Category: Patchwork

Jan 24

Scrap of the week #11

Well, what a wonderful start to the week! I chanced on this bundle of ’70s hexagons in my local charity shop this morning. I know it’s cheating, but these are sneaking in under the wire as my Scrap of the week; it should really be just the one scrap featured, but when faced with such an embarrassment of riches I have to bend the rules.

Vintage hexagons

Big pile of '70s patchwork hexagons

Each hexagon measures 7cms across.  A few have been stitched together, but most are just tacked onto their backing papers.I recognise some of these fabrics. There’s definitely one Laura Ashley, and maybe a Liberty or two.

Seventies patchwork

Flower power

I wonder who worked so hard to get these patches this far all those years ago?

Lucky find

Groovy hexagons

I’ve no idea what will become of them yet. But no matter. They add a ray of sunshine to a dull late-January day, and that’s enough for now.

Hexagons

More funky florals

13
comments

Nov 21

My first sewing machine

Singer 99k, 1946

Josephine, a 1946 Singer 99k

Meet Josephine. She was my mother’s sewing machine, the one I learned to sew on. I was nudged to dig her out of the basement and dust her off by this blog post.

Poor old Josephine has seen better days. Second-hand by the time my mother got her in the 1970s, she never struck me as especially pretty. In fact, quite the opposite. She’s led a hard life (witness scratches and scars), and was converted from treadle or hand-crank to electricity some years after manufacture; that’s when she acquired her clunky housing and cardboard case. I imagine some cowboy sewing-machine repairman performing this atrocity, a cigarette butt clamped ruthlessly between his teeth throughout the ordeal. Piling insult onto injury, I’ve neglected her and half meant to get shot of her for years – well, her charms aren’t immediately apparent, unlike her petite cousin, the 221k – but I’m beginning to change my tune. Especially as I know a little more about her now. I’ve even discovered her birthday.

Singer 99k 1950s case

1950s cardboard case

The joy of today’s internet is that you can look up serial numbers of yesterday’s Singers and discover when and where your machine was made, and the model type. The model type is very handy if  you don’t have the sewing machine’s original instruction booklet. Free pdf downloads of instructions can be found out there, so it’s worth searching a little. Otherwise, they can be had for a small fee. It’s useful to know how your machine is supposed to be oiled, how tension can be adjusted etc.

99k register number

Singer serial number

From a quick dip into the Singer site I’ve learned that Josephine was one of 30,000 99k machines registered on May 20th 1946 in Kilbowie, Clydebank, Scotland.  That date was when the entire batch was assigned, so I imagine she was still a lump of metal at that point and didn’t gain her final gleaming-gold-decal form for days, weeks or months. Anyway, it’s nice to have an anchoring date. Maybe next year I’ll bake her a cake and Singer happy birthday (ouch).

Singer 99k

Singer lettering

By the time Josephine came to us, she already bore the marks of a hard grafting life, the scratches of myriad pins passing by on miles of fabric, a thousand scissor-nicks from hurriedly clipped curves.  Her motor bears the installation date of February 1956. When we first got her, she had to be plugged into a light socket. This meant that every sewing experience was preceded by a perilous clambering above the dining room table to extract the bulb and insert her lead into the pendant fitting. I’m amazed that no-one was electrocuted in the process.

Singer 99k with Sylko spool

Hand wheel, bobbin-winder and the odd decorative flourish

The absence of ceiling  light made it pretty hard to see what you were doing, and eventually someone in the family changed her plug to a regular three-pin wall variety. It was slightly annoying that she had no light source of her own, but my fresh eyesight didn’t seem to mind that at the time, and I enthusiastically made up a lot of patchwork and a number of Laura Ashley dresses on this machine.  She worked reliably, until I got her out a couple of years ago and found, to my horror, that she ran manically without her foot control being activated; this seems to have been a simple case of ‘sticky pedal’, and I’m happy to report that she’s fine now.

99k decal

The scratches of hard use

My mother wasn’t an enthusiastic needlewoman, just a utilitarian one. Same with all handicrafts. It was my maternal grandmother who’d been the real crafter of the family, and perhaps my mother naturally rejected that role as one generation tends to react to the previous one. She’d gone to college and pursued more academic pursuits. She typed fast, played piano well, but the sewing-machine isn’t something I can picture her at. It was at school that I was instructed in how to operate a sewing-machine. Home Economics hadn’t been chased off the curriculum in those days, and we learned from rather joyless, stern teachers (“unpick that again”) on rows of hand-cranked machines. But that’s another story.

