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QUICK WAYS TO GET THIS SEASON’S LOOK
WINTER LUXE NEW TRENDS • STYLING UPDATES • QUICK MAKES • INSPIRATION The team behind Mollie Makes brings you this gorgeous Winter Luxe project book, reflecting the new-season trend for all things sumptuous. Filled with styling inspiration and easy-to-follow projects, you’ll learn how to create cosy textures, bring jewel tones into your home, and give mid-century style a contemporary twist. Embrace the joy of maximalism, Mollie-style!
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crochet
Patchwork
MACRAMÉ
26 MOLLIEMAKES 3
MAIN IMAGE PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
INSIDE THIS ISSUE ¤ CROCHET TEXTURED POUFFE ¤ LATCH HOOK MAT ¤ QUILTED CLUTCH BAG ¤ SUNBURST BAMBOO MIRRORS ¤ VELVET RIBBON WEAVING ¤ BOTANICAL DYED COWL
ON THE COVER PHOTOGRAPHY: PHILIP SOWELS; STYLING: BECKI CLARK & SALLY BUFTON; MODEL: ALEXANDRA FIA; ILLUSTRATION: LUCY DRISCOLL WWW.LUCYDRISCOLL.COM
CONTENTS
18
DALMATIAN CLUTCH
Talk to us!
97
issue number ninety-seven
32 Sunburst mirrors
INTRODUCING.. LIVING The latest news from the world of handmade
Fill your life and home with crafted goodness
9 INTRODUCING…
43 LIVING
Handpicked crafty happenings
We find the loveliest hand-crafted, new season buys for your home
14 TRENDS Ethical homewares and fashion finds
46 HOME TOUR
18 LUXE CLUTCH
Be inspired by Stephanie Fradette’s texture-filled modern vintage abode
Combine dalmatian print and quilted mustard velvet for the ultimate accessory
51 TASSELLED POUFFE Crochet a Moroccan-inspired footrest
26 TEA AND A CHAT 55 PAINTED PLATTERS
Meet the creative duo behind colourful textile design studio Home-Work
Impress pals with this quick project
32 BAMBOO MIRRORS
58 PATCHWORK QUILT
Shortcut your way to the Art Deco look that’s on everyone’s shopping list
Geo shapes in rich autumnal shades
63 VELVET CUSHION facebook.com/MollieMakes
pinterest.com/MollieMakes
4 MOLLIEMAKES.COM 97
@MollieMakes
MollieMakes
youtube.com/user/MollieMakes
36 GOOD READ Why we all need to take a digital detox
Weave blush pink ribbon to make a tactile bolster cushion for your sofa
39 LATCH HOOK MAT
67 PULL-OUT PAPERS
Welcome guests with a hooked hello
Stationery-themed prints by Esther Curtis
NEVER MISS AN ISSUE 24 Subscribe UK Your choice of gift when you subscribe to Mollie Makes, plus save 25%!
83 Subscribe overseas International subscribers save up to 78%
55
Painted platters
63
Woven cushion
86 Hand-dyed cowl
MAKING PLANS Here at Mollie Makes, late summer consists of barbeques and sunshine of the clock, and all things wintery during the week. Most crafters start getting prepped for Christmas early, which means we get to search out this year’s interior and fashion trends for you before they even hit the high street. It’s a hard life, but someone’s gotta do it! This month is a bumper issue, as there just weren’t enough pages to squeeze in all the new-season inspo we wanted to share. So, as well as your dreamy loom kit, you’ve got a second mini mag filled with projects and styling ideas around AW18’s top trend. Rich jewel tones, all the texture, and opulence galore... Winter is coming, and we can’t wait.
LOVING Treats and treasures to fall in love with
Yvette Streeter Acting Editor
77 LOVING Beautiful things to adore and make
79 KIDS’ WINTER SET Crochet the cutest hat and booties for a li ’un, complete with colourful pom poms
86 HAND-DYED COWL Learn how to dye yarn with natural botanicals, then knit it into a chunky cow
90
Christmas embroidery
90 FESTIVE EMBROIDERY Stitch a trio of fairy light hoops using sparkly metallic threads
95 MACRAMÉ NECKLACE Update an outfit with statement jewellery
99 TEMPLATES All the shapes for this issue’s makes
106 BACK PAGE PROJECT Jenniffer Taylor talks #sewingrevolution Subscribe at molliemakes.com
51
Crochet pouffe
Turn the page for more on this month's gift! Then Turn to page 67 for your papers
Contributors
EDITORIAL Editor (on maternity leave) Cath Dean Acting Editor Yvette Streeter Art Editor Sarah Malone Deputy Art Editor Sally Bufton Commissioning Editor Lindsey Newns Production Editor Becca Parker Picture Editor Emma Georgiou
Elisalex de Castro Peake Known to her family as ‘The Born-Again Housewife’, Elisalex is a shameless romantic and lover of all things homespun and cosy. However, don’t let that fool you – there’s a foul-mouthed feminist in there too. Sew Elisalex’s clutch bag on page 18. www.byhandlondon.com
Stephanie Fradette Before converting the garden shed into her studio, Stephanie made her woven wares from the rosewood table in the family’s living room. Now, she sends her DIY weaving kits and one-off wall hangings across the world. Peep inside Stephanie’s creative home on page 46. www.lepetitmoose.etsy.com
molliemakes@immediate.co.uk
ADVERTISING Call: 0117 300 8206 Senior Advertising Manager Penny Stokes Client Partnership Manager Beckie Pring Senior Sales Executive Emily Williams
MARKETING & CIRCULATION Head of Newstrade Marketing Martin Hoskins Newstrade Marketing Manager Janine Smith Subscriptions Director Jacky Perales-Morris Direct Marketing Manager Penny Clapp
PRODUCTION Production Director Sarah Powell Production Managers Louisa Molter/Rose Griffiths Production Coordinator Lily Owens-Crossman
LICENSING Director of International Licensing and Syndication Tim Hudson tim.hudson@immediate.co.uk
BUYING TEAM
Home-Work Jess and Lara’s obsession with colour and pattern is evident in everything they create. With a Beyoncé anthem playing in the background, their screen-printed textiles become tote bags, make-up bags and cushions. Read about their creative biz on page 26. www.home-work.com.au/
Sally Wilson Sally can do the splits, and even demonstrated her skills in her beautiful dress on her wedding day. Understandably, doing the splits while creating her macramé pieces can prove to be quite tricky, so is generally avoided. Make Sally’s statement necklace on page 95. www.knotsewsimpledesign.etsy.com
Paul Torre, Karen Flannigan, Jennifer Morgan
MANAGEMENT Managing Director, Lifestyle Catherine Potter Group Senior Editor Julie Taylor Chief Executive Officer Tom Bureau Group Managing Director Andy Marshall
SUBSCRIPTIONS
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.
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.
Esther Curtis Esther creates her illustrations by layering hand-drawn and painted elements and textures with bold graphic shapes. Her current obsessions include Patagonia, wild swimming, street food trucks and Japanese packaging. Find Esther’s colourful papers on page 67. www.esthercurtisdesign.com
Abbey Withington Abbey’s a freelance designer and illustrator based in Leeds. She creates playful patterns and bold type for paper goods and textiles. When she isn’t making things, she enjoys city breaks and collecting colourful stationery. See Abbey’s illustration on page 36. www.abbeywithington.com
Other contributors Cristina Alcantara, Emily Ashbourn,Valerie Bracegirdle, Mr Carrington, Becki Clark, Alexandra Fia @ Mustard Models, Joanne Hart,Victoria Haynes, Natasha Humphreys, Lakeside Loops, Rita Merrigan, Jess and Martin Reftel Evans, Philip Sowels, Lottie Storey, Jennifer Taylor, Anne Weil, Caro Weiss, Sherrie Yabsley
6 MOLLIEMAKES.COM 97
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. Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered ofice of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.
your gift this issue!
Festive weaving kit
THIS GIFT COMES WITH THE PRINT COPY OF THE MAGAZINE ONLY. ALTERNATIVE GIFT ON SOME OVERSEAS COPIES. PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Use your loom to make Natasha Humphreys’ kitsch wall hanging, full of texture and colour
Return of the soumak “I just love the colourful kitsch style of this weaving, with its festive colours and soft textures. I’m a big fan of using thick chunky roving as it creates texture and adds fluiness to the design. Roving is amazing to work with and very flexible, it also comes in all sorts of colours.The layering of the fringe at the bottom allows for blocks of colours to hang from the woven section at various lengths and thicknesses, and using the gold ribbon brings
in another texture and an interesting colour contrast. My weaving will be taking pride of place in my bedroom!” Natasha Humphreys is mum to a baby boy and currently on maternity leave from her part-time florist job. She weaves on her small lap loom and also makes floral dream catchers. www.natashaemilyweavings.etsy.com See page 98 for instructions on making your weaving, then share using #molliemakers.
INTRODUCING..
97
THE LATEST IN CREATIVE GOODNESS – HANDPICKED JUST FOR YOU Made from lambswool and practically singing a shanty, this sailing-boat sweater is winning with its mix of traditional Fair Isle pattern and bold colour palette. French tuck into a concertina skirt and pair it with sandals for an easy transitional piece, as summer cools to autumn. www.plumo.com
Subscribe at molliemakes.com
97 MOLLIEMAKES.COM 9
Do you know your ladder stitch from your dash bind? Learn the art of bookbinding through 15 beautiful projects by paper artist Rachel Hazel, with handy step-bystep instructions and a rundown on tools too. www.kylebooks.com
Ethical champions Lucy & Yak have teamed up with Wyatt & Jack to bring you the sustainable design collab of the year – drawstring bags made from bounced-out bouncy castles. We know! www.lucyandyak.com
THIS MONTH’S WISHLIST
The 90s called to tell you it’s back. Show your appreciation with a fun new phone case − then hold all calls while you listen to Britney and Nirvana. www.bando.com
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We’ve found the crushed velvet mustard pairing from heaven. Think it can’t get better? They have a block heel. Thank you from all of us, Sam Edelman. www. anthropologie.com
PHOTOGRAPHY: KAYTI PESCHKE
TOP READ Bookish art
Inspired by the forests of Scandinavia in late summer, this floral rug with embroidered detailing will nestle warmly into any room. If deep berry hues aren’t your bag, there’s a cool blue and a soft green colourway too. www.gudrunsjoden.com
Indulge in some everyday opulence with the Canto dining table. It’s got the open frame of a midcentury piece, but the mix of polished quartz and light, brushed bronze makes it a modern wonder. www.westelm.co.uk
Most prints use a limited colour palette
BRAND FOCUS Kat And Kin Printmaker and illustrator Kat Flint is a Scottish-born artist now based in London. Her work combines the finest linocutting with folklore and fairytales for whimsical results. Kat describes her style as ancient stories for a new generation, with a hint of darkness below the surface. Specialising in prints, porcelain and stationery, look out for her updates on Etsy, or contact Kat for a bespoke commission. www.katflint.com
Kat hand-carves lino to create limited-edition prints
WEBSITE TO WATCH Home by Kirsty Online and in-store, the self-styled “design shop round the corner” run by Kirsty Patrick is just that. Stocking over 60 lighting and homeware designers, including Kirsty’s own work, the site manages to be both achingly on trend and warm and welcoming. It might be impossible to visit and not hit ‘add to basket’. www.homebykirsty.com Subscribe at molliemakes.com
Her work is a blend of fantasy and folk tale
97 MOLLIEMAKES.COM 11
TOP READ Painterly joy
Cream, olive and tortoise might just be our new favourite colour combo. Packing a punch in super lightweight 2mm acrylic, the Alexa earrings are on our autumn ‘want’ list. www.emeldo.com
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The jungle is wild and overgrown, says art label Liunic on Things. Luckily, it’s also kawaiicute and bright in their colour-luxe, cotton voile scarf. Artfully drape for full impact. www.liuniconthings.com
Donna Wilson’s badges are allowing us to relive all our girlguiding dreams. Misplaced your sash? Add them to a cosy blanket or cross-body bag to show them off instead. www.donnawilson.com
PHOTOGRAPHY: SAMUEL SUGANDA (@SAMSUGANDA)
Texture doesn’t have to be heavy. Let the Vital Fringe top into your life and enjoy sashaying down the street, smug in the knowledge that a light wind can only be your friend – think free wind machine. www.oliverbonas.com
Illustration superstar Emma Block’s first book has just landed. The Joy of Watercolour is not only a credit to her design skills, but a step-by-step manual of how you can level up your painting and create watercolour illustrations like Emma (or at least try). Inside, find tips on materials, process, and projects to make. www.runningpress.com
© 2018 moda fabrics. all rights reserved.
A sister collection to our popular Farmhouse, we’ve brought a whole new set of retro prints in yummy colors for Farmhouse II! Filled with more 50’s lavored lorals, our favorite classic dots, a mini version of our criss-cross pattern and several fantastic new iller-prints, this grouping is deinitely perfect for today’s “country girl” at heart. Colors such as Tomato, Meadow, Milk & Pumpkin take us to those idyllic country days.
INTRODUCING trends
THIS MONTH WE’RE OBSESSING ABOUT...
SUSTAINABLE DESIGN Ethical style has seriously upped its game, so it’s easier than ever to shop with a clear conscience
Go green with these woven plant hangers, handmade by women in Bangladesh. www. thebasketroom.com
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INTRODUCING trends 01
03 02
01
This woven organic
fabric is giving us all the feels. www2.hm.com 02
Soap on a rope gets
an organic upgrade. 08
03
PHOTOGRAPHY: JAKE ELVIS FODEN
www.soapdaze.com Mustard corduroy +
well-paid happy workers = dungas of our dreams. www.lucyandyak.com 04
Made with reclaimed
timber for that genuine heritage feel. www. modishliving.co.uk 05
07
David Attenborough
04
would be proud of you. www.houseofkind.co.uk 06
Artisan-crafted and
built to last, so practically an investment. www. swedishhasbeens.com 07
We got this pegged.
www.kreisdesign.com 08
Ahh, the scent of
sustainability. www. purepalette.etsy.com
06
PHOTOGRAPHY: YESHEN VENEMA
05
MAKE IT! TURN THE PAGE TO DIY THE SUSTAINABLE TREND Subscribe at molliemakes.com
97 MOLLIEMAKES.COM 15
INTRODUCING trends
MAKE IT!
