Textile Tourists in Manchester – Part 2

So after spending the first half of the day at The People’s History Museum (more about this in Part 1), we walked the short distance to the Museum of Science and Industry.  It looks huge, but we only had a couple of hours to spend there so headed straight to the textile gallery.  Luckily (for us) we timed it perfectly with the demonstration of the textile machinery. The textile gallery is well laid out, with the machines being in the centre of the room and slightly lower so visitors can get a good view of them.  The demonstration gave a hint of the noise and dust these machines caused.  I cannot imagine it was a pleasant way to earn a living (unless you were the owner of course!). The demonstration started with the raw cotton in big containers about to be carded…

Mosi

Starting with cotton in its raw state

We then saw the machines spinning the cotton.

Spinning - Mosi

Spinning – Mosi

The cotton goes through several machines to get to the strength required to weave it.  I love this photo…

Spinning - Mosi

Spinning – Mosi

The mule was the machine that really caught the children’s imagination.  We heard awful stories of children working underneath these machines as they worked, and about written evidence of mill owners chaining children to the machine as they kept running away.

Spinning - Mosi

Spinning – Mosi

The last stage showed the cloth being woven.  Lots of gruesome stories here to capture the children’s imagination, possibly the tales of large wooden bobbins flying out of the machines were the worst.  We discovered that mills started putting the windows higher so the stray bobbins didn’t break glass – hitting a worker was obviously more acceptable as it cost less money than a window.

Weaving - Mosi

Weaving – Mosi

The guide was really good, and she answered lots of individual questions after the talk about the technical and social aspects of the 19th century cotton industry.  I was interested to hear that the damp climate in Lancashire was good for producing cotton.  I know a little about dyeing fabric and how the weather can affect it, but not a lot about spinning.  When you see the process, from growing the plant to weaving, it makes you realise that perhaps cloth is not as expensive as we think.

Textile Tourists in Manchester – Part 1

I love going to stay with my older brothers family in Yorkshire, and know Leeds and Halifax pretty well by now (well the city centres anyway).  I hadn’t been to over the Lancashire border to Manchester for a good five or six years, so this summer decided to have a day out there with my daughter and eldest niece.  Always on the trail for some textile eye candy I planned a day at The People’s History Museum, followed by Museum of Science and Industry. As lots of photos were taken, I have split the day over two posts… We started the day at the People’s History Museum, and didn’t know what to expect.  “Where are we going” the kids asked, “well, to a museum about democracy” I replied.  Not really the answer the two bright and inquisitive, but My Little Pony and iPod obsessed girls would probably want. The museum was originally the National Museum of Labour History, but re-opened in 2010 as The People’s History Museum.  Although the museum has its roots going back to the 1960s when a small collection of Trade Union, Labour and Co-operative society artefacts were collected by a society, its website notes it has no political affiliation.  The collection is based around the history of democracy, the struggle for equality, and looks at how ordinary people lived their lives.  My previous sentence makes it sound very serious, and while the subject matter is (the first exhibit is about the Peterloo Massacre), the displays are really interesting and thought provoking.  It is also really family friendly.  The trail my girls did (aged 8 and 9) captivated them, so while they looked for objects and information, I could look round with leisure.  This is often a rare thing when taking the kids out.  As well as the trail, there are lots of things they can touch, wear, and do.  For example, they could time how long it takes them to make up match boxes, then compare their time to whether they would be able to make enough to eat and house their family (unfortunately the results were not good!). The main reason I wanted to visit was the museums collection of banners.  It holds the largest collection of trade union and political banners in the world, and as well as displaying them, restores them. The banners are dotted about the exhibits, then on the upper floor there is a room where they are hanging. Here are some photos I took, excuse the quality as I did not use a flash… On the top floor there is a gallery with the banners hanging at full height – and they are huge!  A lot of the ones hanging when we visited are from the 19th century, painted using oils, and made by commercial banner makers/sign writers. Behind these is a long room, with windows so you can see inside at what work is being done.  This is where the museums banners, as well as textile items for other museums and individuals are worked on by conservationists.