99k face plate close-up

Surprisingly fancy face plate

I’m seeing Josephine in a slightly different light now. A no-nonsense post-war workhorse from an age of austerity, her few redeeming features (such as her surprisingly decorative face plate, the pleasingly robust bobbin-winding facility, and the houndstooth-patterned paper inside her case) stand out all the more. One last detail: in the spirit of make do and mend, she still carries a piece of masking tape on her needle plate, marking some long-forgotten seam-allowance I once used. No fancy screw-on seam guide for her.

Now I’m wondering where all of Josephine’s 29,999 siblings are. These 99ks strike me as real survivors. How many are still sewing? How many have been melted down for scrap? Where are they now? If you happen to have one, I’d love to hear about it. I”m also wondering what your first sewing machine was like? Was it basic or luxurious? Do you still have it? What did you make on it? Show and tell.

21
comments

Nov 12

Corduroy Day

Yesterday was Remembrance Day. But it was news to me to discover, thanks to Fashion Incubator’s tip-off, that 11/11 has also been declared Corduroy Day. It’s all to do with the vague resemblance of that date (11/11) to the ridges of said fabric.

Corduroy appears to be the Marmite of materials, with people either loving or hating it. I love it – what could be more redolent of cosy comfort on a cold British winter’s day than corduroy? However, I’m big enough to acknowledge that not everyone feels the same. When I was at university in the mid-1980s, I noted that a particular kind of derision was reserved solely for those unfortunate male students who resorted to wearing dark brown corduroy trousers. This was probably an understandable reaction to the 1970s, when it had been virtually enshrined in statute that the nation be covered in brown, beige or – at a pinch – oatmeal corduroy. Seventy years earlier, in a book called Corduroy Breeches, American Wilfrid Hardy Callcott recounted how he’d received a pair of corduroy knickerbockers as a young boy and detested them. The book runs to some 148 pages so I’m guessing his animosity ran pretty deep. On the other side of the fence, the Corduroy Appreciation Club founded by New Yorker Miles Rohan in 2005, celebrates all things corduroy; members  meet on dates resembling corduroy (11th January: 11/1 and 11th November: 11/11) and must wear at least two items of corduroy to each meeting. I believe that Miles is the happy man responsible for Corduroy Day.

Liberty needlecord

Cute Liberty needlecord: what's not to like?

The SOED defines corduroy as a late 18th century word meaning  ‘a coarse cotton velvet with thick ribbing’. If you, like me, thought it had French origins ( ‘corde du roi’), that looks like being a fine example of folk etymology; according to the esteemed oracle (OK, it’s Wikipedia, but I’m feeling lucky) there’s no such phrase in French and the word, like the cloth, appears to be of English origin. The clever dictionary folk of Oxford claim that the word is formed from ‘cord’ (in the sense of string or rope) plus ‘duroy’, duroy being a kind of coarse, lightweight worsted (wool) cloth formerly made in western England (in my local towns of Chippenham, Melksham and Devizes, to name but a few) and used to make men’s clothes. The name harks back to the early 17th century, though its origins are shrouded in mystery. I’ve flagged up this sadly dark area of textile etymology to Michael Quinion over at World Wide Words and will let you know if he gets back to me with any illumination. What seems more certain is that corduroy was at one time a cotton textile produced in Manchester; in continental Europe, corduroy is still referred to as ‘Manchester’ (another Wikipedia fact, so please don’t treat it as Gospel until Saint Michael of Quinion has approved it). Manchester cloth was originally worn by poorer workers in the same way as fustian; however it was of high quality, according to this authority, with a good dense pile.

By the late 18th century, the term ‘corduroys’ was being used to describe a pair of corduroy trousers; I’d like to think that the squirely classes (still evident on the streets of Bath today, sporting their garish-corduroy-and-dun-Barbour winter plumage) were calling their breeches this in Jane Austen’s day. But I suspect ‘corduroys’ were  then for the much humbler sort. Here’s a picture from the V&A archives of a man in working clothes (including cord trousers) seated in doorway, c.1845. And a work of 1854, The Lower Orders (published in Noctes Ambrosianae), casts aspersions on those wearing:

…corduroy breeks and linsey-woollen petticoats…  Poor, lonely, humble people, who live in shielings [shacks], and huts, and cottages, and farm-houses…

So, it appears to have been very much  a working man’s fabric, able to keep a person warm when out in the cold. The humility of corduroy is underscored again by James Joyce in A Portrait of the Artist as a Young Man:

There was a cold night smell in the chapel. But it was a holy smell. It was not the smell of the old peasants who knelt at the back of the chapel at Sunday mass. That was a smell of air and rain and turf and corduroy.