SUSTAINABLE CROCHET POT
MATERIALS Q Bobbiny T-shirt Cotton, 92% cotton, 8% Lycra, 120m/131yd per 800g, one roll in Olive Green (ours was from www. tshirtyarnshop.co.uk) Q 15mm (US P/19) crochet hook Q Stitch marker TENSION Not essential for this project ABBREVIATIONS (UK) st(s) stitch(es) ch chain ss slip stitch exdc extended double crochet – insert hook in st, yarn round hook and pull through a loop, yarn round hook and pull through one loop on hook, yarn round hook and pull through both loops on hook magic ring wrap working yarn around forefinger twice to create 16 MOLLIEMAKES.COM 97
ring, slip ring off your finger and insert hook to pick up first st, ch1, then work the necessary sts for Round 1 and close ring tightly by pulling the loose end FINISHED SIZE Approx. 15 x 14cm (6 x 5½"), excluding handles Instructions The basket is worked in the round and the handles are added afterwards using surface crochet. Use a stitch marker to mark the start of each round. When working the surface crochet and the handles, loosen the tension. Round 1 make a magic ring, ch1 (does not count as st here and throughout), 6exdc in ring, join to 1st exdc with a ss [6 sts]
Round 2 ch1, 2exdc in each st around, join to 1st exdc with a ss [12 sts] Round 3 ch1, *1exdc in next st, 2exdc in the next st; repeat from * to end of round, join to 1st exdc with a ss [18 sts] Round 4 ch1, 1exdc into each st around, join to 1st exdc with a ss [18 sts] Rounds 5-9 repeat Round 4, at the end of Round 9 fasten off and sew in ends Make a slip knot and hold it inside the basket. Insert the hook into the bottom of the basket from the right side, put the slip knot on the hook, then pull the loop through the basket, keeping the knot and working yarn inside. Keeping the loop on the hook, insert hook into the space next to it, yarn over hook
and pull the loop through the basket and the loop on the hook. This is ss surface crochet. Continue in this way to work a vertical line. When you reach the top, make the handle: ch10, miss 3 sts along top edge of basket, ss into 4th st along. Continue in ss surface crochet down the side of the basket, then across the base to a point diagonally opposite the first ss, then work vertically again. Make a second handle and ss surface crochet down to the base and across to the starting point. Work another layer of surface crochet over the surface crochet and into the handles. Fasten off. Sew in ends.
Sherrie Yabsley is a crochet designer from South Devon, and taught herself how to hook six years ago. www.ollieandbella.co.uk
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Nail two trends in one with Elisalex de Castro Peake’s foldover clutch
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HOW TO MAKE… A CLUTCH BAG MATERIALS Q 35.5 x 45.5cm (14 x 18") cotton velvet in mustard yellow (Fabric 1) Q 1m (393/8") medium weight cotton in white (Fabric 2) Q 35.5 x 45.5cm (14 x 18") wadding Q 35.5 x 73.5cm (14 x 29") lining fabric in cream (Fabric 3) Q 35.5 x 21.5cm (14 x 8½") fusible interfacing Q 28-33cm (11-13") zip with exposed teeth 20 MOLLIEMAKES.COM 97
Q Matching sewing thread Q Black fabric marker Q Navy blue embroidery thread Q A6 piece of card
Luxe velvet and all things dalmatian print are our two biggest style crushes right now, so this statement clutch bag with its plush quilted mustard gorgeousness and hand-drawn animal print dots nearly tipped us over the edge – in a good way. Get thee to a sewing machine ASAP, mix new season trends and textures together and update your look for in time for happy hour. Heck, we’ll be taking our clutch bag everywhere. And did we mention it has a yarn tassel on the zip? This is DIY so done right.
Using the black fabric marker, and referring to the main image on page 18 as a guide, draw a dotty, dalmatian-style pattern all over the right side (RS) of Fabric 2 then leave to dry. Alternatively, you could source a dalmatian print fabric to use as Fabric 2. Cut two 35.5 x 16.5cm (14 x 8½") pieces from Fabric 2 and iron the interfacing to the wrong side (WS) of the panels. Trim away any remaining excess fabric. 02 Lay Fabric 1 on top of the wadding, RS up, and pin the layers together as shown. 01
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Starting in the middle, use long straight stitches to quilt the velvet and wadding, creating a grid of 4cm (15/8") squares, then crossing through them with diagonal lines. Alternatively, you can be as minimal or creative in your choice of quilting design as you like. If you go for a different quilting effect, be sure to practise sewing on scraps of velvet and wadding before committing the final design to Fabric 1. 04 When you’ve finished quilting Fabric 1, trim away any remaining straggly threads. 03
Pin the long edge of a Fabric 2 piece to a short edge of the Fabric 1 piece, RS together. Repeat with the other short edge of Fabric 1. 06 Sew in place with a 1.5cm (5/8") seam allowance, then gently press the seam allowance into the panels. 07 Pin the zip along the long edge of one Fabric 2 panel with RS together and aligning the edges. 08 Place Fabric 3 on top the Fabric 2 panel with RS together, thereby sandwiching the zip tape. 09 Switch to the machine’s zipper foot and sew into place, stopping the line of stitching to open the 05
zip, in order to finish sewing the length. Press the Fabric 2 panel and lining fabric away from the zip. 10 Repeat Steps 7-9 with the other Fabric 2 panel, being careful not to twist the outer fabric or lining. 11 With the clutch bag WS up and the zip in the centre, pin the bag’s Fabric 1 piece together at the side seams over on one side of the zip, and the side seams of the bag’s Fabric 3 lining over on the other side of the zip. 12 Sew these side seams into place with one continuous line of stitching across Fabric 1 and Fabric 97 MOLLIEMAKES.COM 21
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HOW TO MAKE… A CLUTCH BAG 3 lining on one side, then do the same on the other side, this time leaving a gap of approximately 7.5cm (3") in the lining so you can turn the bag RS out later on. 13 If your zip is a little shorter than the width of the bag, at this point you’ll also need to sew two little indents across the top of where Fabric 2 meets the Fabric 3 lining, up to the points where the zip tape begins and ends. 14 Before turning it through to the RS, the bottom of the bag needs to be given a little depth and shape. To do this, fold the corners of the 22 MOLLIEMAKES.COM 97
quilted velvet back on themselves, so the side seam line runs down the middle of this newly pinched-out corner. Sew a line across the corner, roughly 5cm (2") down from the point, as shown. Don’t trim these corners away as they’ll add to the structure of the finished bag. 15 Turn the clutch bag RS out through the gap left in the lining. Fold the raw edges at the gap to the WS, then pin and sew using blind slip stitch. 16 Next, create a tassel to attach to the zip pull. Cut a length of navy
blue thread approximately 15cm (6") long and put aside. Wrap the remaining thread around a piece of A6 card 30 times. Slip the 15cm (6") length of thread through the loop of wound thread and tie together at the top. Now slide the bundle of thread off the card. 17 Secure with another short piece of thread, tying it around the bundle roughly a quarter of the way down. Cut the lower part of the bundle to release the strands of thread, then trim to neaten. Attach the tassel to the zip using the thread ends at the top.
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Elisalex de Castro Peake Co-founder of sewing pattern label By Hand London, Elisalex trained as a shoemaker and worked in the fashion industry before turning her passion for sewing and self-sufficient style into a career. She heads up the creative side of BHL. www.byhandlondon.com
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Describe your style in three words. Bright, bold and joyful!
Celebrating colour and creativity with...
HOME-WORK Jess Wright and Lara Davies share how they create joy from their characterful textile design studio in Melbourne, Australia Words: LOTTIE STOREY Photographs: JESS AND MARTIN REFTEL EVANS
Jess Wright and Lara Davies are obsessed with print, pattern and colour. With a background in corporate graphic design (Jess) and freelance fashion print design (Lara), the pair’s complementary skills make for an explosive mix. Since 2009, they’ve worked together bringing colourful textile designs to life, on screens – both computer and meshframed – and through teaching from their studio, Home-Work HQ. Jess and Lara run sell-out workshops at Jam Factory Adelaide and The National Gallery of Victoria, where 26 MOLLIEMAKES.COM 97
they’ve also been collaborating on an exclusive range in the gallery’s Design Store. And, a love of sharing knowledge and expertise with their students led to their first book, Print Play, being published earlier this year. While Jess’s desire for leopard print, sequins and drawing a face on everything might not seem compatible with Lara’s love of flowers, plants and pottery, we chat to the duo to find out how they bonded over bright colour, bold patterns and Beyoncé to produce prints that are both thoughtful and fun.
Did you always want to be designers? We were both ‘creative’ kids – always drawing, always designing clothes for our toys. We both have the instinct to cover everything in patterns, so it was pretty inevitable that design was always going to be a big focus of our lives. When you first started out, did you have any particular ambitions? We wanted to create fun designs and teach people how to screen print, but we didn’t think too far beyond that. We just really wanted to share our love of screen printing with other people. It’s so fun and is much more accessible than most people think. We have always wanted to write a screen printing book, so Print Play is definitely a dream come true for us. What’s your typical working day like? We live quite far away from each other, so most mornings start with a phone call that can last for hours! And we both have kids, so our weekdays are usually dictated by their schedules. On the days we’re teaching we arrive at the studio,
INTRODUCING tea & a chat
“We just really wanted to share our love of screen printing with others.”
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set up for the workshop, then spend the day showing lovely people how to screen print. It’s always so much fun! The nonteaching days are full of emails, planning sessions, posting on Instagram, paying bills, sending invoices, creating designs, cleaning the studio, stripping screens, mixing ink colours, drinking coffee, listening to true crime podcasts, heat-setting fabric, trying to return calls, updating our website, printing fabric, making each other laugh, and discussing how there’s a Martha Wainwright song for every situation. Subscribe at molliemakes.com
Is screen printing easy to learn? Everything we teach can be done at home, which means it’s simple for students to keep printing once they’ve left a workshop. We want people to keep creating and not feel constrained because they don’t have a huge studio space or fancy equipment. But we should mention every piece of clothing we have is covered in ink splatters!
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mixed in the studio.
Layering up
colour and patterns
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The famed
– and adding to the
Home-Work
ink-splattered apron.
inspiration wall
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Home-Work’s
provides a daily
trademark bright
injection of colour,
pink paint being
pattern and texture.
Do you enjoy any other crafts? We barely have any time for personal craft projects these days, but Lara is an 97 MOLLIEMAKES.COM 27
INTRODUCING tea & a chat
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avid photographer and Jess enjoys sewing sequins onto anything she can get her hands on! Who, or what, inspires your work? That is such a huge question! Everything. We both take a lot of photos of the details of our lives, and when we’re designing prints, those photos often become the jumping-of point for new creations. We’ve designed prints inspired by everything, from a favourite childhood book to the flooring of a Los Angeles hotel lobby. 01
01
Jess and Lara
surround themselves with knick-knacks to inspire students. 02
Ice cream shades
of paint look good enough to eat. 03
Jess can’t resist
drawing faces, even on the studio walls!
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Take us through your creative process. We usually start by creating a huge inspiration wall. You can do this on the computer, but we like to do it the oldfashioned way. Anyone who visits our studio comments on the walls – they’re covered with images that inspire us. We put up photos we’ve taken, sketches we’ve scribbled, colours we like, plus all the images we’ve been collecting: magazine pages, fabric samples, postcards, old wrapping paper from the thrift store, photocopies of images from old books, brooches from the flea market, childhood stickers, paint swatches from the hardware store. There are no rules! Once the wall gets bigger, a general theme and palette start to emerge, and we use these as the basis for drawings and paintings.
INTRODUCING tea & a chat
“We start by creating an inspiration wall, covered with images that inspire us.”
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Then we scan these original artworks into the computer and use Illustrator and Photoshop to turn them into repeat patterns. We like our designs to still have a hand-painted feel, as we don’t like anything to be too perfect! If you were starting up now, is there anything you would do differently? We’d probably be more proactive at protecting our designs. Plagiarism is a huge problem in the design world, and it’s such a bummer when you see designs being Subscribe at molliemakes.com
used without consent. We both always see the best in people, so it’s still a shock when they steal your stuff. Are there any designers or creative heroes you look up to? We’re huge fans of Australian design royalty Jenny Kee and Linda Jackson, two incredible women who bonded over a love of colour and pattern. They revolutionised Australian textile design in the 70s and 80s and are still creating vibrant, inspiring work. Everything about it makes us happy!
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Jess has always
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Both Jess and
been drawn to 80s
Lara love plants, so
and 90s design. “The
they adorn the
bright and playful
studio shelves.
designs from those
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“There’s nothing
decades make me
more pleasing than
very happy.”
pattern!” says Lara.
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INTRODUCING tea & a chat
02
What’s the most important business lesson you’ve learnt along the way? Trust your gut. Whether it’s a new design, a business opportunity or anything else, if it doesn’t feel right, it’s probably a bad idea. You don’t have to say yes to everything. Every job teaches you something, even if it’s what not to do! One big lesson was that it’s okay to start small. Even if you only do one thing, make sure you do it well.
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Tote bags are one of
the duo’s screenprinted products. 02
Jess and Lara’s love
of screen printing rubs off on their students, who attend workshops in the Melbourne studio.
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Home-Work Jess Wright and Lara Davies are Home-Work – two textile designers and screen printers from Melbourne, Australia. The creative duo have worked together for the past seven years teaching screen printing and design. Follow them on Twitter @Home_Work and Instagram @home_work_. www.home-work.com.au
Tell us your proudest moment so far. At the Melbourne launch of Print Play we had a moment where we looked around the room and felt this incredible surge of love and pride at what we’d created, and all the amazing people we’ve had the chance to work with. It was really special. And what’s been your biggest struggle? That there aren’t enough hours in the day! Do you have any plans for the future? World domination? We’re excited to launch our new Home-Work product range, and hope to keep travelling the world, teaching awesome people the joys of screen printing. Finally, what’s the best piece of creative advice you’ve ever received? Time is valuable, so do your own thing, don’t be hard on yourself and have fun!