The Peoples History Museum - Banners

The Peoples History Museum – Banners

A close up of one of the painted banners.   This one is from the 1920s, oil paints on a jacquard silk fabric. P1010745

I, of course, was particularly interested in the stitched banners.  This is a Suffrage Atelier banner, from about 1910.  Silk and gold embroidery are among the techniques/materials used.

P1010741

This banner is from The Primrose League, a conservative grass routes organisation.  This banner is undated, but the organisation started in 1883.

P1010747

I think this was my favourite banner.  The Central Labour College was founded by a group of students and the dismissed dean of Ruskin College, Oxford in 1909.  Its aim was to promote education for the working classes and was funded by trade unions.  Aneurin Bevan was one graduate of the college.  The banner is made from sateens and silks on hessian, and one of the embroiderers was the author Rebecca West

. P1010751

Here is a close up… I really like the effect of the stitching on hessian.

P1010752

This book made me chuckle – what a dilemma to have…

Book

A photo of this banner was taken for my husband.  It is about the Professional Footballers Association, and was painted by John Midgely in 1991. The PFA was established in 1907, and the information about it notes that the footballers wage cap was abolished in 1961.  Something which sparks a lively debate amongst football fans. P1010775

I also just had to take a photo of these.  Football boots, once worn by Sir Stanley Matthews.  I would love to see a premier league match played where the players had to wear these!

photo

Downstairs there was a WWl exhibition, which in the ethos of the museum looked at the war from the perspective of the working classes.  There is also a space dedicated to community exhibitions; the museum is very much active in the field it documents. The banners change yearly, so I will definitely go back next time I am in Manchester.  It is free to get in, however I read this opinion piece in The Guardian earlier this week, which says that their funding is under risk.  This would be such a shame as there is really nowhere quite like it.

So, the important bits for the girls; the shop and cafe were very good.  They walked out wearing badges, and my Votes For Women postcard is up at work.  Our next venue, the MOSI tied in really well with The Peoples History Museum, as the kids started to see what democracy has led to – education, holidays and not being tied to ruddy great big mill machines at the age of 7…

Bankfield Musuem

My summer travels – Birmingham and Halifax

Ta ta summer – Autumn seems to be here, along with tights and boots!

I did quite a lot of travelling round the UK this summer…and here I am using my delay leaflets in my English Paper piecing (waste not want not as they say)

Grand Central Hexies

Grand Central Hexies

Mid August was Festival of Quilts, of course.  I loved this quilt, made by Tracey Aplin and called “My Love for Liberty”.  I admired the quilt, then was thrilled to discover I knew Tracey from quilt shows, and she came along to my talk in Canterbury last month.  Isn’t it fabulous?!

My Love for Liberty

My Love for Liberty by Tracey Aplin

Later in August I spent a week in Yorkshire with family.  One of the places we visited was Bankfield Museum in Halifax.  My brothers’ family live fairly near so I have been there quite a few times, and every time I go I desperately want to get some white gloves and and sneak into the achieves as they always have such lovely textiles.

Bankfield Musuem

Bankfield Museum

The upper floor has a new exhibition based on WW1.  Called “For King and Country” it draws on local stories, objects and images to discover what life was like at the time.  All of us found it interesting and thought provoking.  I was particularly interested by the garments on show as well as an excellent display of WW1 embroidered postcards.

WW1 Postcards

WW1 Postcards

WW1 Postcards - close up

WW1 Postcards – close up

Dress

Dress from the 1900s

1900s Dress - Hand sewing detail

1900s Dress – Hand sewing detail

Bankfield was originally a private house, and is amazing to look around.  Imagine popping out of this door every day when you need a pint of milk…

Bankfield Museum

Bankfield Museum

While on our travels, we also had a textile day over to Manchester.  However I will talk about this in a separate post later this week as we saw some amazing textile work, so the camera worked its socks off that day!

Interview with Fiona from Sewgirl

I am very lucky to be surrounded by creative inspiring people, and being of the nosy persuasion, I have asked a few of them if I can interview them here on my blog.

My first victim interviewee is Fiona Hesford who runs Sewgirl from her studio in Worthing. Sewgirl is another business similar to QP with different elements all coming under the textiles umbrella. At the moment Fiona teaches workshops from her home studio and at Clothkits in Chichester, the Fluff-a-torium in Dorking and My Crafty Soul in Cobham. She also designs and sells sewing kits through her website and via Not on the High Street, and prints fabric panels. Her work has featured in a book published by Lark, and her projects feature regularly in magazines such as Love Sewing and Simply Homemade.

