Sew Craft: Dream Pillows

In my backyard I have a bower on which morning glories entwine in the spring and summer. I have always loved the cheerful face the flowers give to the day, especially as I am not a morning person. I can see the blooms from my bedroom window and so, no matter how grouchy I might be when I drag myself from the warm embrace of my bed, I smile when I catch sight of the blue and purple flowers.

Morning glory seeds added to dream pillows keep nightmares at bay. Perhaps this is because they carry in them a promise of the morning to come, when the sunrise banishes the monsters of the night.

Make dream pillows to help with prophetic dreams, or to ease your mind to sleep. Make one for the child who wakes up from nightmares. She can reach for her sleep pillow, inhale the scent of lavender and lemon balm and fall back asleep, knowing her dreams will be sweetened by the scents.  To refine your spell craft, use linen—dreams and linen both share an association with water.  If you want inspiring dreams, use silk thread for the embroidery for its association with the air element.  If you need deep sleep, make use of cotton’s grounding earth vibrations.

Materials

Dream Pillow Materials
I used the lavender linen spray shown here when I pressed the fabric before starting. It’s not necessary, but it gives the fabric a nice fragrance.

Dream Pillow Design ( pdf | jpg )
Blue fabric about 12″ x 12″
Lightweight fusible interfacing
Embroidery thread in blue, purple and silver
Embroidery hoop and needle
9 morning glory seeds
1/4 cup dried lavender flowers

Process

1) Print out the Dream Pillow Design by clicking on the links here: pdf | jpg. Use the pdf link to print the image as is. The jpg link is provided for you to manipulate (enlarge, reduce, rotate, etc.).

2) Transfer the embroidery design onto the fabric.  You can use transfer paper, or trace the pattern right on the fabric.  I pinned the design to the fabric and taped it to the window to trace it.  I use the Pilot Frixion Clicker pens because the ink disappears from fabric when ironed.

Dream Pillow Transfer
This part will take a little patience.

3) Stitch the design with three strands of embroidery thread (1 blue, 1 purple, 1 silver). Use a stem, chain or split stitch. Use an embroidery hoop to keep the fabric taut.

Dream Pillows: Almost Finished
Halfway to the land of Nod.

4) When finished, apply fusible interfacing to the back of the design.

5) With the design centered, cut the fabric out in a 6” square. Cut a back piece of fabric also in a 6” square.

6) With right sides together, stitch a ½” seam along all sides of the square, leaving a 3” gap for turning. Back stitch at the start and finish of the seam.

7) Trim the corners and seam allowances.

8) Turn the pillow right side out. Press.

9) Stuff the pillow with the morning glory seeds and lavender. Do not over stuff.

Dream Pillows: Stuffing Time
You can also add mugwort to your dream pillow to help promote prophetic dreams.

10) Edge stitch ¼” around all sides of the pillow. Work slowly, shifting the lavender and morning glory seeds to the center to avoid catching them in the needle.

11) When you are finished, hold the pillow in both hands and charge it with restful sleep intentions. Say:

“Lavender sweet and glory of day
Please keep any nightmares at bay,
Should haunted thoughts disturb this guarded rest
Please help usher in a sleep that’s blessed.”¹

You can call upon one of the gods of sleep or dreams to bless the pillow as well.

Place the dream pillow under your own. Should negative thoughts rouse you to wakefulness, grip your dream pillow, inhale the lavender scent and allow it to lull you back to sleep.

Finished Dream Pillow
And your dream pillow is done. Sweet dreams.

¹ Many thanks to my partner, Stephan, for putting together a chant to replace my clumsy attempts at ritual rhyming.

Sew Craft: Fabric Magical Properties

One of the challenges in researching this book has been the lack of information on very basic topics.   While magical correspondences of everything from animals to minerals, colors to plants have been studied and recorded, textiles have slipped through the cracks.  When it comes to magical crafts, fabric has been given little if any consideration of its magical properties.  Yes, fiber content isn’t as exciting as, say, feathers or shells, but I feel that taking time to consider the type of fabric you’ll use in projects can give added meaning and energy to your work.

There are some people who have given some thought to the magical properties of textiles.  One such, Deborah Snavely, has two in depth articles on the subject.  I have come to use different correspondences than hers below.  Also, I don’t use the standard system of assigning male or female genders—I find the whole idea not particularly useful, and potentially harmful to my practice.  However, I include the link to her articles as I found them helpful in my own research and as a place for others to look to for their own investigations.

