JL Martin – or Tinkymctiddles as she’s known on Instagram – is a writer, illustrator, coder – and, very recently, a sculptor of miniature models – models just like this!
These tiny pencils, miniature baguettes and eensy-weensie rows of knitting fascinated me when they began to appear in my Instagram feed. I couldn’t resist inviting Janet to be interviewed as part of my Meeting Makers series.
Keep reading to find out how you model a pencil from a toothpick!
Do you run an iron over your fabric before cutting out and, if so – why? I was thinking about exactly this question as I pressed some summer weight wool suiting to make yet another pair of culottes.
Here are my reasons to press fabric before cutting out – and they may not all be the obvious ones.
1. Getting In The Right Frame Of Mind
If you start your project in an organised, efficient way there’s a good chance that you’ll carry this attitude through the whole piece of work – or at least through the cutting out! Pressing your fabric takes a few moments of time, time during which your mind can settle into the work to be done. This activity can also be pleasingly mindful, emptying the brain with repetitive motions, and you know I’m a fan of that.
I bought this book for £1.50 from a shop on the Isle of Wight. What’s not to love? Liberty! Sewing patterns included! The Eighties! Not just a piece of history. There’s some pretty detailed information in this book, plus basic pattern blocks can always be adapted. I’m hopeful there’s something here I could sew.
Always check the line drawings…
But, oh these Eighties moments, frozen between the pages. Flipping through this book, I am swept back to an era when Princess Di pie crust collars were de rigeur, flounces ruled and Laura Ashley was a lifestyle goal.
Do you ever feel as though you were born to live in a certain decade of your life?
I found my youth hard. I was too ‘fat’, I loved make-up despite the fact that my 20s were lived through the Britpop era when women were expected to be lads. My writing was gauche and immature.
But I loved to write. I vividly remember the evenings I would sit on my bedroom floor, with an electronic typewriter, hammering out letters to friends who rarely responded. It didn’t matter. I took huge comfort from the fact that Carol Shields only began writing novels at the age of 50. 50! Could anyone imagine being that old and still able to write?
And so it is no small irony that The Little Book of Sewing is published in my 49th year and I find that my sewing empowers the woman I am today. If only we knew back then what we know now.
Life will be fine, little acorn. More than fine. You’ll wear some fancy dresses, too.
Want to draw attention away from your white legs? Wear even whiter tights!
It’s publication week for The Little Book of Sewing! Have you been joining in the Instagram fun #thelittlebookofsewing? I’ve seen so many great and inspiring stories, including how this book inspired Kathy of Sew Dainty to launch her own jewellery business. Check out those acrylic scissors – swoon!
Of course, it takes more than one person to write a book. From my editor, Ellen, to Sam who designed the cover, to the production person who picked out those gorgeous yellow endpapers to … you, dear readers!
When it came to cover inspiration for The Little Book of Sewing, my editor asked me to send over a few visuals that I liked. Amongst them was a link to Stitched Up Sam’s Instagram feed. I really like the way she combines the traditional technique of free motion embroidery with some edgy images. She chooses to work with lovely fabrics and her embroidery is always so neat!
Having shared my mood board with the publisher, I continued to admire Sam’s work from afar as the book was brought together and was going to print. By this stage, I’d seen the cover, of course, but had no idea who had embroidered it – until Sam got in touch to thank me. SHE HAD DESIGNED THE COVER!
I was thrilled that a fellow creative had been part of the journey and couldn’t resist asking Sam about the process. Read on to find out how you embroider a book cover!
Did any of you see the recent stunning use of a vintage Vogue pattern by Riccardo on The Great British Sewing Bee? I loved this dress made from a set of charity shop curtains!
The pattern is the Vogue Paris Original 1483, faithfully tracked down for us by Rachel and Kate at The Foldline.
But as I began scouring the Internet looking for an undoubtedly expensive copy, it occurred to me that this pattern reminded me of a vintage Vogue pattern I’d already sewn with – the Vogue 5098. This also reminded me that, actually, vintage Vogue patterns are not that tricky to source.
Can anyone recommend a blogger-friendly point and shoot camera? I’ve been using the same one almost since I started blogging, and it’s dying on its feet. I’m not interested in an SLR – I find those impossible for taking photos of myself. Just a nice, simple, high-quality camera that means I don’t always have to scurry outside for best light.
Because this is what happens! A bit of a Marilyn Monroe moment, overlooked by neighbours. Though a person might argue these are the best shots.
For this version, I used the last of my House of Hackney silk, bought in a sample sale. I didn’t have quite enough to add my usual extra ruffle hem, but I like this shorter, flirty version. Do you?
I took a lot of time over hand stitching various details and added some NW3 of Hobbs buttons, rescued from a cardigan…
I like the fact that I might confuse people. Hold on. Is that Hobbs or House of Hackney. Neither! It’s hand made.
The silk has a very dense weave, which sometimes makes it tricky to sew with. Silk pins definitely needed. But oh my goodness, the print and colour saturation!
This is why we sew. So that we can feel the butter-smooth ripple of silk fibres against our skin as we stand in the wind. When most people are scurrying home, faces to the ground, we’re absorbing the joy of stitches made by our own hands. Stitches that allow silk to caress our bodies. And, really, it is a joy. I can’t think of a better reason to sew…