Fiona's studio - outside view

Fiona’s studio – outside view

I first met Fiona in early 2010 at a business workshop aimed at women start-ups run by Business Link and we have stayed in touch. I love the style of her work, and she is rather cool… so on with the Q&A… 

So to start, a question students always ask me…what’s your sewing CV?

Well, since about the age of 10 I have always had sewing projects on the go, and I come from a sewing family – my grandmother was a tailoress and made us girls the same dress in different fabrics with matching headbands. I studied Fashion Textiles at Brighton (back in the Polytechnic days!), and worked as a knitwear designer. Those were exciting times, and I worked in Paris, Italy and Hong Kong.

After I had my children (now 16) I started getting more into home wares, and as I had twins I often made the same thing but with different motifs. This really got me into personalizing things. I carried on selling knitwear designs through an agent, but I fell in love with fabric and eventually packed my knitting machine away. I did however use the old knit samples to make toys.

Here is one of these toys. Fiona gave me a knitted lucky cat when I opened and I keep it in the studio, a little bit superstitious about it leaving similar to the ravens and the Tower of London!

The lucky studio cat

The lucky studio cat

What is the Sewgirl story?

The business was born at same time as the doll kit, late 2009/early 2010. Sewgirl was originally my first product, the screen-printed doll kits, but the name stuck. Naturally the doll kit fell by the wayside as I moved into other areas such as clothing and home textiles.

How has printing become part of your business?

I initially got into printing through my husband who is an artist and screen printer. We discussed ideas and tried some of them out, starting with the doll. The Little London kit was a big success and has evolved onto the patchwork squares I am working on at the moment.

We also screen print details onto the kits. I feel this makes the kits especially unique. 

Screen print samples hanging up in studio

Screen print samples hanging up in studio

Tell me more about your work with NOTH?

I have been on there about 2 ½ years. I first applied and was given feedback that my images needed to be improved. They followed this up a year later, and as I had taken their advice and had better images my work was accepted. It is really good being on there but you need to keep creating new ideas so your work is still fresh and current. Personalised work has been selling well, and sits comfortably alongside other things I do. Christmas is always extremely busy with orders, but I manage to keep on top of things.

Your work has a certain style to it – where do you get your inspiration from?

It is great having a husband who is an artist as there is always stuff lying around the house to look at.
I am inspired by vintage magazines, books and textiles, but feel good design needs an element of you in it – something different. Often my eye catches hold of something – usually unexpected. This can come out of the blue – I might mull over an idea and if it sticks for a month then I know it is something to follow.

Collaborations are also good – it takes you to new directions and allows you to grow.

What is your typical working day?

I have a cup of tea in bed, and then check emails and process orders. In the morning I try to get the studio straight as hate working in a mess. Some days I’m kit making, others writing patterns for magazines, prepping for workshops or designing for screens. I try to organize it so certain days are for specific jobs, but that usually goes by wayside if for example an order comes in for personalized bunting.

How do you prefer to work, sketchbook or computer?

Always sketchbook – I have many on the go! I write endless lists.

Sewgirl Studio

Sewgirl Studio

 I have had a peek at your sewing space (and sharing some photos here), and it is rather lovely… tell me about it.

I used run Sewgirl from a front bedroom, designing and teaching from there.

Just over a year ago I had a studio built in our garden and it feels like I have always had it – I couldn’t imagine workshops in my house any more. It is lovely to look in the garden while working and listening to 6Music (which is a big part of my working day).

One downfall of working at home is it can be difficult to separate the two, but it is slightly easier now I have a studio to go to, and the advantages of being based at home outweigh the disadvantages. I try to keep my studio looking current, for example I have a washing line that has inspirational sources or samples for a workshop about to happen.

What do you do when you are not working?

I read a lot and really like biographies. Sewing of course – I make my own clothes and am strict at setting aside specific time for making for myself not work.

What are your plans for the autumn?

Ooh, this will come round quickly!