Without a venerable Cunningham to guide my studies, I have had to cast my net outside the metaphysical seas into those concerning the practical aspects of textiles.  The correspondences outlined below are based on my research into the origins of the fiber (where the raw material comes from) and the processes used to make the fabric.  My focus is on the most basic of correspondences: the elements.  I’ve also limited myself to the four most common natural fabrics.  Man-made and blends fall outside the scope of this entry.  Other natural fabrics: nettle, hemp, the new faux leathers made from pineapple leaves and mushrooms are best considered in another article as well.  Leather, fur and feathers have been left off as their associations are intrinsically tied to the animals they come from.

With that preamble out of the way, please check out the correspondences below.  Again, these are all based on my own research.  So, if anything doesn’t resonate with you, ignore it.  In the end, magic is a personal matter, and it is your own intuition, symbols and reasoning that fuels your spells.

Cotton

Cotton fabric is made from the boll of the cotton plant. The fibers are plucked, mixed, beaten in cylinders, carded, drawn, roved and then spun into thread. As such, it shares some of the qualities of plant from which it comes: it is associated with the Earth element; it can be used magically in spells of healing, luck and protection. According to Cunningham, “Cotton is the best kind of cloth (next to wool) to use for making sachets, or for any time cloth is needed in magic.”¹

One type of cotton fabric, muslin, was once a fabric highly prized in its native India and throughout the rest of the world. In her book, Muslin, Sonia Ashmore writes, “Muslin is an open-textured cloth, thin and sheer, woven to varying degrees of fineness depending on the quality of yarn used and the skills of both the spinner and the weaver. The surface, particularly of hand-woven muslin, has a softness to the touch that has been described as ‘mossiness’.”² This description of “mossiness” along with its origin of the cotton plant, places the fabric into the Earth elemental realm.

Use cotton fabric for any project, from robes to altar cloths to spell bags. It is well suited for spell bags as it is breathable, allowing the magic to flow in and out of the pouch.

Linen

Linen is created from flax; a laborious process that includes “retting” or fermentation in water. Because of this and its water absorption properties, it is associated with the Water element. It is a fabric that suggests purity and wealth. As it was historically used for bedding, linen is used in many healing spells. One such use involves tying a strip of linen from a sick person’s bed to a tree. As the exposure to the elements destroy the strip, the illness will be similarly destroyed in the patient.

Linen is associated to the goddess Hulda through its flaxen origin. It is used in spells of beauty, healing, money, protection and psychic powers. Linen is especially well suited to robes and other magical attire.

While pure linen is expensive, there are several “linen like” synthetics available at a lesser price point. These can be used in place of the authentic fiber. These faux fabrics require less ironing than pure linen meaning they can be preferable for use in items worn.

Silk

Silk is made from the cocoons of moth caterpillars. The cocoons are soaked in hot water from which loose fibers are collected and then twisted into thread for weaving. As a fabric it is seen as a luxurious and sought after material for garments. Magically, silk is considered to deflect magic, and to protect the magical energies and contents inside it, making it especially useful for creating bags used to hold and carry tarot cards, runes, and crystals.

Caterpillars, moths and butterflies, as well as their cocoons represent transformation, thus making silk suited for spells and magic pertaining to change, movement, and growth. Because of its association with wealth, luxury and prestige, silk is a good fabric to use in money and prosperity spells.

Silk is associated with the element of Air due to its airy quality and its origin. Because of its great rate of shrinkage and loss of strength when wet, it may not be suited for spells or rituals involving the Water element.

Wool

Wool sheared from sheep is bathed in a chemical bath, mixed, spun, washed and pressed to felt it. It is known for being impervious to cold and is often used for clothing meant to protect from cold weather. Coming from sheep, it is associated with the astrological sign Aries and the planet Mars. All of these properties align it with the Fire element.

Wool is associated with protection and comfort. It can be used in protective, prosperity and healing spells. Wool felt is useful for crafts from poppets to altar decorations. Wool suiting is useful for ritual cloaks, which will keep you warm during rituals performed outdoors during colder weather.

Cut edges of wool don’t unravel, making it useful for quick circle pouches or for when you don’t have time for finishing edges in a project. And though expensive, wool is a durable fiber that will last a long time, making it a worthwhile investment for spell and ritual tools.

