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Welcome Spring is in the air, and it’s about time too! Those lighter mornings and evenings make such a difference, and I always feel a renewed sense of 104 energy with this season, ready to make the most of the longer days. This month, we’re helping you do the same with plenty of ways to learn something new. Partly inspired by the time of year, and partly by Mollie fave, the Great British Sewing Bee, we’ve teamed up with Tilly and the Buttons to help you start your me-made wardrobe. This month’s gift is one of their amazing patterns, meaning you can learn to sew your own outfit instead of hitting the shops. There’s plenty of yarn inspiration too,
from our crochet floral wreath to a new way of weaving. And, we’ve got a vegan twist on a classic recipe so you can treat yourself and your pals this Easter. Enjoy, #molliemakers!
Yvette Streeter Editor
FOLLOW MOLLIE MAKES FOR DAILY INSPIRATION... MOLLIEMAKES.COM 3
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INSIDE THIS ISSUE
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Introducing ON THE COVER PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
THE LATEST FROM THE WORLD OF HANDMADE
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12 Mollie loves What’s new in craft and design 16 Crochet wreath Hook your own beautiful blooms to celebrate spring 22 Puffer bag Sew this season’s must-have cosy texture in an original way 26 Latest crush Shop and DIY the embellishment trend 33 Needle punch lamb Fibre art gets three-dimensional 36 Meet the maker In the studio with Hello Hydrangea weaver Lindsey Campbell
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MARIGOLD 2-I
EASY ST EP-BY-ST EP GUIDE
turn over for more on your gift!
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• FULL
N-1 PATTERN
SIZE PATT ERNS • TIP S FOR BE GINNER S
LEarn to sew a jumpsuit plus! easy-m y ake trousers
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SIZES 620
US 4 18
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EUR 3
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Living
Making
CREATIVE INSPIRATION FOR YOUR LIFE AND HOME
HAND-PICKED PROJECTS TO FALL IN LOVE WITH
44 Patchwork kitchen set Try foundation paper piecing and create a retro tea cosy and pot holder
77 Embroidered hoop art Stitch a botanical bouquet
49 Vegan cheesecake A delicious white chocolate, ginger and rhubarb weekend treat to bake 52 Celebrating Bauhaus The enduring impact of the ground-breaking design school 56 Get the look Modern Bauhaus style for your home 58 Peg loom cushion Experiment with a freer way of weaving 63 Organiser board Part life admin hack, part décor dream
EXCLUSIVE! 67 Bonus papers Illustrator Abbey Withington’s bold strokes and geo shapes give these pull-out prints a fresh Bauhaus vibe
80 Good read What community means to Handmade Award winners The Fibre Lounge 82 Milestone blanket Use iron-on vinyl to craft a special keepsake for a new arrival 87 Easter bunny jars Hobbycraft’s easy seasonal make
NEVER MISS AN ISSUE
90 Templates All the shapes for this issue’s projects
30 Subscribe UK Subscribe and recieve a set of Orla Kiely tins worth £40
98 Tea and a chat Rumana Lasker Dawood shares more about her #sewincolour campaign
85 Subscribe overseas International subscribers save up to 78%
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Contributors Abbey Withington Illustrator Abbey creates playful compositions, bold type and patterns for paper goods and textiles. When she isn’t making nice things she enjoys city breaks, collecting stationery and trying to keep her house plants alive. Find Abbey’s exclusive papers on page 67. www.abbeywithington.com
Sarah-Jane Hicks Sarah-Jane’s a self-confessed crochet addict and a bit of maths geek at heart. She’s just as happy with a mug of coffee and a spreadsheet as she is counting stitches – out loud – on her latest crochet design. Hook Sarah-Jane’s amazing spring wreath on page 16. www.floanddot.blogspot.com
Rumana Lasker Dawood Great British Sewing Bee alumna Rumana splits her time between the sewing room and her job as a junior doctor. She’s passionate about seeing the diversity of the handmade community represented. Learn about #sewincolour on page 98. www.thelittlepomegranate.co.uk
Sarah Dawson Sarah’s a writer living in the Cotswolds. Her most treasured possession is a vintage Bruce Springsteen ‘Born in the USA’ tour sweatshirt, and her Mastermind specialist subject is currently a toss-up between Henry Moore and UK pop music from 1997-2000. Sarah schools us in all things Bauhaus on page 52. www.wordupwriting.co.uk
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Cheers! Anna Alicia, Anna Birtwistle, Valerie Bracegirdle, Hannah Carr, Alexis Exstrom, Stephanie Fradette, Jo Hart, HappyFabric, Natasha H @ Mustard Models, The Fibre Lounge, Ania Marcinowska, Libby Moore, Hester van Overbeek, Lucy Rowan, Philip Sowels, Lottie Storey, Tilly and the Buttons
Lindsey Campbell Lifelong crafter Lindsey taught her entire fourth grade class how to make friendship bracelets. In high school, she made customised dolls for each girl on her cheerleading squad, and turned her hand to constructing theatre sets. Take a tour of Lindsey’s beautiful weaving studio on page 36. www.hellohydrangea.com
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MARIGOLD 2-IN-1 PATTERN GIFT START YOUR ME-MADE WARDROBE TODAY WITH TILLY AND THE BUTTONS' JUMPSUIT AND TROUSERS!
make a casual spring jumpsuit for
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MAKING YOUR OWN CLOTHES HAS NEVER BEEN SO EASY,
bric fa e h t p u h c it w s n style w o r u o y it u s to
thanks to sewing experts Tilly and the Buttons. Renowned for their easy-to-use patterns aimed at DIY dressmakers, we teamed up with them to bring you two wardrobe updates for the new season. Inside your gift you’ll find full size pattern sheets ready to cut out, plus step-by-step instructions and photos, making learning a new skill a breeze. Turn over for tips on getting started, and personalising your makes your way. Find detailed tutorials for techniques and fitting at www.tillyandthebuttons. com/p/marigold.html
SIZES 6-20 US 4-18 EUR 34-48
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PLUS 20% OFF FABRIC
be o r d r a w n w o r u sew yo
Our fabrics were from Minerva Crafts – check out their range at www.minervacrafts.com as Mollie readers get a huge 20% off all viscose fabrics using code Mollie20, and 10% off all other fabrics using code Mollie10 until 30th May 2019.
20% OFF AT TILLY AND THE BUTTONS!
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If you’ve been bitten by the Great British Sewing Bee bug, or are looking to step up your skills, make Tilly and the Buttons your first port of call. From beginner designs like their Cleo dungaree dress to more advanced makes like this new Eden raincoat, you’ll save 20% on all patterns when you use code MOLLIE20, valid until 30th April 2019. www.tillyandthebuttons.com
PATTERN HACK get creative
with the help of Tilly and the Buttons’ Marigold Pinterest board. Dedicated to sharing how makers have modified their own patterns – from changing the neckline to cropping the trousers – you’ll find plenty of different ideas to suit your own style and inspire your unique version. www.pinterest.co.uk/ tillybuttons/marigold 10 MOLLIEMAKES.COM
Fabric swatches from top to bottom: Art Gallery Fabrics Rayon Challis; Art Gallery Fabrics Plain Solid Stretch Jersey Knit in Turquoise and Crystal Pink; Art Gallery Fabrics Ojos Flame Rayon
Introducing THE LATEST FROM THE WORLD OF HANDMADE
Fully embrace the changing of the seasons with pretty prints, plenty of blooms and (dare we dream) even leaving the house without a coat. Getting in on the latest boiler suit trend is optional, but highly recommended. www.boden.co.uk
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PHOTOGRAPHY: LISA DE WOLF WWW.LISADEWOLF.NL
MOLLIE LOVES SANDWICHES, CAMPERVANS AND SUNSHINE -
childrenswear doing it for the kids. Be it wardrobe basics with quirky prints or luxe items you’ll wish they stocked in grown-up sizes (pink satin bomber jacket anyone?), CarlijnQ is all about playful, unisex designs. Inspired to create clothes in soft, organic fabrics after having her daughter, Doris, Carlijn’s brand is now sold in over 200 stores worldwide. Sustainable principles and serious style points? No wonder they’re going from strength to strength. www.carlijnq.nl
GET YOUR FIVE A DAY WITH BLUEBELLGRAY’S
new collection. Awash with watercolour brushstrokes and deep inky blues, their latest inspiration is taken from moody Scottish skies and the fields below. This Big Pomegranate set gives artichokes, chard, radish and pomegranates an abstract twist we adore. Contrasted with delicate pink tassels at each corner and a pink-and-white botanical stripe lining, pair with crisp white sheets for a dreamy bedroom scene. www.bluebellgray.com
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HELP YOUR footwear live
its best life with a freespirited storage solution. Forget relegating your boots to the back of a dark wardrobe – this handmade Eniko basket is the treat your shoes have been waiting for. www. anthropologie.com
shop alchemy
BRAND FOCUS
LITTLE PAISLEY DESIGNS
Champion the new season with blooms in all their forms. We love this notebook and its soft pastel illustration from Little Paisley Designs. Mollie Makes Handmade Awards 2018 Product of the Year winner Eleanor is all about botanical motifs, and is heavily influenced by the natural world around her. Check out her gorgeous range of art prints, temporary tats, pins, stationery, clothing and more. www.littlepaisleydesigns.com
from Tumble & Rose, masters of copper and crystal jewellery. Made by electroforming, which designer-maker Helen describes as school chemistry plus a bit of magic, it allows raw crystals to be set into copper. No two pieces are alike, and all crystals are ethically sourced, making them even more precious. www.tumbleandrose.co.uk
JUST LANDED french fancy
With its petite proportions and delicate curves, Graham and Green’s Marie sofa will add instant chic to your home. Choose from sumptuous velvet or rich linen upholstery. www.grahamandgreen.co.uk
NEED TO READ Plant goodness
Indulge your sweet tooth with Vegan Treats, the new title from vegan cooking guru Mrs Hollingsworth. The recipes are also gluten and refined sugar free, with nut-free options to please the whole crowd, should you choose to share. www.kylebooks.co.uk
MOLLIEMAKES.COM 13
FASHION
A PICK ‘N’ MIX OF DELIGHTS, CATH KIDSTON’S NEW