I am working on a range of patterns featuring coordinated outfits and accessories. There will be more screen-printing – a new “folk” range is coming soon and later in the year a Christmas range of Scandie inspired motifs

I also want to do lots more writing and designing for magazines

What are your sewing essentials?

I love masking tape – I like it as I can write on it and stick it on things to label them, whether it be fabric or paper.  I am also in love with this honeycomb fabric I get in Fabricland. It is plastic fabric so doesn’t fray, and I use it for pattern making, particularly trying out paper patterns in 3D.

Sewgirl Studio

Sewgirl Studio

What are your career highs so far?

It is always good to see your name in print in magazines and books. Doing Pulse (a trade show) and Made (a curated craft fair) were quite pivotal things for me. Also getting the Little London kit into the shop at the Museum of London was quite an achievement.

Name three words that sum up Sewgirl?

Retro, Eclectic and Bold.
 

To find out more about Fiona visit the Sewgirl website.

 

Sewgirl Quilt

When Fiona at Sewgirl asked if I would like to play around with some of her screen printed squares I jumped at the chance!  She quickly dispatched 3 sets…  

Exciting Post!

Exciting Post!

Here they are…nicely presented.

Panels just asking to be sewn!

Panels just asking to be sewn!

I decided to keep the fabrics toned down, not easy for a print addict like me, but I thought it was a way of respecting the screen printed squares.  I only used the pink and the blue packs, and matched plains to the prints.   I had in stock a pink bella solid that was perfect, and got a blue kona cotton from Brighton Sewing Centre.  For the third fabric I was umming and ahhing, and in the end went with a black and white Sketch from Timeless Treasures.  This is such a good blender!

I decided to sew an off centre log cabin.  The squares are the stars of the show so I just wanted to frame them, but I still wanted to make it quirky, so played around with scale and colour placement.  

Here is the top finished…

Finished Quilt Top

Finished Quilt Top

I then decided to hand quilt, with the trusty perle 8.  I used a pale grey, which shows on the solids, but blends into the background on the sketch.  

IMG_3056

Quilting

  

I decided to bind the quilt using the single fold lapped method and used a different colour for the sides and bottom.  

Cheeky Binding!

Cheeky Binding!

The combination of hand quilting and single fold binding has made the quilt feel really soft and light. It is interesting how different the method of quilting and binding can make a quilt feel.

…and here is the top finished and hanging in the studio.

IMG_3344 

If you like the look of the panels, Fiona sells them online here, and has some free patterns available to use them to make bunting, cushions, lavender bags and pockets.
I got the opportunity to interview Fiona earlier this year, so if you want to find out more about Sewgirl pop back to the blog later on this week…

 

Charity coffee morning – this Saturday!

This Saturday we are holding our second coffee morning in support of Maternity Worldwide.  The Brighton based charity works in developing countries to ensure women have access to maternity care – you can find out more about their amazing work here.

As well as tea, coffee and cake, Debbie who used to run the knitting shop up the road from QP will be selling some knitting books, and I will be making a donation to the charity from sales on the day.  I am also hoping to have my autumn course schedule available for those who fancy coming on a course after the summer.

Fingers crossed we will raise at least £80 as this sponsors a trainee midwife in Africa for a month – how amazing would that be?!

Maternity Worldwide Poster QP

Prairie Strip Quilt Tutorial

Happy Monday to you!  As mentioned in my post on Friday, today I am sharing a free pattern for a quick and easy strippy quilt made from Dashwood Studios Prairie range .  It measures 39in (just under 1 metre square), however if you wish to make a larger quilt you could add a border or repeat the steps below to make more units.

Prairie strip quilt

Prairie strip quilt

You will need..
Fabric for front
Prairie Pink 6in x wof, (buy 20cm)
Prairie Blue 12in x wof, (buy 35cm)
Prairie Yellow 10in x wof, (buy 30cm)
Prairie Grey 14in x 44in wof, (buy 40cm)
Prairie Ditsy Flower 7in x 44in wof, (buy 20cm)

To finish the quilt
Backing Fabric 110 x 110cm
Wadding 110cm x 110cm
Binding 35cm x wof (based on cutting binding strips 2 1/2in wide.  If you make narrower binding or single fold binding you will need less).