 


¹ Cunningham’s Encyclopedia of Magical Herbs, p. 84

² Sonia Ashmore, Muslin, p. 8

Client Spotlight: A.C. – Pockets!

(You can read the first part of this spotlight here.)

The first obstacle I ran into with this commission came as I gave the pattern my first thorough read through. Like so many women’s fashions, there were no pockets provided.  This is a topic I feel passionately about.  Your typical wedding dress can possibly, maybe be excuses for not having pockets.  the assumption being that the wearer will have attendants to hold keys, wallet, makeup, what have you.  This outfit, however, is meant to be worn on other occasions, so pockets are necessary.

Fortunately, I’ve had experience the last few months with adding pockets to normally pocket free patterns.  Other than that alteration, the construction of the outfit for the fitting was straight forward.  The top is an unlined vest and the pants were much easier than I had anticipated.  The newly reorganized workshop helped immensely.

Having room to maneuver also made the fitting a more pleasant experience.

A.C. has a very slender build, meaning a need for some alteration to the bust to eliminate a gap at the armpit and taking in where the vest hits the hips a bit to reduce the flare.  The pants, however, could stay a little loose to accommodate the pockets.

Marking the hem was a little tricky as the fabric didn’t want to cooperate, but we got it figured out.  And that was that.  For a wedding outfit, this has been one of the easiest going projects I’ve done in a long while.

Next time I’ll have pictures of the finished outfit.

Book Research: 1949 Singer Sewing Manual

Advice from a 1949 Singer Sewing Manual
Text: Prepare yourself mentally for sewing. Thing about what you are going to do. . .never approach sewing with a sigh or lackadaisically. Good results are difficult when indifference predominates. Never try to sew with a sink full of dirty dishes or beds unmade. When there are urgent housekeeping chores, do these first so your mind is free to enjoy your sewing. . .When you sew, make yourself as attractive as possible. Put on a clean dress. Keep a little bag full of French chalk near your sewing machine to dust your fingers at intervals. Have your hair in order, powder and lipstick put on . . .[If] you are constantly fearful that a visitor will drop in or your husband will come home and you will not look neatly put together, you will not enjoy your sewing as you should.
Outdated, patriarchal claptrap aside I’ve always loved the above advice from the 1949 Singer Sewing Manual, not only because it is solid, but because it points out that sewing is serious business.  It also works, in many ways, as advice for ritual work.

When you are working a ritual, casting a spell, praying, collecting herbs, or what have you, there is a process of preparation, steps we follow to align their will with their goal.  We mentally prepare ourselves.  We gather our materials. We cleanse ourselves and consecrate our work space.  We make sure we won’t be interrupted.  Readying ourselves for magic and readying ourselves for sewing follow the same steps.

I mention this because I’m currently working on a book.  The subject matter is paganism and sewing.  I’ve got a good portion of it already written, and the goal is to finish it before the year is out.  The timing for November is just coincidence, this isn’t a NaNoWriMo project.

I’ll be posting bits and bobs of research over the next few weeks, along with more on sewing, cross stitch and whatever else strikes my fancy.  I hope you’ll find it as interesting as I do.

 

Reworking the Workshop

I am currently behind on several skirt commissions, an alteration of a previous commission, and several personal projects.  The reason? My workshop has become unworkable.  In order to cut out fabric I have to clear off my cutting table.  In order to clear off my cutting table I have to find space for stuff.  In order to find space for stuff I have to shift boxes and bins and bags to other spots.  Before I can even get started I’m already exhausted by the process.

If you look closely you can see the cutting table under all that stuff. It is supposed to allow me to cut out fabric without hurting my back, but in order to use it I had to often clear it off first.
If you look closely you can see the cutting table under all that stuff. It is supposed to allow me to cut out fabric without hurting my back, but in order to use it I had to often clear it off first.

My workshop was originally the garage.  A space that has never housed a car in all the time I’ve lived here.  For years it was where we stuffed everything that didn’t fit in the house, the yard tools, and a small horde of mice and voles.  It provided an easy way into the house via the automatic garage door.  But that broke a few years ago, leaving us with an extra, unheated room where stuff got put to be forgotten.