season offerings are everything you’d expect from the floral-loving brand, with a few extra treats thrown in. Their collection of pleated skirts and cotton tea dresses is like a romp through the cornfields, but the addition of bold stripes, slogan bags and watercolour-style citrus prints makes their latest collection a must-shop. Pair this embroidered cherry gingham dress with its co-ordinating denim jacket for ultimate spring style. www.cathkidston.com
plant lady lover
and embroidery artist Miriam is stitching up a textured feast with her hoop portraits. Look out for her Etsy shop with customisable options coming soon, and follow her Instagram while you wait. @slow_evenings_ embroidery
Yarn curlie pins from
Mollie fave Tiny Curl are go. Designer Kristina has added a new face to her shop as an ode to her popular crochet pattern and doll. You can now buy him as an enamel pin with rose gold details – choose from mint or pink, or just get both. www.tinycurlshop.etsy.com
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The power to our cha to win a sewing class with Patrick Grant
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; TAPERED GLASS VASE – BLUSH FROM WWW.COXANDCOX.CO.UK
HOW TO MAKE A CROCHET WREATH MATERIALS Q Rico Ricorumi DK, 100% cotton, 58m/63yd per 25g, one ball each in White (001) (Yarn A), Yellow (006) (Yarn B), Pink (011) (Yarn C), Fuchsia (014) (Yarn D), Orchid (016) (Yarn E), Grass Green (044) (Yarn F) and Pastel Green (045) (Yarn G) (ours was from www.wool warehouse.co.uk) Q 3.5mm (UK 9, US E/4) crochet hook Q 4 x 44cm (15/8 x 173/8") wadding Q Embroidery hoop inner ring, 20cm (77/8") Q Ribbon or twine 18 MOLLIEMAKES.COM
TENSION Tension isn’t important for this project. The hoop cover can be adjusted to fit the size of your hoop by simply decreasing the number of stitches or rows ABBREVIATIONS (UK) st(s) stitch(es) ch chain ch-sp(s) chain space(s) ss slip stitch dc double crochet htr half treble tr treble dtr double treble picot 2 ch picot – ch2 and ss in 2nd ch from hook 2-tr cluster 2 treble cluster – (yrh, insert hook in st
indicated, yrh and pull up loop, yrh and draw through 2 loops) twice, inserting hook in the same st each time, yrh and draw through all 3 loops on hook 2-dtr cluster 2 double treble cluster – (yrh twice, insert hook in st indicated, yrh and pull up loop, (yrh and draw through 2 loops) twice) twice, inserting hook in the same st each time, yrh and draw through all 3 loops on hook
Whether your garden’s nonexistent or you’re practically Monty Don, it’s a safe bet that you’re big into having flowers around your pad. A crochet wreath is one way to nail it – creative seasonal décor even if you’re lacking on the fresh flowers front. Want to keep things cottage garden cute with delicate apple blossoms, or picturing a jumbo vibrant hoop bursting with ranunculus? Be our guest. You can easily adapt the project and make any number of blooms you fancy for your dream version. Leave long yarn tails when starting and finishing each of the flowers and leaves, as these can be used to attach them to the hoop when you come to making it up.
Hyacinth (make seven) Stem Using Yarn F, ch16, turn, working in back loop of ch, ss in second ch from the hook and in each ch to end, fasten off leaving a long tail [15 sts] Flower head Using Yarn E, work picot sts down each side of stem and in both sides of ch as follows: join yarn to top ch on one side of stem, *(picot, ss in next ch) 4 times, picot, ss in fifth ch down from top of stem on other side of ch; repeat from * working back along stem to top until 5 picot sts made and ending with last ss in top ch on other side of stem**; repeat from * to ** on other side of stem, fasten off and weave in ends
Apple blossom (make nine) Round 1 using Yarn B, ch2, 5dc in second ch from hook, join with ss to first dc [5 sts] Round 2 change colour to Yarn A or Yarn C, *ch3, 2-tr cluster in same st, ch3, ss in next st; repeat from * until 5 petals are complete and ending with ss at base of first 3ch, fasten off, leaving a long tail Clematis (make six) Round 1 using Yarn B, ch2, 6dc in second ch from the hook, continue working in a spiral for next round only [6 sts] Round 2 2dc in each st around, join with ss to first dc [12 sts] Round 3 change colour to Yarn A or Yarn C, *ch4, (2dtr in next st) twice, ch4, ss in next st; repeat
from * until 4 petals are made and ending with ss at the base of first 4ch, fasten off, leaving a long tail Ranunculus (make two) Row 1 using Yarn D, ch14, 1dc in the second ch from the hook, *ch2, 1dc in next st; repeat from * to end, turn [13 sts and 12 2ch-sps] Row 2 *ch4, 3dtr in 2ch-sp, ch4, ss in dc; repeat from * until 3 petals made, **ch4, 5dtr in ch-sp, ch4, ss in dc; repeat from ** until 9 more petals made, 12 in total, fasten off, leaving a long tail Curl the flower around positioning the 3 smaller petals in the centre, then secure them in place with a few sts through the base ch, as shown above MOLLIEMAKES.COM 19
HOW TO MAKE A CROCHET WREATH Leaf (make two) Using Yarn F, ch12, 1dc in the second ch from the hook, 1dc in next st, 1htr in each of next 2 sts, 1tr in next st, 3tr in next st, 1tr in next st, 1htr in each of next 2 sts, 1dc in each of next 2 sts, ch2, now working in other side of ch, 1dc in each of next 2 sts, 1htr in each of next 2 sts, 1tr in next st, 3tr in next st, 1tr in next st, 1htr in each of next 2 sts, 1dc in each of next 2 sts, ch2, join with ss to first dc, fasten off, leaving a long tail Leaf stem (make five) Using Yarn F, ch14, (6ch for stem, 8ch for leaf), *1htr in the third ch from the hook, 1tr in next st, 2-dtr cluster in next st, 1tr in next st, 1htr in next st, 1dc in next st**, ch10, 20 MOLLIEMAKES.COM
(2ch for stem, 8ch for leaf); repeat from * to **, ch10, repeat from * to **, ss in each of next 2ch, ch8, repeat from * to **, ss in base of last dc of the second leaf, ss in each of next 2ch (from start of second leaf), ch8, repeat from * to **, ss in base of last dc of the first leaf, ss in each of next 6ch (from start of the first leaf), fasten off, leaving a long tail Lightly block the leaf stem if required. To do this, pin it out on a towel or foam pad, lightly spray it with water and leave to dry. Hoop cover Row 1 using Yarn G, ch75, 1dc in the second ch from the hook, 1dc in each st end, turn [74 sts] Rows 2-8 ch1 (does not count as
st), 1dc in each st to end, turn Row 9 ch1 (does not count as st), 1dc in each st to end, fasten off, leaving a long tail Making up Lay the wadding along the hoop cover, then lay the hoop on top. Fold the cover and the wadding around the hoop and sew the long edges together as shown, joining the base ch to Row 9. Fasten off and weave in the ends, then trim any excess wadding. Using the main image as a guide, first sew the leaves and flower stems into position using matching yarn, then attach the flowers. To finish, tie a short length of ribbon or twine to the top of the hoop for hanging.
MEET THE MAKER SARAH-JANE HICKS Sarah-Jane is a crochet designer living in Norwich with her husband, two grown-up children and a crazy little dog called Rosie. Crochet combines three of her favourite things – colour, pattern and counting. She loves writing patterns and her designs are fun, quirky and quick to make. Sarah-Jane also shares her colourful makes on Instagram @flo_and_dot. www.floanddot.blogspot.com
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; MODEL: NATASHA H
Togged up Puffer, but make it fashion with Anna Alicia’s tote bag
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HOW TO MAKE A PUFFA BAG MATERIALS Q 112 x 40cm (441/8 x 15¾") lightweight waterresistant fabric (we used Showerproof Lining in pale lilac from www. raystitch.co.uk) (Fabric 1) Q 112 x 40cm (441/8 x 15¾") foam interfacing Q 54 x 37cm (21¼ x 145/8") quilting weight plain cotton fabric (Fabric 2) Q 180cm (707/8") matching webbing, 3cm (1¼") wide Q 250g polyester toy stuffing Q Matching sewing thread Q Tape measure
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We’re nowhere near ready to hang up our duvet coats yet, so we’re taking the trend to the next level and sewing a puffer-style bag. This quilted wonder is waterproof and roomy, as well as delightfully squishy. Athleisure? You betcha, and then some – one jumbo tote worthy of pilates classes and burger dates alike. Use your favourite pastel tone du jour to keep it up to date. Cut two 40 x 56cm (15¾ x 221/8") pieces from Fabric 1 and two 40 x 56cm (15¾ x 221/8") pieces from the foam interfacing. For the lining, cut two 37 x 54cm (145/8 x 21¼") pieces from Fabric 2. 02 Lay out the interfacing pieces in landscape position and lay a Fabric 1 piece on top of each one, right 01
side (RS) up. Pin along the top long edge of each pair, about 0.5cm (¼") down. Measure 8cm (31/8") down from the pinned edge and pin all the way across the fabric, using several pins to form a row. Tailor’s chalk isn’t effective on water-resistant fabric, so this is an alternative way to mark the lines you’ll sew. Pin holes may show in the water-resistant fabric, so be careful to pin exactly where you’ll sew, or where holes won’t be visible. Pin another parallel line 7cm (2¾") below the first, a line 7cm (2¾") below that, then a final line 7cm (2¾") below that. 03 Sew along the pinned lines, removing the pins as you go. Also remove the pins from the top edge. 04 Trim the bottom and sides so the finished panels measure 37 x
54cm (145/8 x 21¼"). Lay the two panels RS up, in landscape position, making sure the 8cm (31/8") wide strip is at the top. 05 Cut two 90cm (35½") lengths of webbing. Pin one end of one strip 14cm (5½") in from the right hand edge of one panel, with the cut end overlapping the top edge by 2cm (¾"). Pin the other end of the strip 14cm (5½") in from the left hand edge of that panel, again, overlapping the edge by 2cm (¾"). Check the strap isn’t twisted, then repeat on the second panel. 06 Place a Fabric 2 lining piece on top of each Fabric 1 panel with RS together, then pin along the top edge. Carefully remove the pins from the webbing and repin back through all the layers, keeping the straps in place. Sew along the
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pinned edge on both pieces, 1cm (3/8") down, then open them out so the lining and the outer are RS up. 07 Lightly stuff each of the rows between the stitching on the bag outer using the toy stuffing. Use a ruler or similar to push the stuffing down into the rows, and take your time so the stuffing is even. Leave about 4cm (15/8") unstuffed at the beginning and end of each row – this will make assembling the bag much easier as you won’t be sewing through thick stuffing. 08 Place the two bag lining and outer panels with RS together, matching the outer and the lining fabrics and aligning the raw edges. Pin around all four sides, making sure the webbing handles are folded in towards the centre, away from the seams.
