All hats, all the time…

Felt cloche hat

Okay, that’s not strictly true, and I don’t even really know what I’ve been doing with myself over the last fortnight apart from working a lot and feeling a bit ill, but I have just finished a little flurry of hats, so here they are.

The one above is the colour of a perfect cup of builder’s tea, trimmed with gold lace that took weeks and weeks to arrive from China. I won’t be ordering that lace again, but I’m making good use of it while I’ve got it. This one in particular is very pretty, and I have enough left over for at least one more hat.

Felt cloche hat

This one’s more the colour of coffee, or really good dark chocolate. This is also lace-from-China, which I’ve altered slightly from its original form. It had a segmented piece at the top which is designed to have ribbon woven through it, but in this case I preferred it without. The loopy bits are all couched down securely to the crown of the hat, but the teardrop shapes are left loose to allow a bit of movement.

I’m hesitant to describe these two hats as “Steampunk” just because they happen to be brown and gold, but perhaps they’ll be the perfect addition to somebody’s outfit.

Felt cloche hat

I wasn’t at all sure what I was going to do with this lavender coloured felt, and then I spotted this gorgeous organic cotton lace from Lancaster & Cornish. Okay, so it’s a lot more expensive than the Chinese lace (in this particular instance, fifteen times more expensive!!), but now I’ve worked with it I’m in no doubt that it’s absolutely worth it. The quality is amazing, it’s organically produced, and to be honest it’s just plain gorgeous.

The flower embellishment is also organic – a cotton and bamboo blend from the Organic Textile Company. I have quite a lot of little scraps of this fabric left over from a dress, so I can feel a few more of these flowers coming on – perhaps as brooches.

Felt cloche hat

And this… this is what came off my new cloche block from Guy Morse-Brown. Isn’t it just gorgeous? I realise I seem to be singing my own praises here, but really it’s the hat block that does all the hard work, and Owen Morse-Brown (who makes the wooden blocks) has carved an absolute work of art. I’m in love with the asymmetrical shape, the way the crown hugs the head, and the cutaway at the back of the neck which makes it incredibly easy to wear. I’m keeping this one, and I’ll definitely be making more!

Felt cloche hat

The flowers are made from the offcuts of felt that I trimmed away from the brim, and they’re cut out with Sizzix paper punches. It’s quite hard work to hammer the punches through the thick felt – they’re not really designed for that kind of punishment – but the flowers have come out with nice clean edges. The centres are Swarovski crystals. (I’m trying not to think about how much it looks like one of those flowery swimming caps.)

The hats are all on Etsy, should you fancy a closer look.

I’m now at that awkward stage once again where I need somebody to buy a hat (or a bunch of smaller stuff from the Emporium) before I can afford to buy any more felt hoods to make new hats with. It seems unlikely that wool felt hats are going to fly off the shelves in the middle of summer, but at least it’s not as though I have a shortage of other materials to make things from in the meantime. I have some carded wool batts on order to make some felt which will hopefully be heavy-duty enough for slippers or hats, I have lots of organic cotton to turn into tunic tops, and I have plans to make a few things for myself. Summer dresses, perhaps. I certainly won’t be short of things to do!

Another piece of Marcy Tilton magic

Vogue 8975

This is some organic cotton jersey, bought from the Organic Textile Company, oooh, ages ago. It was sold as seconds because it had been dried in a malfunctioning drier, and smelled terribly of exhaust fumes. Thankfully a quick trip through my own washer and dryer sorted that out, no problem at all. But it wasn’t until I came to iron the fabric before cutting into it that I spotted this perfect hand print! Fortunately it’s on the inside, but it did make me laugh to see it. Genuine evidence of the handmade nature of the fabric!

Vogue 8975

The jersey has now been transformed into Vogue 8975, another Marcy Tilton pattern. That woman must be some kind of pattern drafting genius, because I’ve finished making this dress, and worn it a couple of times, and I still have absolutely no idea how all of the pattern pieces came together to make this shape.

Vogue 8975

I used masking tape on all of the cut pieces, partly to identify the right and wrong sides of the fabric, and partly to make sure that I was sewing everything together the right way up. My diagonal seam across the back has ended up going in the opposite direction from the illustration on the pattern envelope, but other than that it all seems to have come together rather well!

Vogue 8975

I did annotate the pattern as I was going along. I found it very important to just throw out all of the things I thought I knew about dressmaking, and just follow the instructions. Where it says “stop stitching at small circle”, you stop stitching at the small circle, even if you have a weird triangle-y piece of fabric sticking out in an inexplicable manner, even if you think you know better, or want to try and take a shortcut. Just don’t. Trust the instructions, and it will all come out fine in the end!

Vogue 8975

Ta-Daa! My only deviation from the instructions was in the binding of the armhole edges, and I wish I’d just followed the pattern. Instead of a smooth armscye, I now have slightly flanged minuscule cap sleeves, which I didn’t really want. This is what happens when you’re trying to finish sewing a dress at eleven o’clock at night because you really want to wear it to work the next day, and you decide that trimming away the seam allowances and binding them properly will “take too long”. (Note to self: It would have taken exactly the same amount of time, and looked much nicer. Next time: Do It Properly.)

Vogue 8975

As with my previous Marcy Tilton patterns, I went down from my usual Vogue size and cut out a medium. This has given me a perfect fit across the top (where I’m smallest), and the shape of the pattern means that there’s plenty of room at the waist and hips. I think my only disappointment with this design (and it’s ever such a tiny one) is that the pockets aren’t actually as big as all that draping makes them look. They don’t need to be huge, but I think I will alter the pattern slightly to make them just an inch or so longer.

I’ve worn this dress a couple of times now, and I’m extremely tempted to make another identical one. It’s so comfortable to wear, and I’m so pleased with how it looks, I’m definitely going to need more than one of these in my wardrobe!

Speakeasy

I can’t tell you how excited I am to see these fabrics! I’ve been waiting literally years for these types of prints to be available in the UK, on sustainable fabrics. Once again, the Organic Textile Company have outdone themselves!

The prints and colourways are closely based on designs from a book of 1920s textile patterns, and they’re printed onto a handwoven organic cotton and bamboo blend. I absolutely love their other cotton/bamboo fabrics, so I can’t wait to get my hands on some of these!

The hardest part is going to be deciding which of the prints and colourways to choose. I think the centre print, “Roaring Twenties” in purple, is my absolute favourite, and I think it will go very nicely with some plain purple that I have in the Shed already.

Now all I need is for everyone to head over to the Inexplicable Emporium and buy a few things, so I can afford to buy enough of this gorgeous fabric to make some dresses, which I can then put back into the Emporium!

(Don’t forget coupon code “LIFEBEGINS”, for your 40% discount  throughout September…)