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Archive: Columns
October 22, 2009
Halloween T-Shirt Trick or Treat Bag
Halloween T-Shirt Trick or Treat Bag
By Future Craft Collective
Halloween season is here! Time to break out the pumpkins, the masks, and the scary makeup, and get out there to do a little trick or treating. When I was a kid we used pillow cases for our candy collecting, which were good in size but weren't very easy to tote around for the several miles we did of door-knocking. This super simple project will serve as your pillow case replacement. And after Halloween you can use it all year long as a handy tote for all of life's sweet tote-ables.
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Posted by Natalie Zee Drieu |
Oct 22, 2009 12:00 PM
Columns, CRAFT Projects, Halloween, Refashion |
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October 7, 2009
Basketball Jersey Produce Bags
Basketball Jersey Produce Bags
By Future Craft Collective
By now most of us have figured out our reusable bag system for going to the grocery store. I know in the back of our van we've got myriad choices for small, medium, or large shopping outings.
What we hadn't figured out, however, was what to do for our produce selections. We ended up using the plastic bags offered because we hadn't yet thought of a better choice. It would have to be something that breathed, could be easily washed, and didn't weigh too much. It seems these same requirements are in order for any kind of sporting apparel. So we turned once again to the modern day tech fabrics — this time in the form of a basketball jersey. We created these very cool, very utilitarian produce bags to be used over and over again, thereby kissing the plastic bags goodbye.
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Posted by Natalie Zee Drieu |
Oct 7, 2009 05:00 PM
Columns, CRAFT Projects, Refashion, Sewing |
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September 4, 2009
Subversive Finds with Julie Jackson: Talking with Katherine Shaughnessy + Pattern
Katherine Shaughnessy is one of my favorite people on the craft scene. She runs the online shop Wool & Hoop, which is one of the main online suppliers for crewelwork kits and fine supplies. She is also the author of The New Crewel. A few years ago, she moved from Chicago to the very small Texas town of Marfa (population 2,000), where she now has ten chickens and two kids, and she recently opened a little craft store on the town square. Katherine is a trained artist with an interesting story and I really wanted her to tell it in her own words.
Katherine is pictured above wearing an outfit created by her shopmate, Lorna Leedy.
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Posted by Natalie Zee Drieu |
Sep 4, 2009 08:00 AM
Columns, Needlearts |
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July 9, 2009
Subversive Finds with Julie Jackson: Talking with Mr. X Stitch
Subversive Finds: Talking with Mr. X Stitch
By Julie Jackson
Jamie Chalmers is making a name for himself in the world of embroidery — and that name is Mr. X Stitch. This 6-foot-tall Brit regularly cross-stitches in public, mostly on the train to London. He's a newlywed with an urban homestead and nine chickens who somehow finds the time to run the self-proclaimed "#1 contemporary embroidery and needlecraft blog on the planet," MrXStitch.com.
He's a true believer in the modern craft movement "from both a relaxation and sustainability perspective," and he's known for such witty remarks as "men need to discover that you can get more relaxation from an x-stitch than an X-box." His Flickr group, Phat Quarter, is wildly popular and has gained a lot of attention in a very short time. He was also invited by Leah Kramer to be the first guest blogger for Craftster.org.
All this and he still manages to hold down a demanding day job and support a local charity that teaches needlework to prison inmates and sells their products (Fine Cell Work). He aspires to be the next Rosie Grier of the stitching world and was recently interviewed for Cross Stitcher magazine. Yet, despite all the hoopla, he remains humble, stating that he "feels very fortunate to be involved at this time when interest in embroidery and modern craft is only beginning in the UK."
If this is just the beginning, we can't wait to see what he does next — meet Mr. X Stitch!
(Remember to imagine the following answers in a charming British accent.)
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Posted by Natalie Zee Drieu |
Jul 9, 2009 01:00 PM
Columns, Hand Embroidery |
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May 12, 2009
How-To Tuesdays: DIY Crayon & Sketchbook Kit
It seems like summertime is the season of the birthday party in my circle of friends, at least as far as the kids are concerned. So I thought I'd come up with a quick craft to make for the children in my life that would be both inexpensive to create and easy to personalize. Something that encourages their creativity is a must, so I decided on making these DIY Crayon & Sketchbook Kits. These gifts are cute, useful, and will hopefully result in more artwork for me to hang on the fridge. Read on to find out how to make your own!
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Posted by Jenny Ryan |
May 12, 2009 12:10 PM
Columns, CRAFT Projects, Kids, Recycle |
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March 20, 2009
Travel Crafty: Boston
Travel Crafty: Boston
By Meganne Fabrega
Paul Revere was crafting in Beantown even before his fabled midnight ride — and now a new generation of crafters is exploring Boston's hidden gems.