Sew all the way around the edges, leaving a 12cm (4¾") gap on one edge of the lining. 10 To square the corners of the bag lining, position the fabric so the outer seams sit on top each other. Mark 7.5cm (3") up from the tip of the corner, then mark and pin a line horizontally across the seam at that point. Sew, then trim off the corner off, 1cm (3/8") away from the seam, as shown. Repeat this step with the other corner of the lining and both corners of the bag outer. 11 Turn the bag RS out through the gap in the lining. Pin and sew the gap closed, then tuck the finished lining down into the bag, pushing it into the corners. 12 To finish, pin and sew 0.25cm (1/8") down from the top edge of the bag, all the way around. 09
MEET THE MAKER ANNA ALICIA Sewist and designer Anna has her own eco-ethical jewellery and homeware label, A Alicia. She’s based in East London with her artist husband, their bonnie little one, and a multitude of books and houseplants. www. aalicia.bigcartel.com
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LATEST CRUSH RICHLY EMBELLISHED When it comes to accessories, detail is king. And, whoever said fancy things should be saved for best had clearly never set eyes on this lot. Bring on the embroidery and beads, we’re ready for everyday luxe.
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Tiny beads, big statement. www. bohemiadesign.co.uk 02 It won’t change your life, but it will change your sofa. www.anthropologie.com 03 Satisfy your need for bead with hoop art. www. lizpadghammajor.etsy.com 04 Embroidered floral patches means your denim’s about to get fancy. www.berylune.co.uk 05 Dazzle from head to toe. www.dunelondon.com 06 Even if it’s only got coppers rattling around in it, you’ll feel like a couturetoting starlet. www. skinnydiplondon.com 07 Have a Liz Taylor moment and stash your gems in a plush velvet case. www. oliverbonas.com 08 Leave no barnet without adornment. We favour clips. www.kanel-denmark.com 09 The bag you’ll be dreaming of tonight. www.shrimps.com 01
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make it!
TURN OVER TO DIY RICHLY EMBELLISHED
make it!
BEADED HAIR CLIP MATERIALS Metal spring or crocodile hair clip Selection of beads Felt Matching sewing thread Fine sewing needle Hot glue gun
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Place the hair clip on the felt, as shown, a little way in from the edges. Draw around the clip with a pencil to mark out the shape of the base. 02 Decide where you’d like the beads to go and plan a layout within the marked out base shape. Take a picture for reference once you’re happy with the placement. 03 Using a needle and thread, start sewing the beads in place sticking within the marked 01
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shape. Refer to the picture taken in Step 2 as necessary and pull the thread tight when sewing to prevent the beads moving around. Leave a small gap on the base free of beads above the hinge of the clip. This will allow you to open and close the clip without pressing down on any beads. 04 Once the beads are in place, tie a knot at the back and snip the remaining thread. Cut out the marked base shape with
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scissors, taking care not to snip any threads near the edges. 05 Next, use a hot glue gun to apply a layer of glue on the back of the felt and stick the beaded shape on the top of the clip. Press down gently. Secure any loose beads with glue at the base of the bead. 06 You can also experiment with different coloured beads and shapes. A larger clip looks great with a subtle ombré effect using pastel coloured beads.
ANNA BIRTWISTLE Designer, blogger and maker Anna’s a northern gal based in Lancashire. She loves blogging about her life, makes and travels, and is always on the lookout for new things to upcycle or customise. www.madeupstyle.com
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Lambing season
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
Needle punch goes 3D with Lucy Rowan’s fuzzy springtime plushie
MOLLIEMAKES.COM 33
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HOW TO MAKE A NEEDLE PUNCH LAMB MATERIALS Q Knitcraft Leader of the Pac 90% acrylic, 10% alpaca, 169m/185yd per 100g, one ball each in Pink (Yarn A) and Mink (Yarn B) Q Women’s Institute Soft and Chunky Yarn, 70% acrylic, 30% merino wool,110m/120yd per 100g, two balls in Cream (Yarn C) Q Women’s Institute Soft and Smooth Aran, 100% acrylic, 660m/722yd per 400g, one ball in Biscuit (Yarn D) Q Scraps of aran-weight yarn in black (Yarn E) and mustard (Yarn F)
Q 33 x 33cm (13 x 13") monk’s cloth fabric Q 33 x 33cm (13 x 13") backing fabric Q 28 x 28cm (11 x 11") clip frame or embroidery hoop Q Needle punch Q Yarn needle Q Zipper foot Q Toy stuffing Q Fabric marker or fabric chalk Q Masking tape
Not gonna lie – we’ve still not quite recovered from when we first clapped eyes on this little heart melter. A cuddly spring lamb plushie with heaps of loopy needle punch texture is what the world needs right now. Those raised loops on the fleece? They’re created by working into the back of the fabric. This is a project that’ll get you thinking about needle punching in a whole different way. New season, new techniques – bring it on. Monk’s cloth is prone to fraying, so masking tape the edges of the fabric before you get started. Take care to not to pull the stitches out when using the needle punch as they can come out quite easily. Clip the monk’s cloth fabric to the frame, ensuring the tension is 01
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tight and not baggy. Using either a fabric marker or fabric chalk, trace the lamb template from page 90 onto the cloth. 02 Thread the needle punch with Yarn A, making sure the yarn is threaded through the eye at the top of the needle and coming out of the back. This is important, otherwise the loops won’t stay put. 03 Starting in the centre of one of the ears, press the needle punch down into the fabric until the wooden handle meets the surface of the fabric, as shown. 04 Bring the needle punch back out and move along roughly 0.5cm (¼"), staying within the outline of the inner ear shape. Don’t bring it back too far or you’ll pull the looped yarn out. Continue to move the needle punch along, making small running stitches in this way.
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Once that first section is complete, use the yarn needle to thread the loose ends through to the other side. Trim the excess yarn. Repeat Steps 3-5 for the second ear with Yarn A, then again with Yarn B for the face, arms and feet, and Yarns A, D and F for the belly, referring to the image as a guide for the flower shape. 06 Thread the yarn needle with Yarn E and embroider the lamb’s eyes, nose and mouth, using the main image as a guide. 07 Once you’ve completed the details on the lamb, unclip the frame and turn the monk’s cloth fabric over. The pile side of the needle punch work is now facing you, which is the wrong side (WS). To work the fleece, start punching the main body of the lamb as in Steps 3-5, using Yarn C, creating 05
lots of stitches until there are no further gaps remaining. 08 Turn the frame over to reveal the right side (RS) of the work. Sew in any loose yarn ends and trim. 09 Place the backing fabric RS up on the work surface and place the needle punched piece on top, RS down. Pin the two pieces together all the way around. 10 Using a sewing machine, sew all the way around the lamb leaving a 5cm (2") gap at the bottom for turning out and filling later. The zipper foot will help with sewing around the shape and keeping the stitches close. Trim away any excess fabric and snip into the fabric on the curves, as shown. 11 Turn the lamb RS out, taking care to ensure the ears and feet sit correctly, and fill with toy stuffing. Sew the gap closed to finish.
MEET THE MAKER LUCY ROWAN Lucy spends her days playing with colour and texture, creating beautiful weaves. She also loves teaching others to craft, and can be found passing on her skills to others in workshops across the UK. www. peasandneedles.co.uk
MOLLIEMAKES.COM 35
FROM SELF-TAUGHT WEAVER TO RESPECTED TUTOR AND AUTHOR, LINDSEY CAMPBELL SHARES THE STORY BEHIND HER WELL-EARNED FIBRE ART FAME
L
MEET THE MAKER
GROWING ORGANICALLY WITH LINDSEY CAMPBELL Words: LOTTIE STOREY Photographs: ALEXIS EXSTROM
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ifelong crafter Lindsey Campbell has always been fascinated with making. Her successful weaving business, Hello Hydrangea, is thriving, but it’s only recently she’s worked full-time as a fibre artist, designer, instructor and author. Before her son was born three years ago, Lindsey worked in the fashion industry as a marketing designer, photographer and graphic designer, fitting in her love of weaving, macramé and modern crafts on the side. Through her blog, Lindsey gained a loyal following of crafters who shared her love of graphic, organic and textural makes. Online video classes followed, and Lindsey has since taught thousands of students around the world how to weave, macramé and needle punch. Lindsey has now fulfilled two lifelong dreams, as not only has she designed a couple of Hello Hydrangea collections for Anthropologie, but 2019 sees publication of her two books on weaving. Join us as we chat to Lindsey about her journey at her home studio in San Jose, California, where she lives with husband Spencer, son Clayton and miniature schnauzer, Riggins. Describe your style in just a few words. ‘Bohemian modern’ with a can-do attitude, a ton of inspiration and a dash of reality. Did you always want to be a fibre arts designer? I’ve been crafting my entire life and I’ve always loved fibre arts, starting with learning to crochet at my grandmother’s house. I knew I wanted a creative career so I majored in advertising at college, during which time I taught myself photography, graphic design and basic website design. But I couldn’t stay away from working with my hands. My career after college followed my passion as a graphic designer and marketer in the
Lindsey’s home studio is every crafter’s dream come true, with yarns grouped by colour on easily accessible shelving.