The back of the workshop. Again, if you look to the left of the picture you'll see the conference table that was supposed to serve as a workbench. Instead it just became a junk magnet. Way in the back you can see the file cabinet that holds my patterns. Getting into it was like launching a expedition into a jungle.
The back of the workshop. Again, if you look to the left of the picture you’ll see the conference table that was supposed to serve as a workbench. Instead it just became a junk magnet. Way in the back you can see the file cabinet that holds my patterns. Getting into it was like launching a expedition into a jungle.

When we moved my sewing stuff into the garage, we cleared out a little space for me to work in.  And for a couple of years it worked, kinda.  Patterns and tools got lost.  Fabric got forgotten in various darkened corners.  The rodent problem was brought under control through traps, and my arachnophobia was went through a downgrade as I had accept Arachne’s kin had taken up shop in the work space as well.

Back of the workshop, window facing out into the backyard. This was the official sewing space. Note that several of the shelves required me to use a step stool to reach when I needed items.
Back of the workshop, window facing out into the backyard. This was the official sewing space. Note that several of the shelves required me to use a step stool to reach when I needed items.

Coming back from SLCC, though, it became more apparent that the situation just wasn’t working.  I was getting frustrated and falling behind because I didn’t want to work in that dark, crowded space.  I found myself having to use the dining table more often.  Finally, I said “Enough!” and marked off a weekend to completely overhaul the workshop.

This wardrobe does not lead to Narnia. It is where I would store bolts (and bags and boxes) of fabric. I would come across fabric that I don't remember ever buying, proving the fabric was breeding. The company up top are remnants of childhood and LARP.
This wardrobe does not lead to Narnia. It is where I would store bolts (and bags and boxes) of fabric. I would come across fabric that I don’t remember ever buying, proving the fabric was breeding. The company up top are remnants of childhood and LARP.

I knew what I wanted: more open space to move around, less flat surfaces for me to stack piles of stuff on, thus adding to the clutter problem, and everything up off the floor.   The process took three days actually, spilling over into Monday, and inspired a reorganization of our bedroom as well.  I had decided to recruit the closet system for the workshop, which left us without a place to put our clothes.  This necessitated moving the wardrobe in the workshop into the bedroom.  Stephan has manhandled this piece of furniture four times in the eight years we’ve been together.  Without his help all of this would have taken a week longer.

Back of the workshop. Check out how open everything is. I still have my window view and can pull out the cutting table when I need it and roll it away so that it doesn't become a dumping ground.
Back of the workshop now. Check out how open everything is. I still have my window view and can pull out the cutting table when I need it and roll it away so that it doesn’t become a dumping ground.

The biggest change was treating the front of the garage as a wall.  With the automatic door not working anymore, there really isn’t a reason to keep it clear.  And by moving the shelves against it, that gives me more floor space in the middle of the room.  I also stored away the conference table.  Originally, it was supposed to act as a workbench, but all it ever did was serve as a place for me to stack things.

Front of the workshop after the work. The file cabinet is reachable. I hung a rug over the garage door to help combat drafts come winter. Everything is organized and accessible.
Front of the workshop after the work. The file cabinet is reachable. I hung a rug over the garage door to help combat drafts come winter. Everything is organized and accessible.

I’ve had the chance to work in the workshop for the past few days and I have to admit that it is awesome.  I can reach what I need without having to drag out a step stool.  The cutting table can be pulled out whenever I need it.  I’ve got all my current commissions and projects hung up where I can find them easily.  And I’m not moving bins or bags out of the way to get at what I need.

A bookshelf provides a home for books, cross stitch supplies, and my minions. The luggage feels especially comfortable.
A bookshelf provides a home for books, cross stitch supplies, and my minions. The luggage feels especially comfortable.

It wasn’t easy.  I spent several days very sore from the work.  But I am very pleased with the changes.  It feels like a real workshop now, rather than one shoved into the only space available.

GNH

It’s been a couple of days since we decided I wouldn’t be doing any more conventions for the time being, and I feel pretty okay about that decision.  As much as I enjoy conventions (in a Leslie Knope kind of way) I feel a certain amount of relief that I don’t have to scramble to find a way to pay for more booth fees since SLCC didn’t bring in money for that.