Est 2000 | Devon
Ingredients from us, handmade by you...
01237 420872
sales@thesoapkitchen.co.uk
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Mirror, mirror
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Create sunburst decor with humble materials – Mr Carrington shows you how
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HOW TO MAKE… SUNBURST MIRRORS MATERIALS Q Three packets of 40cm (15¾") bamboo sticks Q Two round mirrors, 15cm (6") diameter Q Hot glue gun Q Pliers Q Sandpaper
The sunburst mirror is something of a design staple, and yes the gilded ones are gorgeous, but the incarnation we’re currently fawning over is rattan. They’re less showy but every bit as beautiful, and they have that mid-century modern thing going on. Bonus: you can DIY the look yourself for under a tenner with a handful of bamboo sticks. Sounds basic? We prefer the term pure. Sun mirror 01 Using the pliers, cut one of the 40cm (15¾") bamboo sticks into three sections, measuring 15cm (6"), 15cm (6"), and 10cm (4"). These pieces will act as measuring guides. 02 Cut 100 bamboo pieces into three in the same way – use one of
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the 15cm (6") pieces cut in Step 1 as a guide to make the first two cuts and you’ll be left with a remaining 10cm (4") piece. It’s worth checking that the measurements are still accurate as you go along, and you may wish to sand the edges for a neater finish. 03 Measure 5cm (2") in from the edge of the mirror and hot glue the first 15cm (6") bamboo stick in place. The end of the stick should point directly towards the centre point of the mirror, as shown. 04 Continue gluing the 15cm (6") bamboo sticks, with a gap between them approximately half the width of the bamboo sticks. Ensure they are pointing towards the centre of the mirror and they should naturally begin to fan out as you go around.
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Measure every 10 sticks or so to make sure they’re all being glued in place 5cm (2") in from the edge of the mirror. 05 Once the first layer is done, hot glue the 10cm (4") bamboo sticks on top. These should also be placed 5cm (2") in from the edge of the mirror, and should sit in the small gaps between the first layer of sticks. Keep going until the entire circle is complete. You could
Mr Carrington Blogger Iwan loves upcycling, and his YouTube channel, Mr Carrington, features weekly DIYs and home décor ideas. When he’s not freelancing as a producer and director, he loves to travel. www.mrcarrington.co.uk
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even add a third layer of shorter sticks on top if desired. Star mirror 06 Divide the mirror into quarters by drawing two straight lines on the back of the mirror across the full length and height. Next, using a ruler or tape measure, measure across each quarter and mark the centre point of each quarter. 07 Draw a further four lines between those marked points to divide the mirror up into eight equal sections, as shown. 08 Using the marked lines on the mirror as a guide, cut 16 bamboo sticks to the length of these lines with the pliers. Keep the offcuts. 09 Mark the centre point of each bamboo stick, then hot glue the
middle to line up at each of the first four points to form a square, gluing at the north, south, east and west points of the circle. 10 Add a second bamboo stick approximately 1cm (3/8") below each of the four already in place. Allow the ends to weave together however they fall, as shown – you can trim them a bit with the pliers to fit better if they need it. 11 Repeating Steps 9 and 10, hot glue the remaining eight sticks on, but this time lining them up across the remaining four points – north east, south east, south west and north west. 12 Using the pliers, trim the offcuts into neat 2-3cm (3/4-1¼") pieces and glue them around the edge of the mirror to finish. 97 MOLLIEMAKES.COM 35
ILLUSTRATION: ABBEY WITHINGTON
INTRODUCING good read
DIGITAL FREEDOM Ever considered a break from the little online world in your phone? Find out how taking time away from social media can help grow your creativity Words: LOTTIE STOREY Illustration: ABBEY WITHINGTON
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ocial media makes us feel connected. It’s where we go to vent, to get inspired and to find like-minded creatives.You’re never alone with all those internet friends popping up on the screen all the time, always there. For some, that’s incredibly reassuring. The flipside? Social media is a hungry beast and it’s hard – sometimes almost impossible – to stop feeding it, let alone take a break from it. “Social media apps are like junk food,” believes Catherine Price, author of How to Break UpWithYour Phone. “They’re fun to indulge in once in a while, but it’s easy to cross the line from fun to feeling gross.” And, just like junk food, it’s important to notice how you genuinely feel after the initial buzz of using social apps. “Do they energise you? When you finish, do you feel good? Where’s your personal line from feeling good to feeling gross?” asks Catherine. Someone who noticed exactly this is Blogtacular director, Kat Molesworth (www.blogtacular.com). “Having joined Instagram when it came out, by 2017 I was posting daily without fail. Gradually I began to notice that my emotions were tangled up in the reactions my photos elicited within the app. Add to that the uneasy mix of FOMO and comparison, I knew it wasn’t healthy for me any longer.” What Kat describes is familiar to many of us, and is mainly due to the dopamine hit our brains get when the likes and follows roll in (or don’t). But while we can’t afect the impact social media apps have on our neurology, we can look at how we choose to use them.
ANTI–SOCIAL MEDIA If it feels impossible to cut that connection and take a break, then surely there’s a compelling argument for switching of completely. But what if the online world forgets about us if we’re gone for too long? “I cut back how often I posted, and stopped looking at the app daily,” shares Kat. “ While it was a wrench at first because many of my online friendships existed on Insta, as time wore on I was enjoying working on my images for myself once more. Removed from the constant cycle of scrolling and comparing, I was more
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relaxed and present.” What Kat noticed is pretty key. Yes, the potential is there for us to lose followers while we’re away, but the benefits far outweigh any costs. Kym Grimshaw is a photographer, stylist and blogger (www.ontheplate.co.uk). “I was forced to unplug for a week on a round trip of the Scottish Highlands (no signal!) and that’s when I first noticed the diference,” she explains. “I felt present, more engaged in conversation – like my senses were heightened. A whole lot calmer, too. When I’m on holiday now I go completely cold turkey, delete all the ofending apps of my phone, remove all temptation! It doesn’t just serve me well at the time but I come back with more creative energy and new ideas to put out.” Catherine agrees. “Your phone is not a source of pleasure that you’re denying yourself. It’s an obstacle that is getting in the way of what you actually want to accomplish. In other words, by using your phone less, you’re giving yourself more time to do what you care about.” And if what you care about is being creative, then just think how much inspiration is currently ebbing away while you’re scrolling.
GROW YOURSELF Another regular digital detoxer is Natasha Denness, a creative life and business coach (www.candypop. uk.com). For Natasha, “spending time oline enables me to develop ideas and to check I’m working towards my goals, free from the distraction of other people’s journeys. It also helps me to restore the balance, which encourages me to use the internet in a more intentional way on my return.” And it’s those small every day moments that make up our lives. American novelist James Salter wrote: “Life is weather. Life is meals. Lunches on a blue checked cloth on which salt has spilled. The smell of tobacco. Brie, yellow apples, wood-handled knives.” Notice them, commit them to memory – just try doing it with your eyes, not your device.You’ll be surprised at how much more you begin to see, and what ideas will bubble to the surface when you have a little more headspace to let them flow.
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Swedish design with a green soul
city
brights
Choose bright shades for an autumn adventure in the city and we guarantee you’ll stand out from the crowd.
COLOUR-DRENCHED
SHOP ONLINE!
www.gudrunsjoden.com
Stockholm | Est. 1976
Our colourful “Bugg” tunic, £69.
UNITED KINGDOM | SWEDEN | GERMANY | NORWAY | DENMARK | FINLAND | IRELAND | USA | FRANCE | SWITZERLAND | AUSTRIA | NETHERLANDS
97 MOLLIEMAKES.COM 39
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
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HOW TO MAKE… A LATCH HOOK MAT MATERIALS Q Bobbiny 3mm Cotton Rope, 100% cotton, 100m/109yd per 300g, five spools in Peach (Yarn A) and one spool in Charcoal Grey (Yarn B) Q Paintbox Yarns Simply Aran, 100% acrylic, 184m/201yd per 100g, one ball in Slate Grey (Yarn C) Q 1m x 50cm (393/8 x 19¾") latch hook canvas Q Latch hook Q Black marker pen Q Long scissors Q Darning needle Q Hot glue gun
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Latch hooking is the latest trad craft technique to fight its way back into the spotlight. Put aside any visions of wobbly golden retrievers or village scenes though – this time around it’s all about bold graphic design, modern shades and playful texture. Dip your toe in (kinda literally) with a straightforward mat to start with, using just two colours. Follow the chart or create your own word or slogan design on graph paper before you get started. Using the chart on page 99 as a reference, take a black marker pen and mark the outline for the mat, 85 squares by 50 squares centrally on the latch hook canvas. Next, add a two square border allowance 01
around the marked rectangle and mark this out with the black pen. 02 Cut all of Yarns A and B into even 8cm (31/8") lengths. 03 Starting at the top left hand side of the mat, insert the latch hook under the bar at the bottom of the first square you’re working in. 04 Take a cut length of Yarn A and fold it in half, holding the ends between your finger and thumb. 05 Catch the loop of the folded yarn in the hook of the latch hook, holding the ends away from you. 06 Pull the yarn loop through and under the bar of the canvas, making sure to leave the ends sticking out the other side. 07 Push the latch hook away from you towards the ends, making sure the latch part of the hook tool is
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pushed open as you slide through the loop. Catch the ends in the hook part of the tool. 08 Slide the ends through the loop by pulling the latch hook tool towards you. The latch will close as you slide the hook through the looped end, keeping the ends together. Repeat Steps 3-8, following the chart on page 99 for the colour changes. 09 Once the rug design has been completed, trim the yarn lengths down to sharpen up the design detail. Holding a pair of long scissors horizontally, trim the work until you’re happy with the effect. Don’t overtrim – leave at least 2.5cm (1") of yarn height. 10 Using the marked outside line as the border, cut the canvas two
squares outside of the border line all the way around. 11 Fold the edge of the canvas over to the wrong side (WS) along the border line. Thread a darning needle with a good length of Yarn C. Attach the yarn to the canvas and whip stitch around the folded border, making sure to keep a good tension. Don’t pull the yarn
too tightly or it’ll buckle the border, and if you leave it too loose it’ll create bulges. Continue all the way around and trim the ends. 12 To finish, turn the mat over and use a hot glue gun on the WS to give the mat a non-slip back, outlining the rectangle edge first and then filling in the shape with diagonal lines, as shown.
Emily Ashbourn Although creating and craft is designer Emily’s main pastime and passion, she also loves taking time out with her family, planning road trips to the Alps, exploring lakes and mountains and having adventures with her girls and husband Ross. www.makeeshop.com
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How could your
e g n lives? a h c Find out about holding a Crafternoon for Mind by getting your Crafternoon pack at
mind.org.uk/molliemakescrafternoon
Registered charity no. 219830
LIVING
97
INSPIRATION ALERT! SPACES, PLACES & NEW DESIGNERS TO WATCH Layer up glossy textures with cosy ones and pair warm, earthy shades with soft pink tones for a home with a depth of colour, and a sense of then and now. Let Bloomingville show you how it’s done. www.bloomingville.com
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97 MOLLIEMAKES.COM 43
Introduce bold shapes and flashes of colour with carefully curated wall art. Jay Fleck’s fox print cuts a dash, or get typographical and stitch your own alphabet sampler with a Purl Soho kit. www.eastendprints.co.uk; www.purlsoho.com
GET THE LOOK
Textured woven wall hangings get our vote any day of the week, but when they’re miniaturised, complete with tiny dowels, it’s game over. www.lepetitmoose.etsy.com 44 MOLLIEMAKES.COM 97
RETRO WARMED UP
Once you’ve seen a table lamp with legs, you can’t unsee it. Habitat’s nailed the leggy tripod lighting trend with the finest set of ash pins and a pristine white silk drum shade. www.habitat.co.uk
Bamboo, rattan or wicker? We’ll take it. Vintagestyle woven mirrors are hot property for modern interiors, so if you can’t thrift it, buy it. www. maisonsdumonde.com
Curvy, peachy and covered in flowers – that might sound more like a way of life than a vase to you, but there’s no denying this stoneware creation’s beauty. www.anthropologie.com
Latest obsession: velvet upholstery. Right now, we can think of nothing better than sinking back into these luxurious, rust-coloured curves. Pick a statement armchair, two-seater sofa or both. www.made.com
Their enamelware game is strong
BRAND FOCUS Mini Moderns Purveyors of pattern Mini Moderns have their sense of nostalgia firmly fixed on. This British interiors brand emblazon their bold midcentury inspired designs across wallpaper, lampshades, textiles and ceramics. Their covetable pieces are Britishmade, wherever possible, and always in standout colours. www.minimoderns.com Mini Moderns have an extensive range of retro-style wallpaper
WEBSITE TO WATCH Pampa
The lampshade designs are screenprinted by hand on linen
For textiles with integrity and a story to tell, Pampa is one to beat. They’re an Aussie homewares brand that partners with artisans in Argentina to produce unique woven pieces including rugs, cushions and bags. Everything is handmade with natural materials, and they’re committed to sustainable practices and trading fairly. www.pampa.com.au Subscribe at molliemakes.com
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LIVING home tour
Stephanie Fradette of Le Petit Moose masters the art of modern retro style Words: LOTTIE STOREY Photography: CARO WEISS
After years of roaming, French-Canadian Stephanie Fradette has finally settled in Scotland, where she’s made a mix-and-match home with husband Simon and daughters Sienna (8) and Eva (6). Maker of woven wall hangings, fibre art, needle punch and macramé, Steph has managed the impossible – creating a vintage-heavy interior that doesn’t feel cluttered. “The house was a bit ‘beige’ when we moved in, so we redecorated the entire place in white to
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LIVING home tour
Steph couldn’t resist buying this ochre sofa from Made.com. “I love how the punchy colour adds depth and richness.”