MEET THE MAKER
fashion industry as I continued exploring my own style and medium. How did you first discover your passion for weaving? It began when I found a photo of a tapestry in an old book, and couldn’t focus on anything else until I tried it out for myself. I spent the next day searching for something – anything – that would teach me how to make a woven tapestry of my own. The entire internet let me down. It might sound crazy, but when I can’t find any tutorials for a project online, it makes me want to learn how to do it even more. I rummaged through my crochet bag to grab whatever yarn I could find, quickly made a makeshift loom from the only wooden frame around and just started. Believe me, there were plenty of stitches I had to pull out and lots of lessons I learnt, but in the end I was proud of the little tapestry I’d made! And did you always plan to turn weaving into a business? Hello Hydrangea began as a personal craft blog – for years I spent way more money on it than I earned. Then I started weaving. I didn’t have any ambitions for it other than to enjoy learning a new skill, but I started showing friends, who asked me to make something for them, which led to opening my Etsy shop. For a few years, I focused solely on perfecting my craft. At that point my pieces were selling out within hours and I had an inbox full of followers asking how to get started. I answered every single one of them and even filmed tutorials to send out. Then, as I was editing a tutorial, I had the idea to turn it into a complete video class. As I still had so much more to share, I created an intermediate class.
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“Weaving is a
slow process.
dawn of time,
There’s no way
around the world.”
around it, you have
When did tutorials become your main focus? My classes began as a side project to my woven work – at that time I was designing collections for Anthropologie and selling it in boutique shops – but they soon became what I was known for. Teaching tutorials has always been my first passion, so creating new classes came naturally. I wrote two books, created more classes and connected with thousands of
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practiced since the
to embrace it!” 02
Needle punch on
linen is a great intro to fibre art. 03
04
As part of her
online offering, Lindsey sells looms. 05
“I want my
students to feel like
Lindsey loves
there is someone
how “weaving is so
cheering on their
universal – it’s been
creative triumphs.”
04 03
05
“Teaching tutorials has always been my first passion, so creating new classes came naturally.” students around the world. My business continues to evolve as I look forward to my second book launching, my first class subscription programme happening, and collaborating with other artists to expand my class options. What’s the most important business lesson you’ve learnt? I figure out how to make a project work, no matter what. While I was writing my two books on weaving, my publishers gave me the option to come to their headquarters and get help with photography, but I decided to learn to shoot it myself. I got a camera, sent them a few test shots for approval, then spent the next eight months running to my studio during my son’s nap times to weave and photograph. I used my garage as a photo studio for bigger pieces and modelled the
MOLLIEMAKES.COM 39
MEET THE MAKER
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finished projects myself. I’m completely transparent about the process with my social media following and let them know I don’t have a team behind me. I use my skills to make things work as I love what I do, and do it with a positive attitude!
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The Hello
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As well as
Hydrangea
weaving, Lindsey
community is
keeps busy with
encouraging, thanks
macramé, needle
to Lindsey’s
punch, felting and
optimistic attitude.
graphic design.
Tell us more about your creative process when weaving. I usually start with a sketch of the design in simple pen and paper, or I’ll bust out my watercolours to make sure the palette is right before devoting hours on the loom.Yarn and materials are some of my biggest sources of inspiration, so I’ll usually pick out a yarn or two to guide the rest of the palette. Different yarns work best with different techniques, so the type of material I choose helps determine how I weave.Then I get going! I actually weave upside down. I like to add macramé elements to my designs, which I do after the weaving is complete and turned right-side up. So, I keep in mind where they’ll be placed, and prepare sections of the tapestry for the final details. What do you love most about what you do? I truly believe that everyone is an artist in one way or another, which is why I try to empower my students and make it as easy as possible to be creative even when time is limited. Sometimes I wonder what good my work is doing for others – it’s
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“Making connects us with others. Crafting is healing and can also be an act of self-care.” just crafting, right? However, through the thousands of students I’ve taught via my online classes I’ve learnt how essential crafting is.Yes, we want to make beautiful things, but – more importantly – making connects us with others. Crafting is healing and can also be an act of self-care. I’ve had countless messages and moments with students who felt lost or isolated, either from postpartum depression, sickness or stress, who found confidence and purpose in working with their hands. Ultimately, that’s why I do what I do. What’s the best piece of advice you’ve ever been given? “Show up, show up, show up, and after a while the muse shows up too”, by Isabel Allende. It’s been so true in my own discipline, especially when creative blocks happen. If you’re in the studio, actively trying and participating a bit each day, great ideas show up. Visit www.hellohydrangea.com for Lindsey’s online classes and shop, and see more of her makes on Instagram @hellohydrangea.
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Living CREATIVE INSPIRATION FOR YOUR LIFE AND HOME
Cherry-picking your favourite bits and pieces – a bit of midcentury style here, a bit of Scandi design there – is what makes any space a unique home. This month we’re all for combining clean lines, fun colour blocking and geometric patterns. But that’s just us. What will you choose? www.habitat.co.uk
MOLLIEMAKES.COM 43
But first,
quilting
PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; NORTH SHELF SET FROM WWW.BERYLUNE.CO.UK
Jo Hart’s got modern kitsch goodness for your kitchen, in patchwork form
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HOW TO MAKE A TEA COSY AND POT HOLDER MATERIALS Q 2m (78¾") bias binding (we made ours using Fabric 1 and Fabric 5) Q 25cm (97/8") embroidery hoop Q 25cm (97/8") ribbon Q Temporary glue Q Fabric marker Q Rotary cutter Q Cutting mat Q Quilting ruler For the pot holder Q 50cm (19¾") Tula Pink All Stars Solids in Pear (Fabric 1) (ours was from www.lovelyjubbly fabrics.co.uk) Q One fat eighth of Tula Pink All Stars Solids in Glacier (Fabric 2), Sapphire (Fabric 3) and Hibiscus (Fabric 4) Q 30.5 x 30.5cm (12 x 12") wadding 46 MOLLIEMAKES.COM
For the tea cosy Q 75cm (29½") Tula Pink All Stars Solids in Taffy (Fabric 5) Q One fat eighth of Tula Pink All Stars Solids in Putty (Fabric 6), Cosmo (Fabric 7) and Cajun (Fabric 8) Q Two 40.5 x 33cm (16 x 13") pieces of wadding FINISHED SIZE Pot holder – 26cm (10¼") diameter Tea cosy – 34 x 27cm (133/8 x 105/8")
It’s morning. Still a little blearyeyed, you pour the day’s first cup of ambition. What could possibly improve that fundamental brew? Catching a glimpse of this tea cosy and pot holder set cheering up a corner of the kitchen as you savour your initial sip, of course. This patchwork project is a joyous exercise in the beautiful precision of creating shapes with foundation paper piecing. Plus, the tea cosy’ll keep your crafting fuel piping hot while you’re at the machine with your next make. Instructions On the templates on page 90, the printed side will be the reverse side of the finished block. The dotted outside lines are the seam allowances, the solid black lines are the sew lines and the letters indicate the different sections. The numbers show the order of sewing.
Pot holder 01 Cut out the templates for sections A, B, C, D and E on page 90, cutting along the dashed lines. Shorten the stitch length on the sewing machine to 1.5 – it’ll be easier to tear the paper at the end. 02 On the reverse side of template A, place a tiny dot of temporary glue in the middle of section A1 and place Fabric 3 on top, right side (RS) up. Ensure the entire section is covered plus at least 0.5cm (¼") extra all the way around – a good way to check this is to hold the template up to the light. 03 Turn the template back over and fold along the solid line between sections A1 and A2, using a ruler. Trim the edge of the fabric to 0.5cm (¼") beyond the folded paper, without cutting the paper. 04 Unfold the template and place Fabric 1 for A2 RS together against the cut edge of A1. Make
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sure when sewn the fabric covers the whole section. Pin in place. 05 With the printed side of the template facing up, sew along the line between sections A1 and A2, starting and ending two or three stitches beyond the printed line. Press the fabrics open. 06 Repeat Step 3 to trim the fabric 0.5cm (¼") beyond the line between sections A2 and A3. Add Fabric 1 for A3 following Steps 4-5. Continue piecing the rest of the section A in the same way, adding the remaining sections in numerical order using Fabric 1. 07 Piece sections B, C, D and E following Steps 2-6, using the templates and referring to the diagram on page 90 for fabrics and placement. Once the sections are complete, trim them to the outer dashed line around each section. 08 Align sections A and B along the straight raw edges with RS
together and sew. Press the seams open. Repeat to join the remaining sections, adding them one by one in alphabetical order. Remove the paper templates, gently tearing along the seam lines. The block should now measure 19 x 19cm (7½ x 7½"). 09 From Fabric 1, cut two 6.4 x 19cm (2½ x 7½") pieces. Sew these to the top and bottom of the block with RS together, using a 0.5cm (¼") seam allowance. From Fabric 1, cut two 6.4 x 29cm (2½ x 11½") pieces. Sew these to the sides of the block with RS together, using a 0.5cm (¼") seam allowance. 10 From Fabric 1, cut a piece measuring 31.75 x 31.75cm (12½ x 12½"). Make a quilt sandwich by layering the backing fabric RS down, placing the wadding on top, then the top RS up. Quilt as desired – we top stitched lines from corner to corner to create a diagonal grid.