We made another decision that has been more difficult to reconcile, though.  That night while crying in my wine glass filled with cheap cab, I said, “I would give up all my creativity just to be financially stable.”  At the time I meant it.  Living in the US sucks if you are poor.  There’s the being food or housing insecure, but there’s also an added layer of judgement that comes along with being unable to pay your bills.  Thanks to our Puritan roots that equates wealth to worth, happiness is seen as only deserved by those who have an emergency fund, credit card balances paid off each month, and a retirement fund.  If you struggle from month to month, or live paycheck to paycheck, you are expected to be miserable.

I have struggled with more than societal expectations.  My ex made several times more than I did our entire relationship, a fact that became a problem after I had Charlotte.  I stayed home because it was decided that my $10 an hour would just get eaten up by childcare costs.  And once I lost that income, my worth to the relationship dwindled.  It didn’t matter that I was cleaning and cooking (things I did before I left my job).  The time that I spent raising our daughter didn’t count either.  Because there wasn’t a dollar amount attached to my efforts, I became a sort of indentured servant, paying for my keep with maid, cook and nanny services.  There’re reasons we divorced, and that’s one of them.

Coming back to the other night: all of the above was swirling around in my head when I admitted that I would trade the thing that made me happiest, the thing that made me who I am, for a respectable living.  I probably would have kept thinking that if Stephan hadn’t asked me if sewing made me happy.

“Yes,” I said, not really seeing what that had to do with anything.

Well then, what if we took the money factor out of things, he asked.  Not that I wouldn’t still sell my work on Etsy, or stop taking commissions.  Just … stop worrying about making a certain amount each month. What if, for the next few months, I focused on the happiness that sewing and writing brought, rather than the money?

It’s not an easy idea for me to wrap my head around.  I’ve been told all my life that I am lazy and irresponsible with money.  Just working without an expectation of making money seems to align with those ideas.  Jerk Brain, too, has chimed in with all sorts of guilt-inducing comments about how others don’t have the opportunity to take a sabbatical, and that the idea “Do what you love and you’ll never work a day in your life” is just a bunch of privileged, white woman talk.

I’m trying to get around those obstacles, though.  I’ve spent the last twenty years of my life trying to justify my right to life through my income.  Taking four months to sew, write, bake bread, clean house and be the woman I want to be isn’t too much to ask out of a lifetime of being a wage slave.

After all, Stephan is back to regular hours at work after summer hours saw him working three days a week instead of five.  We can make that work to cover the monthly bills and any cash I make can go towards chipping away at our debt.  What’s the worse that can happen?  We won’t get out of debt as quickly as I had wanted.  But since I didn’t have any more conventions planned for this year, and since they weren’t bringing in the big bucks like I had hoped, it’s not like I am risking anything big.

The hardest part is giving myself permission to focus on what makes me happy.  I’m not comfortable with that idea.  And the fact that I am uncomfortable makes me sad.  I have to let go of the idea that I can’t really enjoy what I am doing until I am successful at it.  I’m not sure I will ever be okay with the emphasis of gross national happiness over gross domestic product.  For the next four months, though, I’m going to look at that discomfort through a lens of challenging my societal upbringing, and assure myself that at the very worst I can go back to measuring my worth by my bank account come January 1.

Geeky Skirts with Pockets

Sometimes you get an idea that is so obvious you wonder why you didn’t think of it before.  They’re the kind of ideas that when you tell people they say, “Holy shit, yeah! That’s a great idea!” I don’t think these moments of inspiration really pop up out of the blue.  They might seem that way because the inspirational components are so buried in the background they’re forgotten.

I don’t want to overlook the inspirations for these skirts, so I am going to first give a shout out to the three fairy godmothers of this project.

Justine, a real life mermaid, sparked the idea by asking me about making her some skirts.  Nothing fancy, no bustles or flounces, just some comfy circle skirts.

Shortly afterwards Moira, an artist of Victorian morbidity, mentioned seeing skirts with pockets at an event where she was vending.  They weren’t fandom or SF/Fantasy specific, just simple A-line skirts with pockets.  Women were buying them up in armfuls.

Finally comes Jennifer, a savvy lady who has run vending halls for various events.  While I was at Anime Midwest a couple of weeks ago, I lamented to her about how there was all this awesome, licensed fabric that I wanted to use but I couldn’t because of the fine print on the selvages.  I felt it was unethical to make projects to sell from licensed fabric when the companies wouldn’t get compensation.  And it always bothered me that it seemed so many others didn’t have those same qualms.