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97 MOLLIEMAKES.COM 47
LIVING home tour
MODERN PLANTS Plant stands were big in the 60s and 70s, and now that houseplants are enjoying a revival, so too are these forgotten pieces of furniture. Steph and Simon moved around a lot before settling in Scotland, so plants weren’t a practical option. But now, she takes inspiration for her vast collection from blogger Justina Blakeney of The Jungalow, famous for her verdant home.
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make it look bigger and lighter,” recalls Steph. “We also unified the dining room, kitchen and living room by adding walnut flooring lengthwise throughout to give a sense of space.” Steph’s tricks to create a light, airy feel don’t end there, as the walnut flooring is picked up again in the kitchen. “That was the most significant remodel, as it was dark and tiredlooking,” she explains. “We added a window to take advantage of the natural light and kept a neutral base of white IKEA units and walnut worktops.” With the house now a blank canvas, in came a hotchpotch of vintage finds, midcentury furniture and colourful makes. “The pieces I love most are the ones I’ve upcycled or made my own. It’s amazing how something as simple as changing the handles can transform a chest of drawers.” So no worshipping at the altar of vintage then? “I’m mostly drawn to well-designed pieces, whether 48 MOLLIEMAKES.COM 97
they be old or new. I’m also a patient buyer. It took three years for me to replace a midcentury teak sideboard I’d sold because of an international move.” And where did she finally find one? “Through a friend. But I’m at the local charity shop every week to look for treasures as the hunt is as thrilling as the find!” Most of Steph’s pieces are sourced secondhand. “I’ve become really mindful about ‘fast’ interiors in the last few years. Just like fashion, it can be easy to find trendy homewares cheaply made on the high street.” But, there are some exceptions. “I couldn’t resist the ochre sofa we recently got from Made.com. It had been on my radar for a while, and I’m so pleased with how the punchy colour adds depth and richness.” Steph’s distinct colour palette runs through her home and her work. The same shades of mustard, orange and earthy brown – plus a spectrum of greens and blues – blend with
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Old family
photos adorn a decorative easel. 02
Steph and
Simon’s vast plant collection brings texture and layers to the home.
Steph loves upcycling vintage furniture. She added colourful legs and modern handles to this sideboard, breathing new life into old teak.
LIVING home tour
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natural ochres, whites and creams to create both a beautiful living space, and those textured wall hangings crying out to be stroked. Hanging alongside those she keeps for her own walls are framed photographs, screen prints and typography. “Open shelving is fab for vintage finds, but I like to balance the look with modern artwork to give it an eclectic feel.” For Steph, “investment art pieces like the Ben Eine alphabet print are a statement in themselves, and will translate to any space they’re in.” Her home is also made modern with plants a-plenty, and the peachy paintwork of the dining room chairs. “They’re my most recent object of lust. I found them for £10 at a car boot sale, and transformed them with a lick of salmon paint. They now look like designer chairs, plus they make the room so much more fun!” Fun is a running theme in this home. Steph’s favourite room is “definitely the living room. I 50 MOLLIEMAKES.COM 97
love that we have no cofee table so we can all lie down on the carpet and play games, or the girls can use it for cartwheels and forts. It’s the first space you walk into – a sea of colour, and everything we are as a family.” So how would Steph describe her home? “A bit boho, a bit retro. The eclectic granny? Curated vintage-modern!” However you describe it, the result is the same – a loving home with a big personality and plenty of joy.
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bedroom’s subtle tones let furniture and artwork shine. 02
Sienna and Eva
love all things pink, so Steph decorated their room to suit.
Stephanie Fradette Steph sells her wall hangings and weaving kits on Etsy and runs weaving, needle punch and macramé workshops in the north east of Scotland. Follow her on Instagram, Facebook and Twitter @lepetitmoose for tactile makes and interior inspiration. www.lepetitmoose.etsy.com
Global living
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Get eclectic with Victoria Haynes’ Moroccan-inspired crochet pouffe
HOW TO MAKE… A CROCHET POUFFE MATERIALS Q DMC Natura Just Cotton XL, 100% cotton, 75m/82yd per 110g, 14 balls in Cream (31) (Yarn A), four balls in Black (02) (Yarn B), two balls in Mustard (09) (Yarn C) and one ball in Aqua (87) (Yarn D) Q 6mm (UK 4, US J/10) crochet hook Q 40 x 40 x 40cm (15¾ x 15¾ x 15¾") cube beanbag Q Two stitch markers TENSION Approx. 11 sts and 13 rows in double crochet to measure 10cm (4")
ABBREVIATIONS (UK) st(s) stitch(es) ch chain ss slip stitch dc double crochet tr treble yrh yarn round hook bobble 5 treble bobble – (yrh, insert hook in st indicated, yrh and pull up loop, yrh and draw through 2 loops) 5 times, inserting the hook in the same st each time, yrh and draw through all 6 loops on hook, ch1 to complete st. Bobbles are worked on WS rows RS right side WS wrong side FINISHED SIZE Approx. 43cm (17") along each side
Dreaming of filling your home with unique finds from your travels, all with tactile texture and unexpected colour combos? Us too. That curated, global look is the ultimate goal, and it’s achievable even for armchair travellers. Save the air miles and make your own one-of-a-kind wonder with bobbles, tassels and colour pops to boot. No round-theworld ticket required. Panel 1 Foundation using Yarn A, ch45 Row 1 (RS) 1dc into the second ch from hook, and in each ch to the end, turn [44 sts] Row 2 ch1 (does not count as st), 1dc in each st to end, turn Repeat Row 2 for another 54 rows, until you have 56 rows in total, turn Place a marker in each end of the 56th row – Panel 1 is complete Panel 2 This panel is continued from Panel 1 using Yarn A Rows 57-70 repeat Row 2 another 14 times, changing to Yarn B on the last dc of Row 70
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Rows 71-72 repeat Row 2 twice, changing to Yarn C on the last dc of Row 72 Row 73 ch1 (does not count as st), 1dc in first st, 1tr in next st, *1dc in next st, 1tr in next st; repeat from * to end of the row, turn Rows 74-76 repeat Row 3, changing to Yarn A on the last st of Row 76 Rows 77-87 repeat Row 2, changing to Yarn D on the last st of Row 87 Row 88 ch1 (does not count as st), 1dc in each of first 2 sts, *bobble in next st, 1dc in each of next 2 sts; repeat from * to end, changing to Yarn A on the last st, turn Rows 89-98 repeat Row 2, changing to Yarn C on the last st of Row 98 Rows 99-102 repeat Rows 73 to 76, changing to Yarn A on the last st of Row 102 Rows 103 to 110 repeat Row 2, at the end of Row 110 break yarn, fasten off and sew in ends Panel 2 is complete Panel 3 Join Yarn A to the right side of the
base of the foundation ch of Panel 1 (with RS facing) Row 1 ch1 (does not count as st), 1dc in each st to end, turn Repeat Rows 58-110 of Panel 2 Panels 4 and 5 Foundation using Yarn A, ch45 Row 1 (RS) 1dc into the second ch from hook, and in each ch to the end, turn [44 sts] Repeat Rows 58 to 110 of Panel 2 Panel 6 Repeat Panel 1 to end of Row 56, break yarn and fasten off Tassels Tassels are added to Panels 2-5. For each of the lower rows of tassels, cut two 16cm (63/8") lengths of Yarn B. Insert the crochet hook in under the bottom loop of Row 14 of each panel (Row 70 of the pattern), and out of the top of Row 15, then wrap the lengths of yarn around the hook and pull through. Insert the ends of the yarn through the loop, and pull through. Repeat all along the row and then trim the ends of the tassels to the
desired length. For the upper row of tassels, repeat as before, this time inserting the hook in under the bottom loop of Row 42 of each panel (Row 98 of the pattern) and out of the top. Embroidery Embroidery is added to Panels 2-5. Thread a yarn needle with two strands of Yarn B and insert from WS to RS at the bottom of Row 22 of each panel (Row 78 of the pattern), in the second st along. Pull through and weave under the horizontal bar of the st above, and then take the needle through to the back again. Repeat along the row, increasing and decreasing the amount of bars you weave
through as per the image, to form a repeating triangle pattern. Finishing Lay Panels 1-3 flat with the RS facing up and line up Panels 4 and 5 (also RS facing upwards) with the stitch markers to form a cross. Using Yarn A, oversew them together along the tops of Panels 4 and 5, fasten off and weave in ends. Lay the cross shape WS facing upwards and place the beanbag on top of the centre panel (Panel 1), then fold the side panels up and pin in place. Place Panel 6 on top, and pin in place. Matching the colours as you go, oversew along all the sides, fasten off and weave in the ends.
Victoria Haynes Victoria lives on the South Coast of the UK with her husband and two children. When she’s not dreaming up modern craft tutorials, she’s usually exploring her local beaches and woods, reading a good book or pottering about in the garden. www.theowlandtheaccordion.com
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W E LCOME TO A WO RL D WITHOUT RULES
If you can picture it, you can paint it. Get busy with Rust-Oleum, and make it yours. makeityours.co.uk
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Feast your eyes
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HOW TO MAKE‌ PAINTED PLATTERS MATERIALS Q Three wooden chopping boards Q Acrylic paint in white, indigo blue and mustard yellow Q Paint brushes Q Newspaper Q Varnish
A little bit of styling can go a long way. Try whipping out these upcycled platters at your next foodie gathering with friends to score the artisan edge. With a lick of paint, the most basic wooden chopping boards become an artful addition to your tablescape, capable of transforming the humblest chunk of cheddar into an irresistible, Insta-worthy morsel. Place the wooden boards on newspaper to protect the work surface. Use a wide paintbrush to paint all three boards white on both sides. The acrylic takes a while 01
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to dry, so try to leave each side for as long as possible before turning it over, as the paint will easily smudge if not completely set. 02 Using any colour paint and the paint brush, practise creating marks and simple patterns. 03 For the first board, use the mustard paint to create a pattern made up of simple leaf shapes, referring to the image as a guide. It’s easier if you draw the outline of each one with the paint brush first before filling them in with the paint. 04 Continue painting the pattern along the bottom of the board so it covers around a third of the space. Leaving an area plain will
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ensure the designs don’t look too overpowering or messy. 05 The second board design is made up of different sized ovals. Practise painting them in different sizes before you start painting on the board and you’ll see how mixing the smaller with the larger size makes a lovely repeat pattern. 06 Start painting at one side of the board and work the pattern across, leaving around a third of the board white. If you aren’t confident with getting the line straight with the paints, use a ruler and draw on a faint pencil line to use as a guide. 07 The third board is painted with semi-circle shapes in different
sizes. Use the image as a guide, and begin by drawing the outlines of the shapes with the paint first, before filling them in. 08 Paint just one third of the board with this pattern and leave the rest white. Leave all three boards to dry.
Apply the varnish to finish off – you can use matt or gloss, depending on your preference. You’ll need to wait until it’s completely dried out before the boards are food-safe, so check the label to see how long this takes. 09
Becki Clark Becki’s a designer-illustrator who specialises in hand-drawn typography and surface design. She teaches workshops in brush lettering and painting and loves getting to share her artistic talents and passion for all things floral with lots of lovely people. www.beckiclark.com
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
SIGNS OF AUTUMN Prepare to get cosy with Joanne Hart’s new-season patchwork quilt
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HOW TO MAKE… A PATCHWORK QUILT MATERIALS Q 3m (1181/8") Kona Cotton Solids in Snow (Fabric 1) Q 4m (157½") Kona Cotton Solids in Ice Peach (Fabric 2) Q 68.5cm (27") Kona Cotton Solids in Saffron (Fabric 3), Aqua (Fabric 4) and Emerald (Fabric 5) (ours was from www. woolwarehouse.co.uk) Q 1.5 x 1m (591/8 x 393/8") wadding Q Matching sewing thread Q Rotary cutter Q Cutting mat Q Square quilting ruler
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The duvet’s back on the bed after its summer in exile, and layering up now seems like the sensible thing to do. Prep for the new season by sewing the rich autumn hues you’ve been dreaming of into a quilt you can keep handy when the temperature drops. Bring on the spiced lattes and cosy nights in – we’re so ready for that crunchy leaf life. If your fabric has a directional print, cut the squares diagonally in opposite directions so the print is the right way up on both sides. Using the rotary cutter, cutting mat and Fabric 1, cut 12 14 x 14cm (5½ x 5½") squares and 44 15 x 15cm (6 x 6") squares. Cut the 15 01
x 15cm (6 x 6") squares in half to make half square triangles. For the backing, cut a 1.5 x 1m (591/8 x 393/8") piece from Fabric 2. Cut 10 15 x 15cm (6 x 6") squares from Fabrics 2 and 3, then cut them in half to make half square triangles. Cut 11 15 x 15cm (6 x 6") squares from Fabric 4 and 5, then cut in half to make half square triangles. 02 Place one Fabric 1 half square triangle and one Fabric 2 half square triangle with right sides (RS) together, and pin the long edge. 03 Sew together using a 0.5cm (¼") seam allowance and press open. Repeat with the remaining half square triangles, pairing each coloured one with a white one, to make a total of 84 squares.