CRAFTY GALLERIES
What could be a more perfect name for one of Boston's craftiest galleries? Magpie, located in up-and-coming Somerville, is a treasure trove of items made by local and national crafters. Aster + Sage bags hang alongside chunky bracelets by Eames & Lola, while 16 Sparrows stationery sits on top of a vintage Royal typewriter. It's no wonder this cozy shop carries the cream of the craftster crop; owner Dave Sawkowski has Leah Kramer, founder of craftster.org, and Emily Arkin, a founder of Bazaar Bizarre, as part of Magpie's creative team.
Down the street in a light-filled space that had a former life as a classic nickelodeon theater, Grand is more than just a gallery. Owners Jonathan O'Toole, Wendy Friedman, and Adam Larson hold whiskey tastings, yoga demonstrations, art openings, and even had a movie night in the parking lot one hot summer evening. Their stock includes T-shirts by FluffyCo, Thomas Paul totes, iBride polar bear trays, and a collection of cocktail bitters that is not to be missed.
If you're looking to get your Bazaar Bizarre fix more than once a year, your prayers have been answered. Fashion maven Val Fox has started a monthly indie craft market in Cambridge that includes jewelers, clothing designers, potters, crafters, and purveyors of vintage treasures, as well as a DJ spinning tunes as you shop. After a few test dates, The Design Hive was such a big hit that Fox had no choice but to turn the market into a monthly event. "I think the artists would kill me if I didn't!" Fox said, laughing. Dates and locations may change monthly, so be sure to check out the website before you head over.
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Posted by Goli Mohammadi |
Mar 20, 2009 01:30 PM
Columns |
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March 10, 2009
Cathy Callahan's Old School: Iron-On Patches
I just hated it when my mom used iron-on patches to "fix" my clothes. I was so embarrassed to wear something that had been patched in that manner: the patches were hard and scratchy (especially when applied inside a garment) and usually ended up falling off. As soon as I was old enough to do my own mending, I stitched on embroidered appliques (like a turtle or a daisy) that I purchased at the fabric shop using my allowance. Heck, I loved those things so much I even stitched them on things that didn't need mending.
Pictured above are a few packages of iron-on patches I found at my mom's house. I actually think she might have used the drawing on that Sturdy Brand package as a style guide for the way she dressed me. There are pictures of me dressed in almost that exact same outfit. I absolutely adore the graphic design, color palette, and illustrations. Wouldn't you just love to walk into Jo-Ann's today and see a whole rack of packages that looked like these?
I am actually kind of fascinated by the Plasti-Stitch corduroy patches. Were they meant to blend in seamlessly and look like you never had a hole in your pants? Or could you go wild and do a little mixing and matching? Perhaps you could tone down your plaid pants a bit by adding a little gray corduroy patch. The back of the package lists purple, olive green, maroo,n and gold as other available colors. Wow!
Let's take a closer look at the Touch O' Magic package: "Use on new jeans for longer wear..." I love their approach to "preventative" patching. But why not wait until you actually have a hole? And isn't the very nature of denim its strength? Iron-on patch sales must have been down in 1968, so those folks at Sandrew, Inc. (makers of Touch O' Magic) of Streetsboro, Ohio, had to come up with new ways to sell their product.
Since my father (a warehouse worker) and I (a klutz) were deemed to be "hard" on our clothes, there was always a stockpile of iron-on patches in my mom's sewing room. Don't get me wrong — it's not that I'm suggesting that my mom was not skilled at mending (she was an amazing seamstress); I rather think she liked the convenience they afforded and was probably swayed by their marketing. Who wouldn't be? How easy to just plug in the iron, cut the patch to size, and press for 40 seconds.
And they were GUARANTEED.
Then why did they often fall off? At least then you could try to put another one on. But the worst was when the adhesive gave out only around the edges (and yes this still did happen even when you rounded the corners) and they curled up. Once that happened, the garment was history because the center of the patch was now stuck on the hole and you couldn't get it up to put a new one on without making a bigger rip. Well I guess you could have just used another, bigger patch.
"This Sturdy Brand Patch is guaranteed to last for the life of the garment to which it is applied. If unsatisfactory, return package and unused portion to manufacturer for replacement or refund."
That must have been why my mom saved all of these Iron-on patch packages. She didn't want to void her warranty.
About the author:
Cathy Callahan is a crafter and window dresser who draws inspiration from vintage crafts. She blogs about 1960s and 1970s crafts at cathyofcalifornia.typepad.com.
Cathy on MARTHA 3/11:
Set your DVRs! Cathy Callahan will be on MARTHA tomorrow, March 11th. She will be showing Martha Stewart how to make vintage flower loom flowers. The main theme of the show is the 50th anniversary of Lily Pulitzer. Check your local listings for show times.