Place the hoop on top, making sure the kettle sits at the centre. Using a fabric marker, draw a line around the outside of the hoop and cut the circle out. 12 Fold a 12.5cm (5") length of ribbon in half and tack the ends at the top centre of the circle. Open out the bias binding and fold one end to the wrong side (WS) by 1cm (3/8"). Pin around the outside of the pot holder with RS together, aligning the raw edges, then sew. Fold the binding over to the back of the piece and hand or machine stitch in place to finish. 11
Tea cosy 13 Cut out the templates as per the pot holder tutorial, then repeat Steps 1-8 to complete each section, referring to the diagram on page 90 for fabrics and placement. 14 From Fabric 5, cut two 11.5 x 19cm (4½ x 7½") pieces. Sew these MOLLIEMAKES.COM 47
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HOW TO MAKE A TEA COSY AND POT HOLDER to the sides of the block with RS together, using a 0.5cm (¼") seam allowance. From Fabric 5, cut two 7 x 39.5cm (2¾ x 15½") pieces. Sew these to the top and bottom of the block with RS together, using a 0.5cm (¼") seam allowance. Trim to 39.5 x 30.5cm (15½ x 12"). 15 Take one piece of wadding and lay the kettle block on top, RS up. Quilt as desired, then trim to 37 x 28cm (14½ x 11"). 16 Align the outside edges of the embroidery hoop with the sides and top of the block. Using a fabric marker, draw around the curve at the top corners of the fabric and cut out to make the tea cosy shape. 17 Cut a 39.5 x 30.5cm (15½ x 12") piece of Fabric 5 and repeat Steps 15-16 to create the back panel. 18 Fold a 12.5cm (5") length of ribbon in half and tack the ends at the top of the cosy. Place the front panel on top of the back panel with 48 MOLLIEMAKES.COM
RS together, then clip or pin around the curved edge. Sew all the way around, using a 1cm (3/8") seam allowance and leaving the bottom straight edge open. Cut V-shaped notches in the seam allowance around the curved edges, being careful not to cut into the seam. 19 From Fabric 5, cut two pieces measuring 37 x 28cm (14½ x 11"). Use the embroidery hoop to create the top curved edge as per Step 16, then repeat Step 18 to create the lining of the tea cosy. 20 Turn the outer cosy RS out and place the lining inside, WS together. Sew around the bottom edge to hold the layers in place. 21 Open out the bias binding and fold one end to the WS by 1cm (3/8"). Pin the binding to the bottom of the cosy with RS together, aligning the raw edges, then sew. Fold the binding to the inside of the cosy and sew in place to finish.
MEET THE MAKER JO HART Jo’s been sewing for around five years. She loves designing her own patterns and foundation paper piecing is her favourite. Jo has recently started a blog and is excited to be an Island Batik ambassador for 2019. www.instagram. com/unicornharts
loOk sharP
Impress plant-powered pals with Ania Marcinowska’s vegan rhubarb and white chocolate cheesecake MOLLIEMAKES.COM 49
HOW TO MAKE A RHUBARB CHEESECAKE INGREDIENTS For the base Q 2 tbsp coconut oil Q 300g (10½oz) vegan biscuits For the cheesecake mixture Q 80g (3oz) raw cacao butter Q 240ml (8fl oz) almond milk or any plant milk Q 180ml (6fl oz) maple syrup Q 300g (10½oz) raw cashews, soaked overnight Q 2½ tsp vanilla extract Q 4-5 tsp freshly grated ginger Q 2 tbsp lemon juice
For the topping Q 200g (7oz) fresh rhubarb Q 2 tbsp coconut sugar or maple syrup (optional) Q ½ tsp of vanilla extract Q Juice of 1 orange Q 1 tsp cornflour Q Chopped pistachios (optional) EQUIPMENT Q 20cm (77/8") round springform tin Q Baking paper Q Food processor Q Large baking dish Q Blender
A slow Sunday lunch calls for an indulgent dessert that looks as delicious as it tastes. Whether you’re going for a full Easter roast for the next bank holiday or have something lower key on the cards, this ginger, white chocolate and rhubarb cheesecake won’t disappoint. There’s a moreish balance of sweet and sharp flavours in there, plus creamy and crunchy texture, while the splash of hot pink seasonal rhubarb gives this dessert its showstopper appeal. For a firmer texture for the cheesecake mixture, use full fat coconut milk – almond milk renders the mixture quite delicate. And, use gluten-free vegan biscuits for the base to make a gluten-free version of this dessert. First, line the bottom of the springform tin with a circle of baking paper and cut out a long rectangle to line the sides of the tin with. Affix the long strip of paper to the inner sides of the springform 01
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tin. This is especially crucial if you aren’t using a non-stick tin. 02 To make the cheesecake base, start by melting the coconut oil gently in a small pot. 03 Grind the biscuits in a food processor until you achieve a delicate crumb. 04 Add the melted coconut oil and process until the mixture sticks together. If it’s too dry add a few teaspoons of almond milk, but let the biscuits and oil sit together for a few minutes before you judge. You may find it helpful to transfer the mixture to a large bowl and play with it a bit before you decide if any more moisture is needed. 05 Transfer the mixture to the lined tin and press it into the base really well, creating a compact biscuit base. Use the bottom of a glass to ensure the base is smooth, even and well bound. Place in the fridge. 06 For the roasted rhubarb, heat up the oven to 190ºC (375ºF). 07 Chop up the rhubarb into small 2.5cm (1") pieces.
Place the rhubarb in a large baking dish, then toss in the sugar or maple syrup, orange juice and vanilla extract. To give the rhubarb more sharpness, leave out the sugar. 09 Roast in the oven until soft, for about 10 minutes. Thicker stalks may take longer, approximately 12-15 minutes. Remove from the oven and allow to cool. 10 To thicken the juice so it stays on top of the cake, place the juice in a small pot and mix cornflour and a teaspoon of water in a small cup or saucer. Place the pot with the juice on a low heat, mix the dissolved cornflour in, and allow both to come to a gentle simmer, stirring the whole time. Simmer for a few minutes to thicken and allow the mixture to cool. 11 To make the cheesecake mixture, start by melting the 08
cacao butter gently over a water bath. Allow it to cool down a little before adding it to the mixture. 12 Put the plant milk, maple syrup and drained and rinsed cashews in a blender. If you don’t have a powerful blender, you can do this in two batches to get the cashews blended super smooth and creamy. 13 Add melted cacao butter, vanilla, ginger and lemon juice to the blender until you get a super smooth mixture. Adjust the sweetness and spiciness to taste. 14 Pour the cheesecake mixture over the set base and place the tin in the fridge overnight, or for at least eight hours, to set. 15 Once set, top with the roasted rhubarb pieces, the thickened juice and the chopped pistachios. Keep refrigerated.
MEET THE MAKER ANIA MARCINOWSKA Ania’s a full-time food blogger who lives in Bristol with her husband, Duncan, and their beloved ex-stray, Tina. She spends her days scheming new recipes, recipe testing, styling and photographing for her vegan blog. www.lazycatkitchen.com
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A NEW WAY OF THINKING: LESS IS MORE Words: SARAH DAWSON
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MAIN IMAGE AND BACKGROUND IMAGE: MARGO SELBY
design focus...
BACKGROUND IMAGE: MARGO SELBY; IMAGE 1: BAUHAUS100/BAUHAUS IMAGINISTA, UNIVERSITY OF IFE IN ILE-IFE, NIGERIA BY ARCHITECTS ARIEH SHARON AND ELDAR SHARON; IMAGE 2: BAUHAUS100/BAUHAUS IMAGINISTA, STUDIE ZUM SIMULTANKONTRAST, TAKEHIKO MIZUTANI, 1927; IMAGE 3: GUNTER LEPKOWSKI/BAUHAUS ARCHIV BERLIN, TUBULAR STEEL TABLE SET B9, MARCEL BREUER, 1927; IMAGE 4: THE MASTERS’ HOUSES DESSAU (HAUS GROPIUS), ARCHITECTS: BRUNO FIORETTI MARQUEZ ARCHITEKTEN (2010–2014) PHOTOGRAPHY: © TILLMANN FRANZEN, TILLMANNFRANZEN.COM © VG BILD-KUNST, BONN 2018; IMAGE 5: THE FIRST PRIZE OF THE ARCHITECTURE COMPETITION FOR THE BAUHAUS-ARCHIV / MUSEUM DESIGN, STAAB ARCHITEKTEN, BERLIN. AUTHOR: PROF. VOLKER STAAB/ © STAAB ARCHITEKTEN
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BAUHAUS STYLE SHOOK UP THE ART WORLD BACK IN THE DAY, AND IT’S STILL GUIDING HOW WE DESIGN AND DECORATE NOW. SARAH DAWSON FINDS OUT WHAT IT’S ALL ABOUT 02
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his year marks the 100th anniversary of Bauhaus, the revolutionary German art, architecture and design school that transformed the way we look at art and functionality. Never heard of it? Chances are you’re more familiar with it than you think.The Bauhaus movement’s influence on contemporary design is huge, creating an instantly and widely recognisable style that’s part of popular culture. “Its ideas had an impact well beyond the school itself, its locations and its time,” explains the Bauhaus100 team (www.bauhaus100.com), who have organised inspiring events and exhibitions all over the world to celebrate the centenary. THE BEGINNING The Bauhaus school was founded by architect Walter Gropius in 1919, who rejected the traditional pupil-teacher set-up. Instead, Gropius cultivated a community of artists working together to help inspire one another, including some of modern art’s most celebrated names;Wassily Kandinsky, Paul Klee and Anni Albers. Gropius set up Bauhaus, which translates as ‘building house’, to bridge the gap between art and industry. Before this, fine arts were considered more important than traditional crafts, but at Bauhaus these skills were brought together as equals. The art world had never seen anything like it. FUNCTION BEFORE FORM Set up in post-WWI Germany, Gropius was passionate about creating a school that reflected this unique time. At the heart of Bauhaus was the celebration of functionality above anything else, leading to a modern, pared-back style.This was about simplicity. Bauhaus supported “truth to materials” – using materials in their most honest form.Things like steel frameworks in pieces of furniture, which used to be hidden away, were exposed, becoming part of the design. The Bauhaus school created lots of everyday items and furniture with purpose, with many going into mass production. Swiss architect Hannes Meyer, who later became director of the school, described it as: “The needs of the people instead of the need for luxury”, and as a result some Bauhaus pieces – like nesting tables, the Wassily Chair and
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Bauhaus design.
Bauhaus’ impact
was global, inspiring
Modern
architectural style
interpretations of
as far afield as
the Bauhaus
Nigeria.
architectural style
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embrace the
The Bauhaus
School attracted
stripped-back
creatives from all
aesthetic.
over the world,
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Berlin’s Bauhaus
including Japanese
Archive Museum of
student Mizutani.
Design is set to
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reopen in 2022, in a
Breuer’s tubular
steel nesting tables
new, Bauhaus-
are an iconic piece of
inspired building.