“You can use that fabric for projects you sell,” she told me.  After some research I realized that she was right.  The fine print on the selvages was unenforceable by the companies.  But more importantly, the companies got their licensing fees in the first sale of the fabric.  After that First Sale of Doctrine kicks in.  Never have I been so happy to be so wrong.

So skirts + pockets + licensed fabric = geeky clothes for Salt Lake Comic Con.  If it hadn’t been for these three friends I wouldn’t have spent the last four weeks experimenting until I came up with this:

Geeky Skirt with Pockets Star Trek Sigils Edition

I started off with dirndl skirts (rectangles gathered to a wide waistband).  But those really only look good on kids and teens.  I played around with a simple A-line panel pattern which came out looking much more grown up.

I have drafted six sizes from small to 3XL (fitting waists from 22″-59″).  Each one features two interior side pockets and a wide elastic waistband.  I’m spending the next few weeks making up as many as I can for SLCC.  I’ve got an album of what I’ve made so far and the fabrics used over at the Idiorhythmic Designs FB page.  Check it out.

When I’m back from SLCC, I’ll put together a tutorial on how to make one to your own measurements and post it here.

2015: The Year of Slightly Less Poverty

So 2015 was supposed to be the year I returned to sewing and started living a more creative life.

How did that work out?

More or less okay.  I overestimated how well I was, thinking that my mental health was fine now that I was on medication. That wasn’t really the case, though.  I spent most of 2015 battling my anxiety, at times unable to leave the house.  Since I was working from home, that wasn’t a deal breaker.  But it made getting supplies, sending off packages and the like more difficult.  Not impossible, but requiring a greater amount of scheduling and having things go right.

The depression was a bigger problem to contend with.  It would sap me of motivation and energy.  Coupled with the insomnia, I had to fight for every productive moment for the first half of the year.  It has only been in the last two months that I have found myself more often stable than not.

On the financial front, things fared about the same.  My grand plans for a limited number of large conventions hit speed bumps.  Two of them costing me money.  Those pretty much knocked the wind out of me economically speaking.  It’s only been in the last month that I have caught up on my bills.

But you aren’t here for value updates on how the year went.  You want the nitty gritty.  Just how much money did I make on this quest to earn a living by my creative endeavors?

When it is all said and done I made a gross income of $3,858.86.  My expenses equaled $3,976.53.  So my year ended in the red by about $120.  Up until I paid for my Anime Midwest booth I was in the black for six months of the year, though.  Not great, but not catastrophic.

How did I make my money?

Commissions $1,185.00
Etsy Sales $759.21
Direct Sales* $1,475.50
Other** $407.46

With that $120 in the hole sitting there, the question some might ask is: Why are you going to keep this up in 2016?  I’m asking a different question: Having made almost $1,500 in convention and direct sales with two awful events as part of the mix, how much more could I earn vending at two larger, more established events this year.


* The include sales at conventions as well as sales to people who contacted me directly rather than through Etsy.

** Stuff sold on E-bay, E-book formatting work, etc.

A More Pinteresting Life: Shoulder Wrap

Ben has been in preschool for a month now and I’ve been making good use of my couple of hours of alone time every other day.*  That mostly means working on commissions, but I have started going through all those sewing projects I pinned and giving some a try.  Some have turned out awesome.  Some have been … less so.  I’m going to document my hits and misses here, starting with a hit.

I have an ungodly amount of fabric sitting in cupboards, on shelves and stuffed into grocery bags.  Some is destined for projects.  Some are scraps from projects.  And some are pieces that I am not quite sure where they came from or what they were meant for.  (I suspect these pieces were born from clandestine trysts engaged by bolts of fabric in dark corners of the workshop.)  I tend to look upon these random pieces of fabric as just waiting for the right project to come along.

Which brings me to the several lengths of purple velvet corduroy I had sitting in a bin.  Like some creature from a Piers Anthony novel, it is a chimerical creature combining the textures of velvet and corduroy into a confused tactile amalgam.  I’ve made a couple of dice bags from it, but otherwise just left it in the bin.  Then, late one night, I pinned a tutorial for an oblong oval wrap.  It looked simple enough, I liked the button-hole loop to keep it closed (no fussing with stuff draped over your arms) and I have a lovely brocade that might work for it.