Posted by Goli Mohammadi |
Mar 10, 2009 11:00 AM
Columns, Mending |
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February 27, 2009
Cathy Callahan's Old School: Decoupage
Decoupage
decoupage | dākoōˈpä zh | noun
the decoration of the surface of an object with paper cut-outs, which is then usually varnished or lacquered. French, from découper 'cut out.'
With roots in the 18th century, decoupage was all the rage in the 60s and 70s and has even had a rebirth lately (think John Derian).
I recently found some packages of "Patricia Nimocks Decorative Hardware" (hangers, corners, knobs, etc.) at a thrift store. It turns out that Patricia was the leading lady of decoupage in the 60s, authoring how-to books and creating a line of products. Her popular varnish is still sold today.
When I was 13, I wanted to decoupage a poster of a girl at the beach holding a conch shell up to her ear. My mom said I could use her supplies but I had to work in the garage because it was smelly — mainly because I wanted that thick glossy resin as the finish. Mind you, my parents were both smokers, so toxins in the house were not a concern. I think that speaks to how gnarly the supplies were. With a little help from my dad I sanded and stained the wood, glued the poster down, and carefully applied the resin. The next morning when I went to check on my creation I was devastated to find that a big bug had flown into the resin (which had already set), leaving a huge trail. I was so bummed out.
With that in mind, I wanted to explore some less dangerous methods and was happy to find that paint and craft stores today offer many non-toxic stains and varnishes. Explore your local paint and craft store to see what's available in your area.
There are many approaches and variations to decoupage. The basic goal is to make it look old and make the image seem like it's part of the surface — sometimes achieved by burning the edges. Wood is the most popular surface material: a flat wall piece, a handbag, a box, etc. You can make groves in the wood, add gold foil trim, shape the edges, make it 3-D, whatever you like.
MATERIALS
Object of your choice
Sandpaper
Stain or paint
Image photo, ephemera, decal, etc.
Mod Podge or other adhesive
Varnish glass, matte, or satin
DECOUPAGE YOUR OBJECT OF CHOICE
1. Choose an object. I used a rustic wood plank because it reminded me of something from a vacation cabin.
2. Smooth the surface of your object with sandpaper.
3. Stain or paint the surface, always following manufacturer's directions. Let dry. Or leave unfinished like I did — that way you see the natural grain of the wood.
4. Prepare the image you are using as desired. You can cut to shape, burn the edges, whatever you like. Avoid using an image from a book or magazine that has something on the reverse because it can "ghost" through.
5. Position and glue the image — Mod Podge" works well. Let dry.
6. Apply varnish, again following manufacturer's directions. The number of coats you need depends on your desired effect. Make sure you work in a clean, dust (and bug!) free area so that nothing will settle into the varnish as it's drying.
About the author:
Cathy Callahan is a crafter and window dresser who draws inspiration from vintage crafts. She blogs about 1960s and 1970s crafts at cathyofcalifornia.typepad.com.
Posted by Goli Mohammadi |
Feb 27, 2009 02:30 PM
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February 26, 2009
Susie Bright's Home Ec: Dress Me, You Fool!
Dress Me, You Fool!
If you were to set a piece of cloth before me and warn that I could only make one thing, I would pick the fabric up, shake it out, drape it 'round my face to see if I could stand the color ... and then proceed to make a dress.
Why a dress? Is it because it's girly, or old-fashioned, nostalgic of mommy's closet?
All those elements play a part in my feminine consciousness, but it's something bigger than that; it's the dress' quintessential combination of utility and conversation-stopping style.
Simply said, when you put a dress over your head, you are done.
You are done getting dressed, you are ready to spend the day as you please; you have a single garment on your bod that says a lot about how you feel. You are complete -- there are no dibs and dabs to coordinate or fold in. It's the garment that has no apologies.
The fashion industry has made a fortune convincing us that "separates" are the way to go, with ever-thinner tissue layers that need multiple purchases to "tie it all together." A few hundred dollars later, you finally have one complete outfit that teeters on a precipice of trend.
No so with a dress. A classic dress solves your disconnected pieces; the puzzle is complete. There are only a few classic silhouettes and they never go out of style.
It's instructive that fashion worships the icon of the Little Black Dress (LBD), because every dress is a little gem -- it never takes up much room, and regardless of its color, it shines.
If I were a man, I wonder how I'd find the analogous sartorial moment. I think coveralls, or caftans, might become my first choice. Again, I'd be looking for one garment that sums it all up, that begins every great entrance, and that exits with grace. It zips, it buttons, and your picture comes into focus.
I've made ... let's see ... a few dozen dresses over the past seven years I've been sewing. Springtime incites the most feverish dressmaking, because it's the season for inexpensive cottons, linens, and no-sleeves -- you can really crank them out.