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design focus... 01
BACKGROUND IMAGE: MARGO SELBY
the geometric Bauhaus doorknobs – have become iconic designs found in households across the world. In 1933, just 14 years after it first opened, the school was closed by the Nazis, but its legacy lives on.This new way of thinking, which architect Ludwig Mies van der Rohe summed up famously as “less is more”, still influences modernist architecture and design today, as well as the way we live. BAUHAUS NOW Currently, the movement is really making its presence felt within interiors. Contemporary weaver Margo Selby (www.margoselby.com) finds herself drawn to the Bauhaus style as she loves its simple, modern shapes. “The very nature of that style – straight lines, abstract forms, colour theory – lends itself so well to woven interpretation and endless experimentation on the loom.” Like Bauhaus itself, Margo’s work is instantly recognisable, and it’s fascinating to see how she’s interpreted this inspiration in her striking textile designs.Why does she think Bauhaus style is still inspiring people 100 years on? “The Bauhaus period was the first time designers embraced the industrial revolution and began to inject art and creativity into industrially designed products – something that’s so relevant today,” she explains. “I believe their groundbreaking approach to abstract art and design was timeless and will always be current.” The Bauhaus love is real. A quick search of #bauhausinspired on Instagram brings up an array of posts showing how people are working this minimal look and simpler approach into their homes. Interior design stylist and blogger Hannah Trickett (www.hannahinthehouse.com) loves mixing the Bauhaus feel with a Scandi-led style in her Copenhagen home. “I’m drawn to Bauhaus for its mix of Modernism, craftsmanship and no-frills attitude,” she says. “There’s a minimal aesthetic, an incredible amount of thought behind the design and experimentation of materials that I love.” It’s that “form follows function” design ethic Hannah’s adopted in her career, and one she follows when it comes to styling her own home. “When designing a room, the first question I ask myself is, ‘how do I want this room to function for me?’. I like to use a lot of geometric shapes – you won’t see tassels in my home!” she smiles. So how can we get the Bauhaus look ourselves? “Keep your space simple and functional,” advises Hannah, “and find products with a clean design that are made to last.” Bauhaus was a movement way ahead of its time. Brave, simplistic and truly ground-breaking, it took years for the beauty of this style to be appreciated, so here’s to the next century of “less is more”.
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The abstract forms
of Bauhaus still feel innovative today. 02
Margo is moved by
Bauhaus’ “simple, modern shapes”. 03
“The nature of
Bauhaus style lends itself to woven interpretation.” 04
Hannah embraces
the “form follows function” mantra. 05
Clean design and a
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! PRESENTS
‘Words To Live By’
A beautiful new magazine full of creative ideas and projects inspired by the power of words FEATURING Lisa Congdon Emily McDowell Allison Sadler Elise Blaha Cripe Katrina Rodabaugh Marlee Grace
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GET THE LOOK MODERN BAUHAUS Function-led design, simple shapes and a minimal approach – Bauhaus-influenced style feels like just the right fit for a creative, contemporary home.
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Start with a few simple shapes and see where it leads. This seven colour screen print, Stack, is beautifully effortless yet precious – only 100 of this design will be printed. www. tompigeon.com 01
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Real talk: it’s been a while since we were this excited about semicircles, but there’s an immediacy and satisfying neatness about these ones. Serving wipe-clean dinner table realness. www.fermliving.com 02
Has what is essentially storage ever looked so slick and glorious? This brassy graphic hanger will make sure your jewellery collection shines as a feature instead of clutter. www. anthropologie.com 03
Choose from olive green or terracotta for your oh-so functional Muuto folded shelf. We can already think of about a million uses, including propping open magazines and recipe books. www. smallable.com 04
If you think about it, all a clock needs is two clear hands. Federica Bubani’s statement Totide’ design shows us that minimalism and functionality are the key to wall art worthy ceramics. www. nisiliving.co.uk 05
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BRAND FOCUS hübsch
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It’s a given that Scandinavia have got it going on when it comes to design, and Danish interiors brand Hübsch are one of the stars. There’s always an emphasis on happiness and the unique in what they produce – the latest collection favours graphic, sculptural shapes. www. hubsch-interior.com
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In true trad-meetsmodern style, there’s more to this than meets the eye. Those block shapes aren’t woven, they’re worked in crewel embroidery, part of a collab with Pottery Barn Kids. www.westelm.co.uk 06
Getting your legs out takes on a whole new meaning if you’re a statement chair. This Electra design sings out the ‘honest materials’ principles of the Bauhaus school. www.sweetpeaand willow.com 07
BOOKMARK Biscuit china
Former graphic designer Karoline Borsch’s indie shop was borne from a sheer love for artisan ceramics and glassware. Biscuit China, both a bricks and mortar store in Berlin and an online shop, stocks unique vases, vessels, earrings and homeware from a collection of modern makers. It’s the kind of place where trends are set. www.biscuitchina.com
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There’s a definite air of
Bauhaus design about this sleek black table lamp. 02
Letting the playful in with a
collection of graphic prints to create a gallery wall. 03
All about the function – this
exposed bulb has a folding stand or can be hung free.
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58 MOLLIEMAKES.COM PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; LUSA RUG, SHEEPSKIN SEAT PAD, FLAT RATTAN OCCASIONAL CHAIR, DIPPED BASKET AND TALL FAUX POTTED PALM FROM WWW.COXANDCOX.CO.UK
Off the loom Free up your weaving with Stephanie Fradette’s chunky peg loom cushion design
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HOW TO MAKE A PEG LOOM CUSHION MATERIALS Q 50cm (19¾") wide peg loom (ours was from www.daleslooms.etsy. com) Q Debbie Bliss Roma, 70% wool, 30% alpaca, 80m/87yd per 100g, two balls in Cream (53001) (Yarn A) Q Lion Brand Hometown USA, 100% acrylic, 74m/81yd per 142g, one ball each in Louisville Julep (117) (Yarn B) and Montpelier Peacock (175) (Yarn E) Q Knit Craft Hug It Out, 100% acrylic, 58m/63yd per 200g, one ball in Shell (HH04) (Yarn C) Q King Cole Big Value Super Chunky, 100% acrylic, 81m/90yd per 100g, one ball in Mustard (3121) (Yarn D)
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Q Cotton string Q Two 45 x 35cm (17¾ x 13¾") pieces of backing fabric Q Tapestry needle Q Sewing needle Q Matching sewing thread Q 43 x 43cm (17 x 17") cushion pad Q Adhesive putty or clamps
It’s no secret that super chunky yarn is a total winner when it comes to handmade cushions, but this is the first time we’ve clapped eyes on paint-drip look textiles. How’s it done? The frameless and satisfyingly hands-on peg loom weaving technique, which allows you to create fibre art in a freer way. And a cushion’s the best form for fully embracing the chunky yarn squishiness and showing off your handiwork. Turn to page 90 to find instructions for the lark’s head knot. As you weave, keep the tension even and loose enough that the woven section can easily glide down the warp. This way the weave won’t get caught in the knots as you’re pushing the project down. Start by placing 24 of the 8mm pegs in the 1cm (3/8") wide slots of the peg loom. Thread each peg hole with a 15cm (6") length of cotton string and tie the ends in a knot. This allows the loom to accommodate a thick yarn warp. 01
To create the warp, cut 24 160cm (63") lengths of Yarn A, fold them in half and attach to each loop string using a lark’s head knot. Secure the loom to a table using adhesive putty or clamps. 03 Attach the end of Yarn A to the rightmost peg with an overhand knot. Start weaving from right to left by passing the yarn in and out of alternating pegs. At the end, turn around and weave back, from left to right, in the opposite pattern of the previous row. Weave approximately 3cm (1¼") in this way, leaving the end of Yarn A on the rightmost peg. 04 Join Yarn B on the leftmost peg with an overhand knot and start weaving, alternating from the previous row and stopping roughly 10 pegs in. Using Yarn A, start weaving from the rightmost peg towards the middle until you meet Yarn B, and both yarns are at the front of the loom in between the same two pegs. 05 Cross the two yarns over where they meet in between the pegs, as 02
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always keeping Yarn A on the right of the panel. Finish by weaving approximately 3cm (1¼") of Yarn A across the length of loom. 09 Once you’ve woven 45cm (17¾") in total, slide the panel down the warp until the warp ends are of equal length on both sides. Using a tapestry needle, sew any loose weft ends in to secure. 10 Cut each warp thread close to the knot. Tie them together in groups of three at both ends of the panel, using an overhand knot. 11 Take one piece of backing fabric and fold one of the 45cm (17¾") edges to the wrong side twice by 1cm (3/8"), then pin. Repeat with the second piece. Sew in place, close to the folded edge. 12 Place the woven panel and the two backing fabric pieces with right side (RS) together, aligning the edges. Ensure the two hemmed fabric edges overlap in the centre, creating a 45cm (17¾") square. Pin in place and sew with a 1cm (3/8") seam allowance. Turn RS out, then insert the cushion pad.
MEET THE MAKER STEPHANIE FRADETTE With a passion for bold colours and rich textures, Stephanie’s a fibre artist creating vintage-inspired flat weave textiles, knotted wares and DIY kits. She loves sharing her knowledge through workshops. www. lepetitmoose.etsy.com
HEADSHOT PHOTOGRAPHY: SAM BRILL
shown, and continue the weaving pattern back in the opposite direction on both sides. Continue this technique for approximately 5cm (2"), following the main image as a guide and crossing both yarns randomly for each row at different points to create a hatching effect. 06 Cut Yarn B and tie an overhand knot on the leftmost peg, keeping Yarn A on the right of the loom. Do not cut Yarn A. 07 At this point you’ll have woven approximately 8cm (31/8") onto the pegs. Bring the woven section down the pegs and along the warp. To do this, remove one peg at a time and guide the woven section along the peg, past the knot. Replace the peg in its original peg hole. Repeat with each peg until the woven section is off the pegs and secured onto the warp. 08 Secure Yarn C on the leftmost peg of the loom. Referring to the main image as a guide, continue to weave, alternating Yarns B-E in sections of 3-6cm (1¼-23/8") using the hatching effect in Steps 3-6,
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BACKGROUND: SHUTTERSTOCK
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Hester van Overbeek’s DIY organiser is here to help you nail your workspace goals
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HOW TO MAKE AN ORGANISATIONAL BOARD MATERIALS Q 61 x 122cm (24 x 48¼") plywood sheet, 12 or 18mm thick Q 4mm wood drill piece Q 18mm paddle drill piece Q 90cm (35½") wooden dowel, 18mm thick Q 50 x 8cm (19¾ x 31/8") timber, 1cm (3/8") thick Q Magnetic primer (we used Rust-Oleum) Q Furniture paint (we used Rust-Oleum Furniture Paint in Dusky Pink, Mustard and Mineral Grey) Q 25 x 15 x 16cm (97/8 x 6 x 63/8") wire basket 64 MOLLIEMAKES.COM
Q Washi tape Q Painter’s tape (we used FrogTape) Q Saw Q Sandpaper Q Paint brushes or rollers Q Strong thread Q Metal ruler
Ever fallen foul of Pinterestinduced studio envy? Us too. It’s time to seize a toolbox and take action. And whether you have a dedicated space for your crafting or not, you’ll be able to get your creative bits and bobs sorted with this versatile organiser board. Part pegboard, part magnetic memo board and part storage, it’s the made-by-me solution for anyone who wants to get handy with a drill. You can customise the design to suit your needs, picking your favourite colours and deciding the size and shape of each section. The pegs can be rearranged and the whole board can be moved from room to room – ace for renters.