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Trim each square to 14cm (5½"), lining up the 45° angle on the quilting ruler with the centre diagonal seam line. This will ensure the points match once you sew the blocks together. 05 Using the layout guide on page 99, lay out the blocks in 12 rows with eight blocks in each row. 04
Joanne Hart Joanne is a quilt designer, an ambassador for Prym and a self-confessed paper piecing addict. Playing with pattern, shape and colour is her thing, and unicorns, naturally. www.craftsy.com/profile/ unicornharts
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Sew two matching half square triangles RS together to create a flying geese unit. Repeat with the remaining squares, placing them back in the same order. 07 Sew the flying geese units into columns of 12, then sew all four columns together to finish the top. 08 Make a quilt sandwich by layering the Fabric 1 backing piece RS down, lay the wadding on top and the quilt top RS up, as shown in the Step 8 diagram. 09 Tack and quilt, quilting around each flying geese block, just inside. Trim the excess wadding and backing level with the quilt top to square off the quilt. 10 To make the binding, cut the remaining piece or pieces of 06
Fabric 1 into 6cm (2½") wide strips, joining the short ends of the strips together diagonally. You’ll need a total of 5.5m (220") of binding. Trim the seam allowances to 0.5cm (¼") and press the seams open. 11 Fold the binding in half along the length with wrong sides (WS) together and press. Fold the long raw edges into the centre crease with WS together and press. Open out, then pin and sew the binding along one side of the quilt, with RS together and raw edges aligned. Continue around all four sides of the quilt, folding a mitre at each corner as you go. 11 To finish, fold the binding over to the back of the quilt and hand sew or machine sew in place. 97 MOLLIEMAKES.COM 61
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97 MOLLIEMAKES.COM 63 PHOTOGRAPHS COPYRIGHT © 2018 BY REBECCA STUMPF
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HOW TO MAKE… A WOVEN BOLSTER MATERIALS Q 23m (25yd) pink velvet ribbon, 1cm (3/8") wide Q 15 x 40.5cm (6 x 16") bolster cushion Q Matching sewing thread Q Sewing needle Q 2.5 x 15cm (1 x 6") piece of paper
Traditional cane weaving worked in blush pink velvet ribbon? Mind blown. This textured bolster of your dreams looks divine and is only a bit of careful measuring and pinning away – just think of it as a gateway project if you’re new to weaving, as it’s loom-free. You can upcycle a bolster you already have with coordinating ribbon, or if you’re handy with the sewing machine you could make your own by sewing a bolster cushion cover and filling it before you tackle the weaving. First, cut six 119cm (47") lengths of the velvet ribbon and group them into three pairs. 02 Find the middle point of one pair of ribbons. Lay the ribbons vertically and parallel to one another, 2.5cm (1") apart, with their middle lying across the end of the bolster cushion. Use a 2.5 x 15cm (1 x 6") piece of paper to help with 01
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spacing. Pin these ribbons into place at the circumference seam on the bolster end. 03 Lay the middle of a second pair of ribbons on top of the bolster end at approximately a 45º angle to the first pair so that the ends continue around the circumference seam 2.5cm (1") apart, as shown. Pin into place. 04 Weave the next pair of parallel ribbons at an angle under and over each of the four pinned ribbons. The ribbons you’re weaving should catch in the Vs of the other ribbons so they don’t slide around. The shape should create a hexagon in the centre, as shown. 05 Bring the ends of the first pair of ribbons around the length of the pillow to meet each other and pin them into place, overlapping the cut ends. Repeat with the second pair of ribbons so they overlap the first pair at the other end, then pin them into place.
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Bring the third pair of ribbons around to pin, but weave the end of the ribbons under and over the ribbons already secured to the pillow, as in Step 4. Secure all the ribbons to the circumference seam with pins, maintaining the established 2.5cm (1") spacing. 07 Check to make sure the woven pattern is correct on both sides, the ribbons are 2.5cm (1") apart, and the tension on the ribbons around the pillow is as desired – tight, but not compressing the pillow. Fold one cut end of each ribbon back by 0.5cm (¼") and secure the folded end to the ribbon below it with needle and thread, maintaining its tension around the pillow. Trim the ribbon ends underneath the sewn fold to 0.5cm (¼"). Repeat this step for the five remaining ribbons. 08 For each ribbon, unpin and slide the loop until the ribbon seam is hidden under one of the other 06
ribbons. These are the structural ribbons. Repin them into place at the circumference seam. 09 Cut six 218cm (86") lengths of ribbon – these will be your wrapping ribbons. Next, orient the pillow end towards you so that one set of the sewn parallel structural ribbon pairs on the end is horizontal. 10 Line up one of the wrapping ribbon ends across the end of the pillow so it’s parallel to the horizontal pair that are already there. Pin the end of the wrapping ribbon under the structural ribbon already secured by the circumference pin. Bring the wrapping ribbon under and then over the centre V along the parallel line – the ribbon should catch in the V and not slide through. Next, pin the wrapping ribbon over the structural ribbon where they cross at the circumference seam, using the pin that’s already there. Rotate
the pillow so another set of parallel ribbons is horizontal. 11 Repeat Step 10 to add five more parallel ribbon lines along the edges of the pillow end. As you add these ribbons, maintain the over/under pattern. The wrapping ribbon should always run under the structural ribbon where it starts and over the structural ribbon at the edge of the pillow. After placing all the ribbons, there should be no circumference pins available. Remeasure and adjust the circumference pins as necessary to maintain 2.5cm (1") spacing between them all. 12 These six wrapping ribbons will encircle the bolster cushion with 2.5cm (1") of space between each other. As you wrap around the cushion to the other end, the wrapping ribbons will go over the structural ribbons already in place on the pillow. Start at the top of the pillow and begin wrapping one of 97 MOLLIEMAKES.COM 65
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HOW TO MAKE… A WOVEN BOLSTER the ribbon lengths, using the spacing paper, and pinning occasionally as you go. Continue to wrap all the ribbons around, pinning every third ribbon or so. Once you’re done, go back and adjust the pins if the spacing shifts a bit anywhere. 13 As you reach the other end, each ribbon should hit the edge of the pillow and meet the start of the parallel edge lines on this end. If they don’t, the spacing of the wrapping is a bit off, so go back and adjust it. At this end, the
Weaving Within Reach This project appears in Weaving Within Reach by Anne Weil (£17.99), published by Clarkson Potter Publishers, an imprint of Penguin Random House LLC, and features beautiful, achievable home projects and accessories to weave. www.penguinrandomhouse.com
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wrapping ribbon should go over the ribbon that is held by the first circumference pin. 14 Pin each wrapping ribbon into place at the edge and weave it across the end of the pillow, maintaining the established over/ under pattern. The ribbon will end under at the other edge; pin accordingly. Note that in the beginning, you are missing some of the parallel lines that need to be included in the over/under pattern. All the parallel lines made across the end of the pillow should catch in the centre V as they cross. 15 After all the parallel lines have been made across the cushion end, every other circumference pin will either have one of the wrapping ribbons going into the end, or one of the wrapping ribbons coming off the end. Before you start wrapping the ribbons back across the cushion, check all the over/under patterns are correct.
To wrap back to the beginning, weave each ribbon over the wrapping ribbon and under the structural ribbon. Repeat this over/ under pattern for each of the wrapping ribbons back to the other end. As you weave the wrapping ribbons back around, you can remove the pins in this centre section as you go. 17 The wrapping ribbons will end in an under position, ready to complete the wrapping cycle. Remove the circumference pin, scoot the structural ribbon out of the way, trim and fold the end of the ribbon, and secure it to the other end of the ribbon with a pin. Try to sew the ends so that after moving the structural ribbon back into place, the ribbon seam will be hidden. Readjust the structural ribbon as required. 18 After all the ribbon loops have been secured, remove all of the circumference pins to finish. 16
EXCLUSIVE PAPERS! Stationery lovers, rejoice – these Riso-style prints in vibrant shades are ready to cut and stick. Share your makes using #molliemakers Illustrations: ESTHER CURTIS WWW.ESTHERCURTISDESIGN.COM
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C H R I S T M A S Hook yourself a very happy Christmas with this collection of over 50 festive favourites from the Simply Crochet team. Packed with patterns for gifts and decorations, plus winter warmer accessories, it’s the perfect crochet companion for the holiday season.
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OH, YOU PRETTY THINGS! MOODBOARDS & MUSINGS TO INSPIRE US Bring it on, winter. The British Blanket Company have just launched their latest collection, and with nature-inspired shades in the softest merino lambswool, we’re ready and waiting for a sofa day. www. thebritishblanketcompany.com
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tiDdly poM
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
The hat-and-booties combo gets a colour block update from Lakeside Loops
HOW TO MAKE… A CROCHET HAT AND BOOTIES MATERIALS Q Lion Brand Vanna’s Choice, 100% acrylic, 155m/170yd per 100g, two balls each in White (100) (Yarn A) and Pink (101) (Yarn B) and one ball in Mustard (158) (Yarn C) Q Lion Brand Vanna’s Choice Multi 100% acrylic, 133m/145yd per 85g, two balls in Silver Heather (405) (Yarn D) Q 4.25mm (UK 8, US G/6) crochet hook Q 3.5cm (13/8") pom pom maker Q 8.5cm (33/8") pom pom maker Q Yarn needle
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TENSION Tension isn’t important for this project as long as sts are consistent, approx. 19 sts and 12 rows in rib pattern measures 10cm (4") ABBREVIATIONS (UK) st(s) stitch(es) ch chain ss slip stitch dc double crochet htr half treble yrh yarn round hook dc2tog double crochet 2 together – (insert hook in next st, yrh and draw loop through) twice, yrh and draw through all 3 loops on hook rep repeat
HAT Size
Circumference
Length
XS (6 months)
38cm (15")
14cm (5½")
S (12 months)
40cm (15¾")
15cm (6")
M (18 months)
43cm (17")
16cm (63/8")
L (24 months)
46cm (181/8")
17cm (6¾")
BOOTIES Size
UK Size
Length
XS (6 months)
2
10cm (4")
S (12 months)
3
11cm (43/8")
M (18 months)
4
12cm (4¾")
L (24 months)
5
13cm (5¼")
A fluffy pom pom is always a thing of beauty, but when it’s on crochet worn by a newborn? That’s next level cuteness. This cosy colour block hat and booties set is sized from 6-24 months, so winter arrivals won’t be getting chilly toes anytime soon. Instructions The hat is worked in rows and the first and last row are seamed together by ss, then one end is closed to form the hat. Each bootie is made in two pieces (sole and cuff/body) and seamed together by ss. When changing colour, do so on last yrh of the previous st. Turning ch at the start of each row does not count as a st. The pattern is written for the smallest size, with instructions for the other sizes shown in brackets in increasing order, i.e. XS (S, M, L).
Hat Foundation using Yarn A, ch40 (42, 47, 50) Row 1 1htr in 3rd ch from the hook, 1htr in each of next 12 (13, 14, 15) sts, change to Yarn B, 1htr in each st to end, turn [38 (40, 45, 48) sts] Row 2 ch2, 1htr in back bar of each of next 25 (26, 30, 32) sts, change to Yarn A, 1htr in back bar of each st to end, turn Row 3 ch2, 1htr in back bar of each of next 13 (14, 15, 16) sts, change to Yarn B, 1htr in back bar of each st to end, turn Row 4 ch2, 1htr in back bar of each of next 25 (26, 30, 32) sts, change to Yarn A, 1htr in back bar of each st to end, turn Rows 3 and 4 are the pattern, rep them a further 20 (22, 24, 26) times Fold hat so the last row sits on top of the foundation, ch1 and ss the 2 rows together Subscribe at molliemakes.com
Break yarn and fasten off Using Yarn A, weave through the row ends of the white side and pull to close, then sew in all ends Booties (make two) Sole Foundation Using Yarn C, ch9 (11, 13, 15) Round 1 2dc in 2nd ch from hook, 1dc in each ch to last ch, 4dc in last ch, working around opposite side of ch, 1dc in each st until last st, 2dc in last ch, join to first dc with a ss [20 (24, 28, 32) sts] Round 2 ch1, 2dc in each of next 2 sts, 1dc in each of next 6 (8, 10, 12) sts, 2dc in each of next 4 sts, 1dc in each of each of next 6 (8, 10, 12) sts, 2dc in each of next 2 sts, join to first dc with a ss [28 (32, 36, 40) sts] Round 3 ch1, 1dc in next st, 2dc in next st, 1dc in each of next 7 sts, 1htr in each of next 2 (4, 6, 8) sts,
2htr in each of next 6 sts, 1htr in each of next 2 (4, 6, 8) sts, 1dc in each of next 7 sts, 2dc in next st, 1dc in last st, join to first dc with a ss [36 (40, 44, 48) sts] Round 4 ch1, 1dc in each of next 2 sts, 2dc in next st, 1dc in each of next 7 sts, 1htr in each of next 2 (4, 6, 8) sts, (1htr in next st, 2htr in next st) 6 times, 1htr in each of next 2 (4, 6, 8) sts, 1dc in each of next 7 sts, 2dc in next st, 1dc in each of next 2 sts, join to first dc with a ss [44 (48, 52, 56) sts] Break yarn and fasten off. Cuff Foundation using Yarn A, ch16 (18, 20, 22) Row 1 1htr in 3rd ch from hook and in each remaining ch to end, turn [14 (16, 18, 20) sts] Row 2 1htr in back bar of each st to end, turn 97 MOLLIEMAKES.COM 81
HOW TO MAKE… A CROCHET HAT AND BOOTIES Rep Row 2 16 (18, 20, 22) times Fold cuff so the last row sits on top of the foundation, ch1 and ss the 2 rows together to form the cuff Do not break yarn Body Round 1 rotate cuff to work along top edge, ch1, work 27 (30, 33, 36) dc evenly around (3dc per rib), join to first dc with ss [27 (30, 33, 36) sts] Round 2 change to Yarn D, ch1, 1dc in each st around, join to st dc with a ss Round 3 ch1, 1dc in each of next 10 (12, 15, 17) sts, dc2tog 4 (3, 2, 1)
Lakeside Loops Kimberley is the designer behind Lakeside Loops’ crochet patterns. She’s the lucky mum of two amazing little girls and lives with her husband on a small lake on the east coast of Canada. www.lakesideloops.com
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times, 1dc in each st to end, join to first dc with a ss [23 (27, 31, 35) sts] Round 4 ch1, 1dc in each st around, join to first dc with a ss Rep Round 4 2 (4, 6, 8) times Round 7 (9, 11, 13) ch1, 1dc in each of next 9 (11, 13, 15) sts, 2dc in each of next 5 sts, 1dc in each st to end, join to first dc with a ss [28 (32, 36, 40) sts] Round 8 (10, 12, 14) ch1, 1dc in each of next 12 (14, 16, 18) sts, 2dc in next st, 2htr in next st, 2htr in next st, 2dc in next st, 1dc in each st to end, join to first dc with a ss [32 (36, 40, 44) sts] Round 9 (11, 13, 15) ch1, 1dc in each of next 12 (14, 16, 18) sts, 2dc in next st, 1dc in next st, 2dc in each of next 4 sts, 1dc in next st, 2dc in next st, 1dc in each st to end, join to st dc with a ss [38 (42, 46, 50) sts] Round 10 (12, 14, 16) ch1, 1dc in each of next 14 (16, 18, 20) sts, (2dc
in next st, 1dc in each of next 2 sts) 3 times, 2dc in next st, 1dc in each st to end, join to first dc with a ss [42 (46, 50, 54) sts] Round 11 (13, 15, 17) ch1, 1dc in each of next 17 (19, 21, 23) sts, 2dc in next st, 1dc in each of next 6 sts, 2dc in next st, 1dc in each st to end, join to first dc with a ss [44 (48, 52, 56) sts] Round 12 (14, 16, 18) ch1, 1dc in each st around, join to first dc with a ss Round 13 (15, 17, 19) ch1, 1dc in each st around, join to first dc with a ss Round 14 (16, 18, 20) ch1, ss previous round to last round of sole. Break yarn, fasten off and sew in ends Finishing Using Yarn C, make one large and two small pom poms. Sew them onto the hat and booties.