So what does the proper dress closet consist of? What dresses do you take to a desert island, and how quickly can you sew them up?
The A-Line or Straight Sheath
The sleeveless A-line is the basis for all smocks -- it is the one. The sheath is the dress you learn on: darts, facings, zippers. If you can make one shift, you have learned all the basics of being a seamstress.
A Jackie O-style dress was the first thing I ever made. It took me about four two-hour sessions, and I still wear it all the time. I knew in my gut I could sew anything after I made my first dress. It's like snowboarding -- the learning curve is steep but then, boom, you're flying.
The sheath hemline can be micro to maxi. Get one of those patterns that offers you a few different necklines: jewel, v-neck, scoop. The keyhole or the caftan slit can keep you entertained, too. This one pattern alone could keep everyone talking about what a fashion plate you are, for years.
The Princess
Princess seams got popular because they are "slenderizing" and they flatter a large bosom in the way that they partition you into graceful curving sections. Sandra Betzina has the ultimate instructions on how to move the boob up and down, the most critical part of the process.
The Shirtdress
Okay, this is the hardest one, but boy, will you look sharp.
Mastering the shirt's components: the collar, front placket, sleeves and cuffs, is your foray into menswear and a whisper of the Savile Row mystique of "tailoring" -- the level you go to after dressmaking.
Shirt design is where professional patterns make a difference; you don't want to reinvent the wheel with these. With good instructions and neat tricks, you can really speed things up. I love the Simplicity 4171 shirtdress pattern because it comes in cup sizes B-D, saving you a couple hours right there.
You need the right tools for shirt-making; you can't skimp. You'll want a sewing machine that has a first-rate automatic buttonhole setup, so you won't be under the hot lights all year. Also, get the specialty foot that sews buttons on in seconds.
The Wrap
The wrap dress has been the big thing in patterns the past couple years, because it is, again, slenderizing and breast-enhancing. If you learn how to use knit fabrics, which revolutionized this look, wraps are easy to make. Stretch fabrics are the difference between you looking like Diane von Furstenberg in her prime or a ditz walking around in her bathrobe.
Try the popular Vogue 8379 or Christine Johnson's Wrap Dress #526. If you're want a little challenge with some really hot details, you'll fall in love with New Look's #6429.
Knits also demand specific tools for success. Get a walking foot, which keeps the fabric from having a mind of its own. You must use ballpoint or stretch needles, or you'll skip stitches with no control. Finally, a serger would be heaven.
Sewing knits is lightning-fast with the right tools, but cutting knits out is always going to take longer than wovens -- the material squiggles instead of lying docilely on the table like cotton or wool. The scissors might start chewing on the lycra; the pins rebel against the rubbery texture. You are normal if you find yourself swearing. I find that after I make a few knit garments, I have to make a pillowcase just to relax.
The Square Neckline
I'm discussing this detail apart from the silhouettes, because this one element frames your face and neck in such a distinctive manner. You usually have to find a pattern just for square necklines, like Burda 7774 -- they aren't shown with other looks.
It's a remarkable detail because it flatters both the small- and large-breasted, tall or short, willowy or zaftig. It's as if a painter made your portrait and then put you in a beautiful frame --those right angles light you up.
The way you get a no-nonsense 90-degree angle on your fabric is to handle your facing and fabric seams with a little extra care. You dial down your stitch length to practically nothing when you get 1/2" from your tight turn. Tiny stitches creep up to the turning point. Lift your machine foot, pivot, put it down, and keep the baby stitches going for another 1/2". When you remove your seam from the machine and clip all the way to the square points, you'll turn it right side out and poke open those tight corners with a point-turner.
Oooh, they look so sharp and nice. Now go show yourself off.
The Empire Waistline
Empire waists are the basis for the baby-doll, the maternity dress, and many kinds of formalwear. The skirt is full, and the bodice needs to fit perfectly, or you look like Courtney Love on a kinder-bender. It's interesting that the Empire veers between a juvenile and a ceremonial look, with not a lot in between. If you're more than a B cup, I want you to approach the Empire look carefully, with a superb-fitting bra. The latest Empire that everyone is crazy about is a Grecian Formula with a drape that makes all the difference: Vogue 1027.
I think everyone's favorite dressmaking moment in cinema is when Scarlett O'Hara tears down the moldy old drapes in her family's antebellum mansion. In the next frame, we see her in a mouth-dropping green velvet gown. Was that a two-hour dress, honey? However Scarlett pulled it off, there's the example of dressmaking as a sheer force of will!
About the Author:
Susie Bright is an amateur dressmaker and a professional writer. She blogs at susiebright.com.
Posted by Natalie Zee Drieu |
Feb 26, 2009 10:00 AM
Columns, Sewing |
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