so you can make and sell selected projects on the following conditions. Just look for this icon. Please credit the designer where appropriate and when requested. Mollie Makes encourages creativity and as well as making for gifts and for yourself, we want to help you make small batches of handmade items to sell. You can individually handmake as many as you wish of our labelled projects, to sell for yourself, a local event or to raise money for charity. You cannot sell in shops (online or otherwise) or go into mass production, so you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine or its kit is prohibited. Please respect one another’s copyright.
Mollie Makes is published by:
Immediate Media Company Limited, 2nd Floor, Tower House, Fairfax Street, Bristol, BS1 3BN. Tel: 0117 927 9009 We abide by IPSO’s rules and regulations. To give feedback about our magazines, please visit immediate.co.uk, email editorialcomplaints@immediate.co.uk or write to Yvette Streeter or Katherine Conlon, Immediate Media Co., Vineyard House, 44 Brook Green, London W6 7BT.
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so 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.
Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.
MOLLIEMAKES.COM 105
TEA AND A CHAT “I want to inspire you to love design and love your home.”
KIRSTY PATRICK OF HOME BYKIRSTY IS PASSIONATE ABOUT INDIE BRANDS
THIS MONTH I’M LOVING... Listening to: Lauren Laverne on BBC Radio 6 Music – she keeps me company at quieter times in the shop. Eating: Cinnamon swirls at The Early Bird. In Cardiff, we’re spoilt with good places to eat and drink. Being inspired: On my days off I like to tidy the house, then sit down with the latest magazines from the shop.
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Pop by Kirsty’s bricks and mortar store in Cardiff, or visit www.homebykirsty.com to see her latest indie gems. She’s also on Instagram as @homebykirsty
PHOTOGRAPHY: DIANA OLIVEIRA PHOTOGRAPHY
T
hat William Morris quote – “Have nothing in your homes that you do not know to be useful or believe to be beautiful” – may have been over used, but it’s stuck with me since my art foundation back in 2002. Good design creates products that are honest, functional and beautiful. I’m so passionate about having products in your house you love. It’s your space to relax, laugh, cry, grow, sleep, eat – whatever you need to do – and it should be as much a reflection of you as the clothes you wear or the music you listen to. When you open your front door, the objects that greet you should reflect what makes you, you! I have products from over 40 designers and makers sitting in my little coach house in Roath, Cardiff. I love getting to know the designers behind every item. Understanding the who, what and why of each product helps me to then share their story with my customers. When you walk through my shop door or shop HBK online, I want to inspire you to love design and love your home. I want you to get excited about the products I’ve sourced and to be able to picture them on your own sofa, shelf or wall. It can be too easy to fall into the habit of buying from big high street stores. Before you know it, your living room, bedroom and kitchen are looking just like everyone else’s. Indie brands can bring together a range of products you won’t find anywhere else, and you’ll always be more than just a transaction to an indie brand.
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