Man in corduroys, 1990s syle

Cords keep out the cold effectively in 1990s Pyrenees

An older term for corduroy was ‘wale’. The original Old English word was ‘walu’: from Low German ‘wale’ = weal, a ridge raised on the flesh by the blow of a rod,  and from the Old Norse ‘ vala’ = knuckle. By the late Old English period it was being applied to a ridge of earth or stone, and it turns up in Middle English to describe the broad thick timbers forming the outer sides of a ship; it survives today in the nautical ‘gunwale’. Come the late 16th century ‘wale’ was being used to describe a ridge or raised line of threads in a woven fabric, and to name, by extension, the fabric with such lines.

These days, ‘wale’ is used to refer to the number of ridges per inch in corduroy: the thicker the wale, the lower the number and the chunkier the cloth, so 4-wale is much thicker than 11-wale, for example. Wide wale is commonly used for trousers, while elephant cord, the very thickest of wales, can be used for upholstery. Fine wale (needlecord, pin-cord or pin-wale) is suitable for for shirts and children’s clothes.  Incidentally, the club motto of the Corduroy Appreciation Club is ‘Hail the Wale’.

Liberty needlecord selection

Liberty needlecord: the wale I hail

We also have the late 18th century word  ‘corduroy’ (or ‘corduroy road’) to describe a rudimentary thoroughfare made from logs, so named because of its resemblance to the fabric. In The Dominion of Canada (published by L. Stebbins of Toronto in 1868) Henry Youle Hind apologised for their roughness:

Where the foundation is a morass the corduroy is a ready and efficient mode of constructing a road…though most disagreeable to the traveler, and perhaps destructive of the vehicle, it is often impossible for the scattered settlers to do more.

Corduroy fabric can be just as difficult  to work as the corduroy road must have been to travel. But if you want to take corduroy beyond knee patches, I’d recommend looking at the Gee’s Bend quilters who often used unyielding scraps of corduroy and denim with great deftness.

If anyone wants to meet for a British Corduroy Appreciation Party on Friday 11th November 2011 (11/11/11!) do leave a comment and I’ll see what can be arranged. That leaves plenty of time to plan  a suitable corduroy creation.

5
comments

Jun 23

It’s Darling!

I’m slowly but surely working myself up to becoming a vintage haberdashery trader, and will be plying my wares at a new vintage and handmade fair in Bath next month. It’s Darling! will be held in the Guildhall (not far from the Abbey, just opposite Cafe Nero) on Saturday 17th July from 9am-5.30pm, so do come along and say “Hi!” if you can manage it. I’ll be there all day with loads of lovely old cotton reels, buttons and other sewing paraphernalia. Plus several vintage eiderdowns. Oh, and an old wooden sewing box. You get the idea.

Catherine Stokes, one of the organisers and she of Mrs Stokes’ China, interviewed me for the show’s website.  I’m quite chuffed with my new coinage, “button glutton”.  Are you one too?

In this and last week’s fog of events, I forgot to post two Scraps of the Week, so here’s a picture taken to accompany the above interview. In it you get a whole yearful of scraps at one go! The picture is supposed to illustrate something in my life which answers the description “It’s Darling!”, so I chose my grandmother’s feedsack patchwork pieces, many dating from the 1930s. They mostly measure  just 4.5cms across.  She was a fairly utilitarian patchworker, not spending a whole lot of time arranging pattern placement, just putting pieces together more or less as they happened to fall. After all, she was a busy lady with five daughters to make clothes and keep house for, and there was a Depression on at the time. Though she finished a fair few quilts and quilt-tops, she never got round to these. They were all ready and waiting to be fed through the sewing machine for 9-patch blocks and are as fresh as the day they were cut. I’ll feature them individually at some point so that you can get a better look.

Feedsack darlings

1930s American feedsack fabrics

0
comments

May 21

Multi-Fassetted

Kaffe Fassett‘s marketer once came up with this snappy little mnemonic for pronouncing his name: “Kaffe Fassett’s a safe asset”. They’d appear to be right. Even in these troubled economic times, Kaffe looks like a winner. He burst onto the craft scene in the ’80s with Glorious Knitting, his colourful approach blowing the cobwebs away. Then there was the needlepoint. Then the patchwork. How many books has he published? How many thousands of metres of cotton designed for devotees to hack into small pieces and reassemble in myriad ways? Don’t even bother to try to count.

I’ve been lucky enough to hear Kaffe speak on three occasions in recent years. Each has been a hoot. I caught up with him most recently last Friday night when he was plugging his latest book at my wonderful local bookshop , Topping’s. Kaffe seems to come to Bath a lot and has a long-standing association with the American Museum at Claverton, just outside the city. Now in his 70s, Kaffe is still an elfin, twinkling, slightly waspish presence. He gives great publicity, telling colourful, non-broadcastable anecdotes, and having a poke at the often repressed traditional craft establishment.