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FROM THE FAIR Check out a selection of artisan makes from The Handmade Fair’s Shopping Villages
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CURLY LULU
Curly Lulu designs and makes hand-sewn bears, kitties and bunnies known as The Pants Gang. Each one is lovingly made with linen and cotton, wearing pants of various colours, patterns and themes. www.curlylulu.co.uk 02
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Drawn in inks with a dip pen, Howell Illustration features nature-inspired original art, prints, maps and homeware with a retro feel. Commissions and custom pieces are available on request. www.howellillustration.co.uk 04
CHARLOTTE ANNA REED
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JANE KENT STUDIO
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Born from a love of colour and texture, Spoilt Leopard makes stunning and distinctive products for your home. They source their textiles from Peru 05
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Slow fashion
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK; MODEL: ALEXANDRA FIA
Knit with your own naturally dyed yarn – Rita Merrigan shows you how
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HOW TO MAKE… A HAND-DYED COWL MATERIALS For dyeing Q One 250g skein of super-chunky thick and thin undyed wool, 100% pure wool Q Scrap yarn Q 16g dyer’s alum Q 50g logwood bark Q 2g chlorophyllin extract (available as a kit from www. hedgeknits.etsy.com) Q Two large stainless steel pans Q Rubber gloves Q Wooden spoon Q Three jars Q Fine mesh colander Q Muslin cloth Q Eco wool laundry detergent 88 MOLLIEMAKES.COM 97
For the cowl Q 9mm (UK 00, US 13) circular needles, 60cm (235/8") long Q Large stitch marker Q Large-eyed yarn needle Q Stitch marker TENSION Tension is not important for this pattern, just aim for a finish you like ABBREVIATIONS k knit p purl FINISHED SIZE Approx. 80cm (31½") circumference
The cooler weather means it’s finally time to grab the knitting needles and reach for the good stuff – 100% wool yarn. This project’s all about rolling up your sleeves and getting stuck into the whole process, dyeing a skein with natural botanical extracts before knitting it into a simple cowl. Start a slow fashion revolution from your kitchen counter. Instructions Always wear protective glasses while mordanting and mixing the dye. Dye in a well-ventilated room or outside on a gas burner. Dyeing 01 To prepare the yarn, cut three short strands of scrap yarn and tie them loosely around the skein at
regular intervals, as shown, to prevent it from tangling. 02 To fix the colour, you’ll need to mordant the wool otherwise the colour won’t last. Use 7g of alum per 100g of wool, so for a 250g skein use 16g. Put the alum into a bowl and pour hot water over it, then stir to dissolve. 03 Fill a large pan with enough lukewarm water to cover the skein by approximately 5cm (2"), pour the dissolved alum into the pan and pop the skein of wool in. 04 Heat the pan to a slow simmer for an hour and a half, then turn off the heat and let the skein cool completely in the pan. If you want, you can leave the skein in there until the next day. 05 To prepare the logwood dye, weigh 50g of logwood bark and
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pour into a pan with boiling water, then leave overnight. 06 The next day, bring the logwood bark solution to a slow simmer and let it brew for three hours. Let the solution cool completely before straining it in a colander lined with muslin cloth to separate the liquid from the bark. Return the strained liquid to the pan, then set aside. 07 To prepare the chlorophyllin dye, weigh 2g of chlorophyllin extract and place in a jar, then add
Rita Merrigan Rita’s the botanical dyer behind Hedgeknits, dyeing unique colourways using ethical British yarns. She has a passion for all things natural and is obsessed with anything wool-based. www.hedgeknits.etsy.com
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warm water to dissolve it. Fill the second large pan with lukewarm water, enough to cover the skein of wool by approximately 5cm (2"), then add the jar of dissolved extract to the water. 08 Place the pans of dye side by side on the hob and place one end of the mordanted skein in one pan and the other end in the second pan, as shown. This will create a two-tone effect. Leave the yarn in the extracts for 8-10 hours, then gently heat for 5-10 minutes. For a darker colour, brew on a low simmer for 20 minutes instead. 09 Turn off the heat and let the wool cool in the pans. Using rubber gloves, carefully remove the skein from the dye pans, then very gently squeeze the wool to release excess water from the fibre. Next, rinse
the skein of yarn in lukewarm water with the laundry detergent until the water runs away clear. 10 Hang the skein up to dry naturally – this can take a few days. Wind the skein into a ball. Knitted cowl Using 9mm circular knitting needle, cast on 80 stitches and join for knitting in the round being careful not to twist the stitches Place a stitch marker at the join to mark the beginning of the round Round 1 k Round 2 p Rounds 1 and 2 are the pattern – repeat until the work measures 25cm (10"). Cast off loosely and sew in the ends to finish. 97 MOLLIEMAKES.COM 89
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Get a head start on the Christmas decs with Cristina Alcantara’s glittering embroidery
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HOW TO MAKE… CHRISTMAS EMBROIDERY HOOPS MATERIALS Q Metallic embroidery thread (we used DMC Light Effects in E3821 (gold), E334 (blue), E316 (pink), E677 (pale gold), E3849 (aqua), E3837 (purple) and E415 (silver) Q Green cotton thread (we used DMC Pearl Cotton size 5 in 367) Q Three 16 x 16cm (63/8 x 63/8") pieces of plain cotton fabric
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Q Three 10cm (4") embroidery hoops Q Embroidery needle Q Glue gun Q Gold card Q Water-soluble paper
This hoop trio is our tribute to the annual untangling-the-fairylights ritual, modelled on the glowing garlands that were always on the tree when we were kids. The nostalgia’s dialled back a notch with metallic thread and a clever connecting cord. It’s about to get merry and bright up in here. Before you start, turn to page 99 to find instructions for all of the stitches used in this project. Print the templates on page 99 directly onto water-soluble paper and stick one to the centre of each fabric piece, or trace the templates onto the fabric with an erasable 01
fabric marker. Place a fabric piece in each of the three hoops. 02 Using satin stitch and a length of green cotton thread, fill in the shape of the plug. 03 With the same thread, create the wire joining the lights using stem stitch. Bring the needle up and down, creating a single short stitch. Bring the needle up again halfway between the first stitch, just slightly above it, and repeat. For curves, make smaller stitches to maintain a rounded look, as shown. 04 For the light bulb bases, use all six strands of gold thread and backstitch. Make short stitches, bringing the needle up and down,
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following the lines and without leaving any spaces between stitches. Metallic thread can be challenging to use as it’s much more rigid than cotton and can easily become tangled. Be patient, use shorter thread lengths, and be very gentle when pulling through or separating the thread.
Cristina Alcantara Cristina is a full-time embroiderer. When she’s not teaching embroidery workshops, she’ll be in her studio in Houston, Texas, creating new designs and tutorials for her embroidery kits. www.hoopsandexpectations.com
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Using two strands of blue thread and satin stitch, fill in one of the light bulb shapes, as shown. 06 Referring to the image as a colour guide, stitch the rest of the light bulbs using satin stitch and two strands of the remaining thread shades. Repeat Steps 2-6 with the other two hoops. 07 Remove the fabric from the hoops and wash away the water-soluble paper or erasable pen. Leave to dry. 08 Place the fabric back in the hoops. Thread the needle with green cotton thread and bring the needle up from the back of the hoop at the point where the wire 05
end touches the edge of the hoop. Pull it until the thread is out and leave some of it hanging. Bring the needle down in the wire end of the next hoop, linking them with a length of thread. Knot the thread, then repeat to join all three hoops, using the main image as a guide. 09 For the back of the hoops, trim the excess fabric to approximately 2cm (¾") and use a glue gun to stick the fabric to the hoops. 10 Using the outer hoop as a template, draw three circles onto the back of the card and cut out. 11 Using a glue gun, attach a card circle to the back of each hoop with the gold side facing out. 97 MOLLIEMAKES.COM 93
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK; MODEL: ALEXANDRA FIA
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HOW TO MAKE… A MACRAMÉ NECKLACE MATERIALS Q Bobbiny Rope, 100% cotton, 50m/55yd per 250g skein, 0.5cm (¼") diameter, one roll in Peach (ours was from www.needlemaker.uk)
Liberating a skein of yarn from your stash, transforming it and taking it out on the town on the same night has never been easier – colourful cotton rope and some knotty know-how is literally all you’ll need to perfect a flower-look statement necklace. It proves beyond all reasonable doubt that there’s so much more to this craft than plant hangers and wall décor. Macramé, we salute you. Turn to page 99 to familiarise yourself with the different knotting techniques before starting. Cut five 10cm (4") lengths of rope, a 16cm (63/8") length of rope, and a 3cm (1¼") length. With the longer length, measure 3.5cm (13/8") down from the top – this is where 01
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you’ll attach the other cords. To do this, hold all the ropes, except the 3cm (1¼") length, in a bundle together. Use the short length to make a U-shape, and start wrapping it back around itself and over the bundle, as shown. 02 Wrap the rope around the bundle neatly four times, so each wrap is placed parallel under the last. Thread the remaining end through the loop at the bottom and pull the top loose end up as far as you can, until the loop slides up underneath the column of wrapped cord. This is called a wrap knot. Trim the top and bottom ends. 03 Use the two outside cords to make a square knot, sandwiching all of the middle cords. Take the first cord from the left over the
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middle ones and under the very last one. Next, take this cord over to the left, under the central ones and over the first. Pull the knot. 04 Take the last cord over to the left, over the middle cords and under the first. Bring the first over to the right under the central ones and over the last, then pull again to tighten. This is a square knot.
Sally Wilson Sally’s a greeting card designer living in Northamptonshire, who loves to paint, draw and illustrate. Her other creative passion is macramÊ and outside of making, her hobbies include spending time with her family and friends, travelling and walking. www.knotsewsimpledesign.etsy.com
Lay all the cords flat. Starting with the two middle cords of the bundle, separate these into left and right cords and lay them diagonally across the other cords in either direction. The clove hitch knot uses these pieces as the working cords that the other strands wrap and knot around. 06 To make the clove hitch knots, keep the left-hand working cord taut. Loop the one to the left around it, repeat, then repeat this step with the far left strand, so each cord makes two loops side by side. Repeat on the right side to create a chevron pattern, as shown. 07 Next, lay all the six cords out flat. The outside cords will not be used. Make a square knot with just the four middle cords. 05
Use the outside cords as working cords, and again, make clove hitch knots either side under the central square knot to finish off the diamond shape. 09 Make a square knot again with the outside cords, sandwiching all of the central cords together. 10 Repeat the process of creating clove hitch knots to make the diamond pattern around the square knots. Create five complete diamonds and tie a wrap knot around the bundle of cords. 11 Cut off all the loose ends except one long cord – this can be cut to the same length as the one on the other side, to fasten. 12 Secure both ends with a simple knot and coax the necklace into a curved shape to finish. 08
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NEXT MONTH’S ISSUE PLANS!
Amigurumi Cuties for Christmas
Sew sequin shoe embellishments MAKE IT
Make your own fragrant soaps
¤ RUG HOOKED STOCKING ¤ WOVEN CANE CHAIR ¤ JERSEY CLOUD PYJAMAS ¤ EASY-SEW VELVET HEADBAND ¤ LAYERED PAPERCUT ART ¤ PAINTED ADVENT BAUBLES
PLUS! YOUR 2019 CALENDAR 12 colourful projects by Cotton Clara to make, style, and inspire creativity
98 COVER GIFT AND CONTENTS SUBJECT TO CHANGE.
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 NATASHA HUMPHREYS PAGE 7
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Start by warping the loom. To do this, tie the string to one end of the loom. Hook the string up around the first peg and bring it down to the next. Do this along the whole width of the loom, as 01
shown. Tie the string to the end of the loom to secure. 02 To start weaving, use the shuttle stick and weave it under and over the alternating threads. Thread the needle with
approximately 40cm (15¾") of red yarn and pull the needle through the gap that’s been created, leaving a 3-4cm (1¼15/8") yarn tail at the end. Gently push the yarn down into a line
using the shuttle stick. Now weave the yarn through in the opposite direction, weaving under and over the threads. Repeat this process for four rows. Thread the yarn tail into the back
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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MAKES
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of the weaving at the beginning and end of the rows. 03 To create the fringe tassels, cut four strands of yarn. Place the yarn over the warp threads and bring the yarn behind and around the warp on each side, then pull both ends down to create the knot. Continue adding tassels in layers. For the first layer, add three red tassels at both ends and two blue tassels in the middle. For the second layer, add three tassels in pink at both ends and two tassels in cream in the middle. Add two tassels in blue roving on top of the two cream ones – you’ll
only need one strand of roving for each tassel. Using the main image as a guide, trim the three layers into shape. 04 Now continue to weave up the loom in blocks of colour. Cut the yarn to 40cm (15¾") for each block of colour, this will weave approximately four lines. Weave the gold ribbon in the same way. Thread the tail of the yarn or ribbon into the back of the weaving to keep it tidy. Weave a block of cream, then a row of ribbon, then a block of red. 05 To make the fluffy middle section, weave the pink roving over varying threads, e.g. over
two threads, under three, over four. Do this for a few rows, alternating the under and over threads. Next, repeat Step 4, this time weaving a block of blue yarn, a row of gold ribbon and then a block of pink yarn. 06 To create the plaited soumak at the top of the weaving, cut three or four lengths of red yarn approximately 60cm (235/8") long. Using all the lengths held together, pass the yarn over the first and second warp threads and then loop it down around the second thread. Repeat this across the weaving. Do this again along the same row but in the
opposite direction and secure the yarn at the ends. Weave another block of cream yarn to secure the soumak. 07 To remove the weaving from the loom you need to secure the bottom of the weave. To do this, cut a piece of yarn and tie a knot on each of the warp threads. 08 Unhook the top of the weaving from the loom and gently pass the wooden dowel through the loops. Attach a piece of yarn onto each end of dowel to create a hanging loop. Finally, trim the tassels into a diagonal shape at the bottom to finish the wall 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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MAKES
PATCHWORK QUILT JOANNE HART PAGE 58
LAYOUT DIAGRAM
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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97 MOLLIEMAKES.COM 101
MAKES
LATCH HOOK MAT BY EMILY ASHBOURN PAGE 39
KEY Yarn A
Yarn B
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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MACRAMÉ KNOT GUIDE USE OUR HANDY KNOT GUIDE FOR THE NECKLACE ON PAGE 95 01
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Square knot
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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 03
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. 01
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the left, 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.