Using washi tape and the image as a guide, tape off three triangle shapes – a large one on each of the two long edges pointing inwards, and a small one on the short top edge pointing downwards. 02 To create the pegboard in the large triangle on the right, make a washi tape grid, spacing the parallel strips of tape 5cm (2") apart from one another. 03 Drill a pilot hole with the 4mm drill piece at every point where the tape crosses over, as shown. 04 Next, use the paddle drill piece to drill the holes big enough to fit the dowel. The pilot hole helps you drill a neater hole with less risk of the wood splitting. 01
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Sand the edges of the drilled holes and the surface of the board smooth with sandpaper. 06 To create the pegs, use the saw to cut the dowel into 9cm (35/8") lengths. Sand the ends of the pegs smooth with sandpaper. 07 Make the two shelves by cutting the timber plank into a 17cm (6¾") and a 33cm (13") length. Sand the cut edges. 08 Apply painter’s tape along the outside edges of the washi tape, as shown. Remove the washi tape. This will ensure the painted sections will have neat edges. Make sure the tape is smoothed down completely so no paint can get in underneath. 05
Paint the magnetic primer on the large triangle on the left. Use the furniture paint to paint the large triangle pink and the small triangle grey. 10 Paint the shelves and pegs with the pink furniture paint. 11 Once the magnetic primer is dry, apply a coat of the yellow furniture paint. 12 Drill holes in the grey triangle to attach the basket, then string the basket up by tying strong thread through the basket and the holes, and knotting at the back. Insert the pegs and balance the shelves on top. For safety, we’d recommend tethering the board to the wall at the top before use. 09
MEET THE MAKER HESTER VAN OVERBEEK Hester’s the author of Furniture Hacks and Made with Salvaged Wood. Her brand new book Pallet Wood Projects for Outdoor Spaces is out now, and she also shares DIY tutorial videos on her website. www.hesters handmadehome.com
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EXCLUSIVE PAPERS! ADD MODERN BAUHAUS TO YOUR WALLS AND YOUR MAKES WITH THIS SET OF STATEMENT PRINTS. Inspired by colour and words, Abbey Withington’s designs and illustrations combine playful shade combinations paired with bold print and type. Illustrations: ABBEY WITHINGTON WWW.ABBEYWITHINGTON.COM
Making HAND-PICKED PROJECTS TO FALL IN LOVE WITH
PHOTOGRAPHY: PHILIP SOWELS; STYLING: HELENA STEELE AND MATILDA SMITH
Like eggs and avocado, there are some faves that just don’t get old. If you’re up for a spot v >ÀV Ûi ` Û }] Þ Õ½ w ` some of our best ever knitting and crochet patterns on our Ravelry store, including these foodie pot holders by Hannah Cross. Brunch and a new yarn project this weekend? http:// bit.ly/MollieMakesRavelry
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CERAMIC FINDS Upgrade your craft storage and your home with inspiring artisan pottery
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON
Give yourself the gift of flowers with Libby Moore’s impressive embroidery
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HOW TO MAKE FLORAL WALL ART MATERIALS Q 30.5 x 30.5cm (12 x 12") fabric Q Embroidery thread (we used DMC stranded cotton in 224 (pale pink), 225 (baby pink), 310 (black), 316 (dusty pink), 420 (golden brown), 648 (stone grey), 924 (dark teal), 3052 (olive green), 3362 (dark green), 3803 (magenta), 3811 (ice blue), 3820 (yellow) and Ecru) Q Fine-tipped black fabric marker
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Q Size 8 embroidery needle Q 15cm (6") embroidery hoop Q Embroidery scissors
You’re definitely not alone if grabbing a last-minute bouquet has become standard Mother’s Day behaviour, but perhaps it’s time to change things up and celebrate the mammas in your life in an altogether craftier and more intentional way. How about giving everlasting blooms instead? This botanical embroidered hoop is a creative alternative to a bunch of flowers, and doubles as wall art. Featuring peonies, dahlias and an anemone, it uses just a handful of different stitches to create that glorious texture. Use two strands of embroidery thread throughout, unless otherwise specified, and turn to page 90 to find instructions for each of the stitches used.
Using the template on page 90 and a window or lightbox behind the fabric, trace the pattern onto the fabric with the marker. Place the fabric in the hoop. 02 To stitch the peonies, use pale pink thread and whipped backstitch to outline the petals, then fill them in using baby pink thread and satin stitch. 03 For the peony on the left, use yellow thread and scattered straight stitches to fill the centre. 04 For the anemone, use ecru thread and whipped backstitch to outline the petals, then satin stitch to fill them in. Fill in the centre of the flower using dark teal thread and seed stitch – using one strand of dark teal thread, randomly place little straight stitches from around 01
the centre of the flower outward. Top them with a French knot using two strands of dark teal thread. 05 For the dahlia, use magenta thread and fly stitch to outline the petals. Fill in the petals using dusty pink thread and satin stitch. 06 For the larger leaves either side of the vase, use olive green thread and backstitch along the branches, stopping at each leaf and filling it with fishbone stitch. 07 For the smaller leaves, use dark green thread and backstitch along the branches, stopping at each leaf and filling it with satin stitch. 08 For the tiny blue flower buds, use dark green thread and back stitch along the branches. Randomly stitch a cluster of French knots around each of the
branches using two strands of ice blue thread. 09 For the small dark pink flowers, use magenta thread and fill in the petals with satin stitch. 10 For the branches, use golden brown thread and backstitch. Fill in the berries with dark teal thread and satin stitch. 11 For the vase, use stone grey thread and fill it in using satin stitch. Using black thread, back stitch along the outline of the hands, stopping to fill in the fingernails with satin stitch. 12 Using ecru thread, randomly stitch clusters of French knots around the main dahlia and leaves. Use these to fill in little empty spaces and to add some extra buds where you want them.
THREAD FOLK This project was taken from Thread Folk: A Modern Maker’s Book of Embroidery Projects and Artist Collaborations by Libby Moore (£17.96), published by Paige Tate Select. The book covers basic stitches and has 15 beautiful projects. www.bluestarpress.com
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CLOCKWISE FROM TOP: LOUISA (L) AND MEL (R) PITCHING TO THE JUDGING PANEL AT THE MOLLIE MAKES HANDMADE AWARDS 2018; AL FRESCO CRAFTING WITH THE FIBRE LOUNGE; SOME OF THE SHOP’S “TREASURES”; MEL AND LOUISA RECEIVING THEIR AWARD; FELLOW NOMINEES CHATTING AFTER THE EVENT; ONE OF THE FIBRE LOUNGE’S YARN WALLS
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PHOTOGRAPHY (TOP LEFT AND BOTTOM): WILL IRELAND
“There’s so much love, creativity and uniqueness in the handmade world.”
CRAFTING A COMMUNITY WE CHAT TO MOLLIE MAKES HANDMADE AWARDS 2018 WINNERS LOUISA AND MEL OF THE FIBRE LOUNGE ABOUT THEIR PASSION FOR BRINGING MAKERS TOGETHER Words: HANNAH CARR
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ouisa Sheward and her BFF (Best Fibre Friend) Mel McLoughlin only started The Fibre Lounge last year, but they’re already living their best craft lives – and helping others do so, too. Winners of the 2018 Mollie Makes Handmade Champion Award, for Louisa: “Community is key to everything we do.” The Fibre Lounge has blossomed from an online store to a bricks and mortar shop – something the pair always wanted as a base for their community. Plus, they’ve got a yarn subscription box, workshops, retreats, a indie yarn store campaign, an Instagram challenge and a YouTube vlog thrown into the mix too. It’s a lot to fit into one sentence, let alone into a year of business. But, it just shows how passionate they are about promoting the craft community any way they can. “There’s so much love, creativity and uniqueness in the handmade world,” says Louisa. “I love to see people embrace that creativity, whether it’s on a personal level or developed into a business model.” It’s this passion that led them to open their Hertfordshire store in 2018. Mel started crocheting later in life, but her interest in crafts has grown rapidly, spurred on by her pal. Louisa has been crafting since she was five, when her grandmother first taught her to crochet. Since then, her love for all things creative has bloomed. “I wanted to share the crafts I love so much with others,” Louisa explains. A GOOD YARN Their “boutique-y yarn shop of treasures” stocks everything from luxe hand-dyed yarns to pins and notions, much of it from indie brands. The pair launched their campaign, Keep Yarn on Our Streets, within a only few months of opening the store – a make or break period when they realised the challenges high street yarn shops face. Encouraging makers to take their custom to local independent yarn stores, it’s been backed by over 60 high street yarn shops so far. So why are they keen to help other yarn stores thrive? For Louisa and Mel, it’s crucial to keep them alive not only to support small businesses, but also as hubs for the creative community. “Yarn shops are so much more than just places to buy yarn. They offer a community of support,” Louisa
points out. “Crafts are about bringing people together, learning, talking and sharing,” adds Mel. The pair have branched out into workshops and retreats to spread the crafty joy further. Both see these as another opportunity to bring talented designer-makers to new audiences. Their retreats have various themes and locations, with the next one themed around crochet and self-care. “I love hosting retreats because of the feedback we get,” says Louisa. “Our customers go away refreshed and ready to take on the next challenge.” Closer to home, they host workshops for adults and little ones in the shop’s cosy basement; a “mini haven for makers” with soft lighting, tea on demand and a crafty book nook. Everything from weaving to yarn dyeing is covered by guest tutors and The Fibre Lounge team. And, in addition to this, they organise stash swaps and other free events, all of which enhance that sense of community. HANDMADE CHAMPIONS It’s clear that championing craft threads through everything Louisa and Mel do, but initially they weren’t planning to enter the Mollie Makes Handmade Awards. Worried about rejection, they felt the fear and did it anyway, so how did they feel when they found out they’d won the Handmade Champion Award? “It was lovely to get such recognition in such a short space of time,” shares Mel, while for Louisa, “it really meant the world”. Since winning the award last year, they’ve received a lot more focus on their business. There’s been local press coverage, and customers are always curious about the award, which is proudly on display in the shop window. Mel’s eager to encourage other makers to enter this year’s awards: “Go for it and believe in yourself.” So what’s next for The Fibre Lounge? “We’ve got some big things on the back burner, but can’t divulge too many secrets!” says Louisa. Whatever they’re working on next, we’re sure it’ll be just as inspiring as their journey so far. Visit www.thefibrelounge.com to shop their yarny goodies, and for more information on their upcoming crochet retreats, craft workshops, yarn subscription box and more. You can also find them sharing creative inspiration on Instagram @thefibrelounge.