After speaking compellingly about the new book, Simple Shapes Spectacular Quilts,and its inspiration (more of that in a moment), he elaborated on some of the confusion caused by his unusual name: a customer at Hatchards, the famous Piccadilly bookshop, reportedly once asked : “Do you have Glorious Knitting by Yasser Arafat?” – Kaffe mincingly re-enacts the imagined lady’s voice before swishing some gems from his fabric range at us like a mesmerising toreador. No wonder the Topping’s cash registers kerching as I wait  to pay for the book – the book I’d already promised myself I wouldn’t be buying; I have several Kaffe quilt titles at home already, and can I really say that this one is so unlike the others?

Kaffe Fassett's latest book

Quilting eye-candy

Well, yes, I’d say it is. Simple Shapes Spectacular Quilts attempts to teach the reader how to see and compose quilts, to open up Kaffe’s own extraordinary creative vision. Kaffe dedicates it to ‘all the quilters worldwide who ask “Where do you get your ideas?”‘ – that infuriating old chestnut asked of all creatives.  And inspiration is at the heart of this book. It’s arranged in chapters dedicated to various simple geometrical shapes (squares, rectangles, triangles, diamonds, quarter-circles and full circles) and shows, via lush photos of source material, how you too can find such patterns in your own environment and translate them into stunning quilt patterns. As we’ve come to expect from Kaffe’s books, the pictures of completed quilts are rich and complex, the instructions simple and clear.

I’m not sure if I imagined it, but there’s just the faintest hint of the broader recessionary climate in the book’s production story. Unusually, Kaffe didn’t travel to exotic locations to drape his quilts (I say “his” though they’re made in collaboration with his quilt expert Liza Prior Lucy and an enthusiastic team of stitchers) over bucolic barn doors for these shoots. Instead, photographer Debbie Patterson‘s approach was rather more make-do-and-mend, with all pictures taken within a few miles’ walk of  Kaffe’s home. Debbie is first and foremost a food photographer and takes a mighty appetising photo. However, the geographical restraint – using industrial sites and architectural locations – gives a pared-down quality, a back-to-basics approach, which I really like.  A pile of car tyres and a heap of oil barrels are used to illustrate circles; industrial mesh gates and ordinary paving tiles to suggest diamonds. You don’t have to live somewhere exotically beautiful to find creative inspiration, it implies.

Circles inspiration page including tyres, oil drums and buttons

Why the stress on geometry? As Kaffe explained to us, he’s not interested in today’s art quilts with their looseness of form, their conscious rejection of traditional patchwork. Taking the old quilt patterns and doing them in a new way is what fires him up. Kaffe contends that the old-fashioned geometry of quilting is endless in its variety:

“Geometry is like Shakespearian language: you can never wear it out,”  he says.

He’s fascinated by the effect of cutting up patterned fabric and placing it within another pattern (the patchwork pattern). As one might anticipate, therefore, he doesn’t “get” the modern quilts on show in the current V&A exhibition: if you’re just going to paint on fabric, he says, why not do a painting instead? He’s equally dismissive of what he calls the “Thimbleberry” style of traditional quilting fabrics: small-scale, dull prints in hundreds of shades of oatmeal.

In spite of his swatch-swishing, Kaffe claims that the book is less prescriptive than many of his others, and is not tied to a particular line of fabrics, but there’s an awful lot of his familiar perennial Rowan/Westminster Fibres range detectable in the quilts featured. It is slightly less hard-sell than it might be, though, and I really don’t begrudge the guy a few fat quarters in his bank account. Kaffe told us what a kind critic has said of this publication: “Your other books were recipe books. This is the art of cooking.”  He must have a kaleidoscopic smorgasbord of books ahead of him yet, the next one being, he tells us, his autobiography. He’s still looking for a title. Get in touch with him if you happen to have any suggestions. My best shots are Multi-Fassetted or possibly Fully Kaffeinated, though A Life in Colour looks like a safer bet.

Simple Shapes Spectacular Quilts: 23 Original Quilt Designs by Kaffe Fassett with Liza Prior Lucy, photographed by Debbie Patterson, is published by Stewart, Tabori & Chang (an imprint of Abrams) price $35.00 (US) $45.50 (Canada) or £22.50 (UK)

Have you read Simple Shapes Spectacular Quilts? What did you think of it? I’d love to hear your take on it, or anything you have to say about Kaffe. Has he inspired you?

Related Posts Plugin for WordPress, Blogger...

2
comments

Socialized through Gregarious 42