STITCH GUIDE USE OUR HANDY STITCH GUIDE FOR THE EMBROIDERY PROJECTS IN THIS ISSUE
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STEM STITCH Although it can take some practise, stem stitch is great for textured outlines. Come up from the back at point 1, then go down at point 2. Before pulling the stitch close to the fabric, come up at point 3 with the loose thread below the needle. Pull the thread taut, then repeat. Come up from the back at point 1, then go down at point 2. Before pulling the stitch close to the fabric, come up at point 3 with the loose thread below the needle. Pull the thread taut, then repeat.
SATIN STITCH When you want to fill an area with a smooth finish, this stitch is the ideal choice. It’s best worked in small areas, because if the stitches are too long, they may snag. Come up at point 1, then go down at point 2. Come up at point 3, then go down at point 4. Repeat. Always work the stitches across the area you’re filling, coming up on the opposite side where your needle went down.
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.
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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MAKES
CHRISTMAS EMBROIDERY HOOPS BY CRISTINA ALCANTARA PAGE 90
HOOP 1
HOOP 2
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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MAKES
CHRISTMAS EMBROIDERY HOOPS BY CRISTINA ALCANTARA PAGE 90
HOOP 3
Mollie Makes (ISSN 20460228) (USPS 20517) October 18 is published 14 times a year (monthly, with a Spring issue in March and a Christmas issue in November) 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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97 MOLLIEMAKES.COM 105
Seamstress Jenniffer Taylor on starting a sewing revolution
Name: Jennifer Taylor Occupation: Author and sewing demonstrator
The she-shed is Jenniffer’s place of chaos and creativity
After sewing my first make, my wedding dress, then appearing on the Great British Sewing Bee after only a year of sewing experience, you could say I’m addicted to sewing. It’s a huge part of my life now that I sew for a living. Whether that’s running workshops, demonstrating for events, or writing, I’m determined to get the nation sewing! That’s why I started #sewingrevolution – sewing empowers you to feel better about yourself, as well as how you look, by making clothes that actually fit. Through my sewing journey, I hope to inspire
you could say I’m addicted to sewing. it’s a huge part of my life now others to pick up a needle and thread. I’m working with Korbond, #loveyourclothes and Mollie Makes at The Handmade Fair to prove you don’t need to go far to get started! Just head to your wardrobe and get upcycling.With a few basics, you can transform unwanted clothes rather than throwing them away or spending money on something new. Ditch the ready-to-wear and get stitching your own!
Jenniffer loves meeting sewing revolutionists at her workshops!
Visit www.jennifertaylor.co.uk to find out about Jenniffer’s upcoming workshops, and what she’s been sewing lately. On Instagram she’s @jennibobtaylor.
Next issue: Tatty Devine on their love of collabs 106 MOLLIEMAKES.COM 97
Currents Enjoying: Immersing myself in sashiko stitching and learning shibori dyeing techniques. Learning: How to be a producer for an all-vinyl radio show on www.mixcloud.com/vinylfrontieruk. Eating: Lots of homemade sushi.
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QUICK WAYS TO GET THIS SEASON’S LOOK
WINTER LUXE
NEW TRENDS • STYLING UPDATES • QUICK MAKES • INSPIRATION
INSIDE! statement projects made simple
NEW-SEASON HOMESTYLE Once the leaves start falling from the trees, our minds turn to thoughts of hibernation. Crafting becomes a way to make homes inviting, with tactile yarns and cosy makes a priority. This year, we’re also adding indulgent textures and rich, vibrant colours to the top of that list, channelling the Winter Luxe trend to turn living rooms into bold, statement spaces that feel warm, welcoming and uplifting. Layer plush velvets with faux fur for more-is-more maximalism, and mix mid-century shapes with Art Deco style for modern glamour. Embrace those long, dark evenings, and take your winter styling to the next level. The Mollie Makes team x
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QUICK WAYS TO GET THIS SEASON’S LOOK Hook up all the texture you need. Page 16
Statement coasters to step up drinks night. Page 10
Easy-sew updates for your home. Page 7
Shop the Winter Luxe trend. Page 4
Tastes good and looks on trend? We like. Page 21
WINTER LUXE Create a sumptuous retreat for when the cold weather creeps in. Add warmth with accessories in soft textures, nod to maximalism with rich jewel tones and gold accents, and take inspiration from mid-century shapes.
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THIS MONTH WE’RE OBSESSING ABOUT...
WINTER LUXE Create opulence with rich jewel colours, plush texture and shining metallic accents
Deco glamour meets slick modern style in a table to rule them all. www. rockettstgeorge.co.uk
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Every meal’s a feast
and a gilt-y pleasure. www.anthropologie.com 02
All that glitters.
www.merimeri.co.uk 03
If a stocking looks this
pretty, frankly we don’t care what’s inside. www.fermliving.com 04
Aged zinc is as good as 04
gold. www.decorators 09
notebook.co.uk 05
It’s the bar cart your
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inner 1930s starlet would demand, don’t settle. www.oliverbonas.com 06
The party starts when
somebody pops the fizz. www.ricebyrice.com 07
If you need us, we’ll be
reclining with this tufted bad boy. www.made.com 08
Too many cushions?
Decadence called and 08
said it was fine. www. sageandclare.com 09
&K’s coloured
glassware glows like jewels. www.trouva.com
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PHOTOGRAPHY: TERI MUNCEY WWW.THELOVELYDRAWER.COM
Top tiny boxes with precious gems to elevate this year’s gifts. www.thelovely drawer.com
Nod to Art Deco style with geometric shapes in gold. www. hobbycraft.co.uk
O U R P I CK O F
Deep blues and forest greens make festive hues feel grown-up. www. johnlewis.com
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Use velvet ribbon and jewel-toned baubles to upgrade foliage. www.pmqfortwo.com
PHOTOGRAPHY: ARIEL GARNEAU, PMQ FOR TWO
WINTER LUXE
Lap of luxury
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
A jewel-toned velvet cushion is a must, and Emma May’s got it down
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WINTER LUXE MOLLIEMAKES.COM 7
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HOW TO MAKE… A VELVET CUSHION MATERIALS Q 1m (393/8") Clarke & Clarke Alvar velvet in Raspberry (ours was from www.textile expressfabrics.co.uk) Q Matching sewing thread Q 40 x 40cm (15¾ x 15¾") medium density foam, 8cm (31/8") thick Q 10 29mm (1¼") metal self-cover buttons Q 13cm (5¼") doll needle Q Strong buttonhole thread Q Fabric clips Q Darning needle Q Fabric marker
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Who knew seat pads came in luxe? The berry red velvet confirms its plush status, but it’s the tufting and faux piping that makes it look so slick. Sew one, or make a whole set – whether your furniture needs it or not, your derrière deserves it. If you make your cushion cover from a fabric with a synthetic component, be sure to first cover the foam with a fire-retardant cloth cover before making the outer cover. And if you choose to work with velvet, use the walking foot on the sewing machine to lessen the amount that it slips and slides. Cut two 40 x 40cm (15¾ x 15¾") squares from the fabric, then a 40 x 8cm (15¾ x 35/8") rectangle and a 122 x 8cm (481/8 x 35/8") rectangle. Take the longest rectangle piece and position it on top of one of 01
the squares, right sides (RS) together, and aligning the raw edges along one corner. 02 Pin up to the second corner and draw a mark at either end, 1cm (3/8") in from either edge of the underlying square. Sew between the marked dots with a 1cm (3/8") seam allowance. 03 Turn the rectangular strip around the corner of the square, as you would when attaching binding to a quilt edge, and pin to the next corner. Mark either end again, 1cm (3/8") in from each edge of the underlying square. Sew between the dots as before. Repeat this step with the third edge of the square, then trim off any excess fabric from the strip that extends beyond the final edge of the square. 04 Place the square with the rectangular strip attached on top of the other square, RS together.
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Align the long raw edge of the strip with one of the edges of the second square. Pin and make a mark at either end as in Step 2, then sew between the marks. Align the other two edges of the square with the strip and repeat as before. 05 Where the strip turns the corners, sew an additional line with a 1cm (3/8") seam allowance to connect the line of stitching around the top square and the bottom square. Turn RS out. 06 Take the other fabric rectangle and lay it on top of the remaining
Emma May Emma’s a soft furnisher and sewing tutor with a fabric obsession and a love of pattern, print and Scandinavian interiors. She runs regular workshops around Oxfordshire and Buckinghamshire. www.emmamaystitching.co.uk
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raw edge of one square with RS together. Mark either end, 1cm (3/8") in from either edge, then pin and sew between the marks using a 1cm (3/8") seam allowance. 07 Next, pull the cushion cover over the piece of foam. There’s a knack to this: bend the foam and squeeze it between your knees while pulling the cover over, then free the foam from your knees and give it a final tug. It should be a tight fit. Fold all the remaining raw edges to the wrong side by 1cm (3/8"), pin, then secure the seams with slip stitch. 08 Pinch the seams around the edge of one square and hold with a clip or peg. Using strong buttonhole thread and a long darning needle, sew a running stitch either side of the seamline to create a piped edge effect. Repeat around the other square edge.
Mark the locations for the buttons on both sides of the cushion, as shown. 10 Following the manufacturer’s instructions, cover 10 buttons in the same velvet or a fabric of your choice. Thread five of the buttons with a 50cm (19¾") length of buttonhole thread. 11 Push a doll needle through one of the button location marks until it just appears on the other side. Take one of the threaded buttons and pass both ends of the thread through the eye of the doll needle. 12 Push the needle through to the other side of the cushion, pulling the threads too. Pass one end of the thread through another button and tie a slip knot using both threads. Slide the knot down as far as you can, then secure with a square knot. Repeat this step with the remaining button pairs. 09
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
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on the rocks Cocktail hour calls for Emma Jewell’s gilded resin agate coasters
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HOW TO MAKE… RESIN COASTERS MATERIALS Q Pebeo small crystal resin kit (ours was from www. hobbycraft.co.uk) Q Disposable plastic cups Q Lollipop sticks Q Silicone mat Q Acrylic paint in pink, dark pink and white Q Gold glitter Q Gold gilding paint Q Modelling clay Q Holographic confetti Q Plastic gloves Q Paint brush
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That Gatsby-style bar cart you’ve been lusting after? It’s not the only way to channel cocktail lounge glamour. Primp your drinks set-up with geode coasters in jewel brights, edged with gold. These versions are made with resin and a generous sprinkle of glitter – a stack of them would make a stellar new home gift for pals who’ve moved. Chin, chin. To create four moulds on a silicone mat, roll out four sausage shapes of modelling clay, then join the edges to create rough oval ring shapes, approximately 12 x 9cm (4¾ x 35/8") and 0.5cm (¼") thick. The rougher this is, the better for the agate shape. Make sure all the gaps are filled and the clay is pushed down firmly to the mat. 01
Put on plastic gloves and ensure the work surface is protected. To mix the resin, follow the manufacturer’s instructions, but as a general rule measure one part hardener to two parts resin in a plastic cup. You’ll need 120ml of resin and 40ml of hardener to create four coasters. Try to be as exact as you can when measuring the resin. Stir the mixture with a lollipop stick until it’s clear. 03 Leave the resin mix to sit for five minutes to allow any air bubbles to rise up to the surface and pop. 04 Divide the resin equally into five plastic cups. Add paint to three of the pots – one dark pink, one lighter pink and one white – at a one part paint to ten parts resin ratio. Mix until the paint has completely combined 02
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with the resin. Acrylic paint works particularly well with resin – avoid any water-based paints as they’ll prevent the resin from setting. 05 Leave the fourth cup with clear resin, then add gold glitter to pot five. Keep adding glitter until the mix is a thick glittery paste. 06 Pour a small amount of the darkest pink resin carefully into centre of each mould. 07 Next, pour the lighter pink resin into the centre of the first pour. Keep pouring in coloured resin in this way into the middle, adding varying amounts of dark pink, light pink and white, until the resin has spread to the edge of the moulds. 08 Pour clear resin in the centre of each mould, then sprinkle holographic confetti into the centre, pushing the loose bits
down with a lollipop stick. To create the geode-look rocky centre, add a good pinch of confetti so it doesn’t all sink in and become encased in resin, but sits on the surface to add texture. 09 Pour a small amount of the gold glitter mix into the poured resin and swirl carefully with a lollipop stick to create long thin trails of gold around the centre. 10 Leave the coasters to set for 24 hours. Don’t touch them or move
them, as it can take up to 20 hours for the resin to harden from a liquid. Try to keep the temperature constant and above 15oC. 11 Once hardened, remove the coasters from the moulds and the silicone mat. Use scissors to trim the rough edges, creating an oval geode slice shape. 12 Add gold gilding paint to the edges of the coasters with a paint brush, letting a little spread around the top edge too. Leave to dry.