Plus you will also need the usual quilt making haberdashery supplies, rotary cutting set, thread for piecing and quilting, scissors, iron…

Notes
WOF is width of fabric, and refers to the standard width of Dashwood fabrics, 44in.

A quarter inch seam allowance is essential, as when 5 strips are sewn together the width must be 10 1/4in otherwise the pattern will not work.

Instructions
1. Using a rotary cutting set, cut the fabric in the following way:
Pink: Cut into four strips 1 1/2in x wof
Blue: Cut into four strips 3in x wof
Yellow: Cut into four strips 2 1/2in x wof
Grey: Cut into four strips 3 ½in x wof
Ditsy: Cut into four strips 1 ¾ in x wof

Prairie Cut Strips

1. Prairie Cut Strips

2. Make a pile of fabric containing one strip of each colour.  Take a pink and a blue strip and sew down the length to make a long seam using 1/4in seam allowance.  Sew the fabrics together in the following order pink, blue, yellow, grey, ditsy flower.  I like to start sewing from the end that is not printed with Dashwood Studios as you can cut closer to this in step 3.
Take care not to pull the fabric through the machine as you sew them as it will distort the fabric.

Prarie Strips

2. Start at the end without the writing

5 strips sewn together

2. The 5 strips sewn together

3. Press the strips, taking care make sure the seams are open, but the lines are not distorted.

4. Straighten one end of the strip (I cut from the end that I started sewing from first as it is lined up), then cut into four 10 ¼ in segments.

Cut into squares

4. Cutting the strip into squares

Cut into strips 2

4. 2 squares cut from the strip

5. Repeat steps 1 to 3 with the remaining strips.

6.  Lay out the 16 squares, following the arrangement in the quilt at the top of this post.  Alternatively, as each pieces is square you can make your own layout, making sure there are 4 across and 4 down.
Using a quarter inch seam allowance, sew the squares together to make four rows.  Press, then sew the rows together.

7. Take your backing fabric and wadding and make a quilt sandwich.  Quilt as desired.  I used a walking foot and machine quilting thread in a pale grey to quilt random straight lines down the quilt.

8. Bind using your preferred method.

Folded Prarie strip quilt

Folded Prarie strip quilt

If you fancy making this quilt, you can buy a pack containing the fabric for the front from the Quilty Pleasures website for the special price of £16.00.  Click here to order.

 

A tale of dogs and fabric…

Prairie by Rebecca Stoner for Dashwood Studios

Prairie by Rebecca Stoner for Dashwood Studios

Oh the internet – you make the world seem so much smaller.  When I was young I would never have believed that with the use of a machine that I can fit in my hand, I could have sent a message direct to Paul Young or have seen a pic of what Bros were having for their tea.
Thankfully, I use the internet for better things than what my 10 year old self would have, and one of these is to stalk anyone/thing textiley.

On Twitter a couple of months ago I put up a photo of my Dusty and then got chatting to others (as you do, nothing like photos of pets on Twitter to start a conversation!).  The designer Rebecca Stoner then tweeted a photo of Bertie, her lovely lurcher so lots of mutual hound appreciation went on.  I should mention I have two hounds, a 2 year old whippet, and a 14 year old greyhound, and think I am slightly addicted to them.  Toby our old boy cannot handle the car anymore, so has lead walks and stays at home with his slippers and smoking pipe, but mini hound comes out and about with me.  When I next saw my Dashwood rep I straight away pounced on Rebecca’s work, then noticed who had designed it and said “ooh, you should see her lovely dog, I must order this”.  My rep was a little bit taken aback by this, not really the reaction usually given to a fabric range!  Anyway, I chose 5 bolts, and have made a metre square quick strip quilt from them.  The bolts are photographed at the top of this post, and available here my my website.  I will post the pattern on Monday, but here is some hound eye candy for you.  Rebecca kindly emailed me a picture of Bertie, who I think should be given the role of head of marketing!

Here’s Dusty, doing her catalogue pose, with the quilt behind her…

Dusty Posing with Prairie

Dusty Posing with Prairie

..and Bertie modelling a Prairie bandana.  Isn’t he gorgeous..?!  Such a handsome face.