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memories Record baby’s monthly milestones with HappyFabric’s easy-craft blanket
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PHOTOGRAPHY: PHILIP SOWELS; STYLING: SARAH MALONE AND SALLY BUFTON; MODEL: WILL
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HOW TO MAKE A MILESTONE BLANKET MATERIALS Q Heat transfer vinyl (we used HappyFlex in Black from www. happyfabric.co.uk) Q Extra large muslin cloth, 1 x 1m (393/8 x 393/8") (ours was from www. johnlewis.com) Q Greaseproof paper
Is there a lovelier way to track a beloved bubba’s progress than with a handmade milestone blanket? All signs point to no. Iron-on vinyl makes it so quick and easy to whip up a beautiful textile treasure in time for a new arrival. And it’s so versatile – you can use the templates on page 90 for the vinyl numbers, words and triangles, or get creative and personalise your design with names, dates and any other shapes or embellishments you fancy. Bring on the baby spam. First, pre-heat an iron to 150ºC, which will usually be the two-dot setting on the iron. 02 Iron the muslin to get rid of any moisture and creases in the fabric. 03 Using the templates on page 90, create stencils by printing out all the required pieces. Cut them out neatly with a sharp pair of scissors. 04 Lay the vinyl on a flat work surface, shiny side facing down. Turn the paper stencils cut in Step 3 over so they read in reverse. Lay the stencils on the back of the vinyl 01
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and begin to draw around them carefully with a pen or pencil. 05 Once you’ve drawn all the numbers and text onto the back of the vinyl, cut them out with sharp scissors, then arrange them in place on the right side of the muslin cloth. Refer to the main image as a guide to placement. 06 Once you’re happy with the layout, place greaseproof paper on top ready to fuse the vinyl in place with the iron. 07 With the iron, begin to press the vinyl shapes into place. You’ll have to do this in sections, so take your time to make sure the design doesn’t move in the process. Apply firm pressure with the iron for about 10-15 seconds. When you’re confident the vinyl has fused into place, move the iron onto the next section and repeat until all the vinyl is fused to the fabric. 08 You can now remove the plastic carrier, which is the shiny layer on the top of the vinyl. 09 To finish, give the muslin cloth another iron using the greaseproof paper once again, as in Step 7.
MEET THE BRAND
HAPPYFABRIC
HappyFabric specialises in iron-on heat transfer vinyl, one of the most addictive crafts out there. It’s a fun way to personalise any textiles you can iron on to. Find more tutorials on their blog, or follow them on Instagram @happyfabric.uk. www.happyfabric.co.uk
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NEXT MONTH in
105
on18THsale APRIL
CROCHET BOLD PLACEMATS FRESH UPCYCLING IDEAS MAKE A FLOWER CROWN
GIFT AND CONTENTS SUBJECT TO CHANGE
Five different fruity projects to try
PLUS
HEIRLOOM BUNNY DOLL RESIN CRYSTAL HOOKS SHIBORI SASHIKO CUSHION EASY-SEW RUFFLE TOP LEATHER JEWELLERY SET WEAVE-STYLE EMBROIDERY 86 MOLLIEMAKES.COM
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TEMPLATES
ALL THE SHAPES FOR THIS ISSUE’S MAKES. UNLESS OTHERWISE STATED, TEMPLATES ARE SHOWN AT 100%. YOU CAN FIND THE FULL-SIZE TEMPLATES READY TO DOWNLOAD FROM WWW.MOLLIEMAKES.COM
EMBROIDERY HOOP
By Libby Moore PAGE 77
PHOTOCOPY AT 125%
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.
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Templates STITCH GUIDE
use our handy guide for the embroidery techniques in this issue
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FISHBONE STITCH This stitch is often used for making leaves, but also works for areas you want to fill with a line down the centre. Make a straight stitch at the point of the leaf where the centre rib would sit. Come up at point 1 on the edge of the leaf and go down at point 2, barely crossing the centre line. Come up again at point 3 on the opposite side of the line, then go down at point 4, crossing the centre line. Repeat, working from side to side, until the shape is filled.
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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.
WHIPPED BACKSTITCH This is a great way to embellish a line of backstitch, adding thickness, texture or some extra colour. Start with a line of backstitch. Come up at point 1. Slide the needle under the first backstitch from the top down. Slide the needle under the next stitch from the top down. Repeat. Bring the needle down at point 2 when you reach the end of the line of backstitch.
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FLY STITCH This simple stitch can be worked as individual stitches or in a line. Come up at point 1, then go down at point 2, leaving the thread loose. Come up at point 3, catching the loop of thread, then pull to form a ‘V’. Go down at point 4.
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STRAIGHT STITCH The simplest of stitches, straight stitch can be grouped together or used alone. Come up at point 1, then go down at point 2. Repeat.
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FRENCH KNOT This is a stitch that everyone should learn, because it’s so useful. The secret is to hold the working thread taut while you pull it through. Come up at point 1, then wrap the thread around the needle twice. Holding the working thread with your non-dominant hand, bring the needle down at point 2 (close to point 1, but not the same hole) and pull slowly until the knot is formed.
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BACKSTITCH This stitch is ideal for outlines, and it’s the one you’ll find you use the most. Come up from the back at point 1, then go down at point 2. Come up at point 3, then go back to point 1 and bring the needle through to the back.
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.
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Templates KNOT GUIDE
use our handy guide for the Peg loom cushion PAGE 58 01
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Lark’s head knot Fold the cord in half along the length. Slip the folded string on top of the object the lark’s head knot will be tied onto. 01 02
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Pull the cord down around the object you’re tying the knot over, without twisting the cords, then pull the other two strands through the loop, as shown. 03
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To tighten the lark’s head knot, hold the two cords in one hand and the object you’ve them tied around in the other. Pull until the knot is fastened at the top. 04
MILESTONE BLANKET
by HappyFabric PAGE 82
PHOTOCOPY AT 400%
Thank you for making this project from Mollie Makes. We have requested specific permission from designers so that you can recreate and sell selected projects from this issue on the following conditions. Just look for this icon. You can individually hand make as many as you wish of our labelled projects, to sell either for yourself, your local event or to raise money for charity. You cannot sell in shops (online or otherwise) and you cannot go into mass production, which means you cannot manufacture in large quantities, especially by machine. Selling photocopies of any part of this magazine, its kits or supplements is prohibited. We don’t mind if you make a copy of the templates for a friend but please do not make any part of the templates or instructions available to others through your website or a third party website, or copy it multiple times without our permission. Please respect one another’s copyright.
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Templates NEEDLE PUNCH SHEEP
By Lucy Rowan PAGE 33
PHOTOCOPY AT 125%
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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TEA AND A CHAT “Think: have I represented people as best as I can?”
MAKER RUMANA LASKER DAWOOD ON DIVERSITY IN THE SEWING COMMUNITY
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THIS MONTH I’M LOVING... Listening to: The audiobook of Michelle Obama’s Becoming. Eating: Vanilla custard doughnuts after having them at a draping course. Learning: How to use a knitting machine that’s recently been handed down to me.
hen Runner’s World featured a hijabwearing woman as their cover model in 2016 I thought “wow! It’s cool to see someone like me on a magazine!”. I looked at sewing magazines, expecting them to reflect the diversity of the community, but it was obvious there was a real issue. Out of 52 covers from four different magazines, there were zero nonwhite models. That’s when I realised this was a big problem and I needed to speak out. After reviewing sewing mag covers from 2017-2018, I launched the #sewincolour hashtag. I wanted to get people thinking about what we can do individually to improve representation for all. The response was so much bigger than I expected and the sewing community really got behind it! Sewing companies and influencers spoke about it, it was the topic of podcasts and blog posts, and it spawned a new hashtag – #POCwhosews. There have been similar conversations in the knitting community, and we’ve seen it move on to ageism and sizeism. For communities celebrating individuality through creativity regardless of size, shape and gender, it’s bizarre to front our crafts with only size 6-8, 20-something white women. Recently there’s been an emphasis on how privilege plays a part in the erasure of BIPOC, especially through inaction. I’d love to see more action. Let’s take a moment to think: “Have I represented people as best as I can?”, whether that’s a blog post sharing influencers, or sewing companies selecting brand ambassadors or models. To show support, you can share the #sewincolour badge, ask brands to improve their representation, share your stories or amplify those of others. The main thing is to keep the conversation going – it’s not an easy one to have, but the more we talk, the more we can change. Rumana shares #sewincolour updates on Instagram @thelittlepomegranate, and blogs about her sewing adventures at www.thelittlepomegranate.co.uk.
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