Emma Jewell Glitter fiend and craft blogger Emma runs monthly craft subscription The Glittery Hands Box and a monthly craft night called The Craft and Cocktail Club. She’s happiest making sparkly makes for sassy babes. www.emmajewellcrafts.co.uk
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Mid-century modern Style your space with Belçim Sarıeyyüåpolu’s pendant lampshade
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HOW TO MAKE… A VENEER LAMPSHADE MATERIALS Q 10m (11yd) veneer tape, 1cm (3/8") wide Q Wood glue Q Lampshade spider Q Bulldog clips
Sculptural, a little bit retro and a total bargain – that’s our kinda lampshade. And let us introduce your new home décor crush: the humble yet somehow impressive veneer edging tape. It’s easy to work with (no drilling, sawing or sanding), plus wooden tones really warm up a room. If a colour pop’s your thing, paint or spray the veneer strips before assembling. The lampshade is made up of inner and outer hoops. For the lampshade inner, cut eight 50cm 01
Belçim Sarıeyyüpoglu Turkish craft blogger Belçim is a freelance editor for an interiors magazine. She travels regularly, and her adventures are often what inspire her makes. www.bikagitbimakas.blogspot.com
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(19¾") pieces of veneer tape. For the lampshade outer, cut 13 80cm (31½") pieces of veneer tape. 02 To make the inner hoops, apply wood glue to the end of one of the 50cm (19¾") strips, as shown, and join into a hoop. 03 Repeat with all of the 50cm (19¾") strips to create eight hoops. To hold the ends of veneer strip together, use bulldog clips or paperclips until the glue is completely dry. 04 Once the eight hoops are dry, you can begin to make the inner lampshade. First, glue two hoops on top of each other, as shown, but don’t glue them together at the bottom. Then glue another hoop on top of the two hoops and continue until all eight pieces are attached. Refer to the images as a guide for placement.
Draw a circle the circumference of the lampshade spider on the unglued bottom of the hoops and carefully cut it out. 06 Once cut, the strips will separate from each other. Stick the separated strips side by side as shown, applying glue to the corner of each end and leaving a hole large enough to fit the lampshade spider inside. 07 For the lampshade outer, make loops with the 80cm (31½") lengths by gluing the strips to the edge of the hole at the top of the lampshade, as shown. 08 Glue the loops in place where they cross over at the bottom of the lampshade, then clip the strips in place until the glue is dry. 09 Finally, place the lampshade spider in the hole and glue in place. Leave until completely dry. 05
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
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Midas touch DIY your way to lavish crochet texture – Lindsey Newns shows you how
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HOW TO MAKE… A CROCHET STOOL MATERIALS Q GGH Cumba, 42% wool, 30% acrylic, 28% alpaca, 150m/164yd per 50g, eight balls of Curry (06) (ours was from www. lovecrochet.com) Q 6mm (UK 4, US J/10) crochet hook Q Marius IKEA stool in white Q Rust-Oleum Metallic spray paint in Gold (www.makeityours. co.uk) Q 50 x 50cm (19¾ x 19¾") cushion pad Q Fine bristle hairbrush Q Yarn needle
TENSION Approx. 12 st and 11 rows over pattern to measure 10 x 10cm (4 x 4") ABBREVIATIONS (UK) st(s) stitch(es) ch chain ss slip stitch dc double crochet WS wrong side ls loop stitch FINISHED SIZE Crochet seat panel is approx. 50 x 50cm (19¾ x 19¾")
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This is no ordinary IKEA hack, people – this project’s got VIP perch written all over it. It combines winter’s two interior darlings, mustard and gold, with sheepskin-style fuzz for a stool like no other. And the real beauty is that it’s so simple to make – get a handle on crochet loop stitch and you’re away. Texture here we come. Loop stitch Loop stitches are used to form a texture on crochet fabric. For this stool we want lots of loops so the yarn is held double. To form a loop stitch, wrap the working yarn from front to back over the index finger of your yarn hand. Insert the hook into the stitch, and bring the yarn under the hook, keeping your finger in place. Now, grab the strand of yarn from behind your
index finger and draw the loop through the stitch, still keeping your finger in place. You should now have two loops on your hook, and a loop of yarn wrapped around your index finger – pull the loop out to the desired length. Yarn over hook as normal and pull through both loops on hook. Your loop stitch is now formed and you can remove your finger. When making loop stitches, check to see they’re about the same length while working the row – don’t check at the end in case you need to pull back some stitches to correct the loops. Once you’ve worked a few stitches you’ll begin to get the tension and loops consistent. Crochet panel Using 6mm crochet hook and two strands of yarn, ch61
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Foundation 1dc in the second ch from the hook and in each ch along, turn [60 sts] Row 1 (WS) ch1 (does not count as st), 1lp in each st along, each with a loop approximately 5cm (2") long, turn Row 2 ch1 (does not count as st), 1dc in each st along, turn Repeat Rows 1 and 2 another 27 times or until the cushion panel measures approximately 50cm (19¾"), inishing on a Row 2 Fasten off yarn and sew in any ends. Using a sharp pair of scissors, separate out rows of loop stitch a row at a time and cut through all loops at their highest point. When all loops have been cut, separate out the rows one row at a time and comb the yarn strands using a ine bristled brush, aiming to fluff up and backcomb the yarn.
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Stool 01 Assemble the stool as per the manufacturer’s instructions. 02 To spray the stool gold, place it upside-down in a large cardboard box, in a well-ventilated area, and cover the legs with spray paint. Build up layers from a distance to prevent any drips, then leave to dry – you don’t need to spray the top. 03 Once dry, attach the cushion pad to the seat by sewing together the four corners of the cushion on the underside of the stool, as
shown, using a yarn needle and length of yarn or thread. Ensure the cushion pad is sewn irmly around the stool – you can also sew through the holes on the stool top to give extra stability. 04 Attach the crochet panel to the cushion pad by sewing together around the edge of the cushion. 05 Finish off the crochet stool by trimming any long strands of yarn to neaten, and use the ine bristle brush to do some extra combing to fluff up the stool.
Lindsey Newns Alongside working on Mollie Makes as Commissioning Editor, Lindsey designs modern crochet patterns and is a lover of texture and colourwork. She shares her makes and tutorials on Instagram as @lottieandalbert. www.lottieandalbert.blogspot.com
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Winter citrus Bake Eva Kosmas Flores’ zesty upside-down cake
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HOW TO MAKE… A CITRUS CAKE INGREDIENTS Q 3 tbsp unsalted butter Q 100g (3½oz) packed light brown sugar Q 1 tbsp honey Q 2 tsp fresh lemon juice Q 5-8 thin citrus slices Q 250g (9oz) plain flour Q 2 tsp baking powder Q ½ tsp flake kosher sea salt Q ½ tsp ground cinnamon Q ½ tsp ground cardamom Q 4 large eggs Q 265g (9¼oz) granulated sugar Q 120ml (4fl oz) extra virgin olive oil Q 60ml (2fl oz) fresh orange or blood orange juice Q 60ml (2fl oz) fresh lemon or lime juice Q 3 tbsp whole milk Q 2 tsp pure vanilla extract Q 1 tsp grated orange zest
The family’s round, the kettle’s on, then you unveil this winter treat in all its syrupy glory – star baker, take your crown. When you need to pull something a bit special out of the bag, this recipe will do it. It’s simple to make, but bursting with sweet honey, spices and juicy fruit flavour. And can we talk about those citrus slices glowing like rubies and amber? Seasonal styling just hit the kitchen and we’re sold. Preheat the oven to 190°C/ 375°F/Gas Mark 5. Grease the cake tin well with unsalted butter and line the bottom of the tin with parchment paper, cut to fit. 02 In a small saucepan, combine the butter, brown sugar, honey and lemon juice and heat over a low heat, whisking until the sugar has dissolved. Remove from the heat and pour the syrup into the prepared cake pan. Arrange the citrus slices over the bottom of the 01
pan in an even layer, overlapping them to ensure the entire bottom of the pan is covered. Set aside. 03 In a medium bowl, stir together the flour, baking powder, salt, cinnamon and cardamom until blended. Set aside. 04 In the bowl of a stand mixer fitted with the paddle attachment, beat the eggs, granulated sugar and oil on a medium-low speed until smooth. Next add the orange juice, lemon or lime juice, milk, vanilla and orange zest, and mix until incorporated. Gradually add the flour mixture and then mix until just blended. 05 Fill the cake tin three-quarters full with the batter and bake for 30 to 40 minutes, or until a toothpick or skewer inserted into the centre of the cake comes out clean. Allow it to cool in the pan for 10 minutes, then invert it onto a wire rack, peel off the parchment paper, and allow to cool completely before slicing up and serving.
First We Eat This recipe appears in FirstWe Eat: Good Food for Simple Gatherings from My Pacific Northwest Kitchen by Eva Kosmas Flores (£26.99), published by Abrams. www.abramsbooks.com
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PHOTOGRAPHY: © 2018 EVA KOSMAS FLORES
EQUIPMENT Q 20cm (77/8") round cake tin Q Parchment paper Q Small saucepan Q Medium bowl Q Whisk Q Stand mixer Q Wire rack
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND BECKI CLARK
Red, gold & green Deck the halls, DIY-style, with Lana Red’s simple Christmas decorations WINTER LUXE MOLLIEMAKES.COM 23
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HOW TO MAKE… CHRISTMAS DECORATIONS MATERIALS For the baubles Q Balsa wood, 0.25cm (1/8") thick Q Acrylic paint in dark red, dark pink, copper and gold Q Paint brush Q Wood glue Q Gold elastic thread Q Masking tape Q Craft knife Q Cutting mat
For the garland Q Chunky merino wool roving in red, mint, burgundy, mustard yellow and dark pink Q Cardboard Q Craft knife Q Cutting mat Q Gold thread Q Sewing needle
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That carefully curated selection of decorations you’ve been amassing? It’s time to throw some homespun Scandi style and rich jewel hues into the mix. Get some festive tunes on the go and you’ll easily whip up both these balsa wood baubles and your fluffy-as-a-cloud pom pom garland in an afternoon. Baubles 01 Trace the A and B bauble templates on page 26 onto a piece of cardboard and cut them out. For each bauble, cut a 10 x 20cm (4 x 77/8") piece of balsa wood and draw around cardboard templates A and B on the wood. 02 Using the craft knife and cutting mat, cut out the outer bauble
shapes, the small hole at the top and the notch. To prevent the wood from chipping, cut by making multiple small incisions. 03 Using masking tape, tape half of each bauble shape vertically, on the back and front, as shown. 04 Next, paint the baubles, using a different colour for each of the four taped sections. Paint one half of one side of the bauble shapes. Let it dry, flip the bauble shapes and paint one half of the other side. After the paint has dried, remove the masking tape. 05 Apply a few drops of wood glue into the slide opening. Slot the two bauble pieces together, as shown, and let the glue dry. 06 Cut a 19cm (7½") length of gold elastic thread and thread it through
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the small opening at the top of the bauble for hanging. Tie a knot at the top to finish. Pom pom garland 07 Trace the pom pom template on page 26 onto a piece of thick cardboard. Using the craft knife and cutting mat, cut around the outer shape and cut away the small inner circle. Repeat this step to create two identical circular ring
Lana Red Hands-on maker Lana runs DIY and lifestyle blog Lana Red Studio, and her aim is to get everyone creating. When she’s not sewing or snapping photographs, she’ll be cuddling her cats. www.lanaredstudio.com
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pieces of cardboard with a small hole in the middle. 08 Next, cut an 80cm (31½") length of wool roving. 09 Hold the two cardboard rings together, then thread one end of the wool roving right through the middle, as shown. 10 Keeping the end of the roving in place with your finger, start wrapping the wool around the ring. Wrap it around the outer circle and into the smaller circle. Continue doing this until all the cardboard has been covered with an even layer of wool. Tuck the end of the roving underneath one of the wraps to secure. 11 Using your fingernails, open the gap between the two cardboard rings by pushing some of the wool
slightly aside. Insert one blade of the scissors into the gap, then start cutting the wool, continuing all the way around until the entire edge of the circle is cut open. Tie a length of thread around the centre of the wool bundle, between the two cardboard rings. Secure the thread with a knot and carefully remove the cardboard – don’t cut it away if you want to reuse the cardboard rings to make the rest of the pom poms. 12 Repeat Steps 7-11 to create nine pom poms, or the required amount, then thread the needle with gold thread and insert it through the centre of one of the poms. Thread all the pom poms in this way, then slide them along the thread and arrange as desired. WINTER LUXE MOLLIEMAKES.COM 25
MAKES
TEMPLATES CHRISTMAS DECORATIONS BY LANA RED PAGE 23
Bauble – Piece B Cut 1
Bauble – Piece A Cut 1
Pom pom maker Cut 2
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.
26 MOLLIEMAKES.COM WINTER LUXE
WITH THANKS TO...
Emma May On the rare occasions that soft furnisher Emma isn’t sewing, she dreams of a lock-in at her local bookshop with a heap of chocolate. www.emmamaystitching.co.uk
Eva Kosmas Flores Photographer and food blogger Eva’s latest book, First We Eat, is full of mouthwatering seasonal recipes, packed with natural produce. www.abramsbooks.com
Lana Red Girl power is craft and lifestyle blogger Lana’s motto. She loves to travel, but spends all day cuddling her cats whenever she’s at home. www.lanaredstudio.com
Emma Jewell Emma’s degree in dance is now put to best use at her one-woman craft room concerts for herself. She lives for glitter and sequins. www.emmajewellcrafts.co.uk
Editorial team Editor (on maternity leave) Cath Dean, Acting Editor Yvette Streeter, Art Editor Sarah Malone, Commissioning Editor Lindsey Newns, Production Editor Becca Parker, Deputy Art Editor Sally Bufton, Picture Editor Emma Georgiou
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