Rebecca Stoners Bertie modelling Prairie

Bertie modelling Prairie

 

Duck Quilt

My one to one teaching slots are always interesting as each session is so different.  Usually the project is something quite simple – most often help with quilting or binding, but every session is an absolute gem as I get to hear all about the story behind the quilt.  A project I have been working on recently has been especially interesting, and now it is finished and with the recipient(s) I asked the maker if I could share it here…

N booked in as she wanted to make a replica quilt of one that was made for her, by her mums friend, when she was a child a couple of decades ago.  This quilt was quickly snapped up by her sister, and ended up being something that went with her everywhere even into adulthood when travelling.  It is still just about a quilt!  Very worn, but very loved and really that is what a quilt is about – regardless of condition.  The sister was expecting (and has just had a very lovely baby girl – I have seen photos!) and living abroad so the gift had additional meaning to remind her of home.  The original quilt was designed by N’s mum, and I like the duck family motif – a nurturing image for a baby quilt.

Duck Quilt 1 and 2

Duck Quilt 1 and 2

The original quilt is on the left, and this is what we had to work with.  You can still see the stitching is yellow, but that was about it.The colours were a bit of a memory exercise, which the maker and her mum recalled what they were before the the fading.

N is really creative so drawing the templates was no problem, we then fused fabric ducks and satin stitched round the edges (as they were before), using a narrower stitch width for the smaller ducks.  Being addicted to old sewing books I knew satin stitched appliqué was a widely used technique back then, but not seen so much now, so it was interesting to see it come together.  We stayed true to the original and satin stitched through the layers.  The binding is slightly wider – again true to how the original was.

Here is the finished quilt – isn’t it cute?!

Mummy Duck Quilt

Mummy Duck Quilt

The quilt is now in situe in the USA where is looks fantastic in the nursery.  A great job was done, and maybe, perhaps…  in 20 years time another replica of the quilt will be made.

Duck quilt in nursery

Duck quilt in nursery

April Sewing Book Club

So, at the end of April we kicked off our first sewing themed book club with The Forgotten Seamstress, written by Liz Trenow.  I took some notes to share here…

The Forgotten Seamstress

The Forgotten Seamstress

The synopsis is:

“London, 1910: Maria, a remarkable young seamstress, is noticed by Queen Mary, patron of the London Needlework Guild, who gives her a job in the royal household. A century later, when turning out her mother’s loft, Caroline discovers an old patchwork quilt left to her by her grandmother, and becomes intrigued by the curious verse embroidered into its lining. When her best friend, a fabric conservator, notices that some of the fabrics are almost certainly unique and rare royal wedding silks, Caroline becomes determined to discover more about the quilt and its mysterious origins.
Through the fading memories of her mother, some family letters and photographs, some old cassette tapes and the help of a local journalist, she uncovers an extraordinary story involving a royal affair, a life of incarceration, an illegal adoption and two women whose lives collided with devastating consequences.
Finally, Caroline comes to understand what her Granny wanted her to know – the truth about herself and how she wants to live her own life.”

Well, for starters, everyone enjoyed the book and finished it.  Good start!  All were fascinated by Maria’s story and liked the way it was told.  Two members of the group remembered working in nursing several decades ago and that her story of women and mental health provision was very realistic – and made us shudder somewhat.  We liked the sewing theme – very evocative and didn’t get too technical so didn’t detract from the story just enhaunced it.  A suggestion that the quilt itself was a separate character in the book was warmly agreed with.

There was some debate about the cover.  It didn’t bother the kindle readers, but those who read the paperback version said they weren’t overly keen on it.  This led to a discussion of about illustrations vs photographs on book covers. Here it is (amongst everything else from the evening!)  for you to make you own opinion about it.

April Sewing Book Group

April Sewing Book Group

There was agreement that the story seemed to push the co-incidences perhaps a little far, however, if the book didn’t have this then maybe it would have been so readable.  The whole group would recommend it to fellow stitchers, particularly as a holiday read as once started you will want to race through it.  A few people were wanting to order the authors first book to read.

It was a very enjoyable evening.  The group are are alternating fiction and non fiction each month, all with a sewing theme, so at the end of May we are chatting about Patchwork and Quilting in Britain, written by Heather Audin.