When I headed into the workshop to try my hand at the tutorial, I decided to start first with a mockup.  I’ve already had a couple of Pinterest fails and I didn’t want to ruin a length of fabric on something that I was translating (both from Portuguese to English and from centimeters to inches).  So, out came the chimera fabric.  It was the right weight and it was already cut into strips close to the right size.

First thing was to draft the pattern.  The directions on the webpage are laid out pretty clearly.  I converted the measurements to an oblong 62″ in length and 12″ in width.  I cut out a piece of pattern paper the right length and width and then set about working on the curve at the end.

This is where I screwed things up.  I had converted everything from centimeters to inches (rounding down and up haphazardly because I like to live life on the edge, and I prefer even numbers in my sewing).  What I forgot to convert was the 5 centimeters for the curve.  Instead I marked the corner of my pattern paper 5 inches down and across.  Then I used a plate to draw the curve.  I folded the pattern in half length-wise and cut out the curve to complete one end of the pattern.  Then I folded it in half width-wise to cut out the curve on the other end.**

So, just to make things more confusing I then marked the button-hole opening converting the 6 centimeters noted on the tutorial to 2 ½”.  (Seriously, it shouldn’t be a wonder that I have Pinterest fails.)  Below are pictures that might make my ramblings above make more sense.

Now I had a pattern, I cut out my fabric and sewed them together.  Clip the curves, turn it inside out and press and then top-stitch around all the edges and I was done.  Even though I had completely fudged up the curved edges it looked pretty good.

Now came the tricky part: the button-hole.  I have a button-hole foot for Kenny, but the longest it goes is 1 ¼” inch.  Undeterred by not having the proper equipment, I forged on.  I used the zigzag foot and button-hole setting and it worked, pretty well, actually!  All that was left was to open the button-hole and try this purple-y, velvety monstrosity on.

This is where reality and Pinterest collide.  Go back and check out the model in the pin.  She’s got some very narrow shoulders going on.  I … do not.  Once I pulled the free end through the closure, it looked like I was wearing a handkerchief.  I ended up putting it on Mildred just so I could get some decent pictures.  Mildred’s shoulder measurement is 39″ and the wrap looks almost like the one in the picture.  My shoulder measurements are a good ten inches larger than Mildred’s and I’ve got some serious boobage going on.  This doesn’t equate to a fail in my mind, just something to take into consideration when redrafting the pattern for me.

Finished wrap

Finished wrap
Like a majestic purple unicorn!

All in all, though, I count this as a success.  The finished project looks very much like the picture, in shape if not in hue.  I’m confident I can tweak this pattern a bit more so it fits better.  And the pattern is pretty forgiving, able to deal with conversion screw-ups and still look good.  This, along with a matching bag, will look good over a corset/skirt combo, I think.


*The first week I enjoyed being able to go to the bathroom without an audience.  It. Was. Glorious!

**You could just cut out one end, cut the length half of what you need and cut the fabric on the fold and save some paper.

 

Good Things

Over the last week or so I’ve been struggling to find the positive in life. News of people being killed, lions being poached, politicians being politicians and my country’s insistence on not addressing any of its problems has worn me down. Today I found out I’m not the only one. A friend on Facebook mentioned he was having a hard time finding positive things to share. He asked others to post something positive and the first few comments were of people searching and failing to find good things.*

I am making an effort here to list the good that has happened recently. This is mostly an exercise for myself. Perhaps it will give someone else a well-needed smile or boost.

  1. Since Enya passed, Trixie hasn’t been eating regularly.  Before she would have to eat everything in her bowl on a schedule because a) Enya insisted on staying on schedule and b) Enya would finish her food and then go after Trixie’s if there was any still in the bowl.  Now that she is an only dog, she seems to have taken to eating only when she feels like it.  I can’t leave her bowl out with food because that is, indeed, how you get ants.  The last couple of days I’ve taken to putting a bit of peanut butter in with her dog food and joint supplement, and that’s just the motivation she needs to eat as soon as the bowl hits the floor and finish everything.
  2. As silly as it sounds, the new IKEA catalog is out and that makes me happy.
  3. While our gardening exploits haven’t been as fully realized as we had planned we have still managed to harvest a modest amount of greens and herbs.
  4. Stephan loves his work and his work loves him.
  5. I went to the library on Sunday and spent almost three hours writing with minimal anxiety.  This Sunday I am going to try it again.
  6. One of my dice bags was featured in a treasury on Etsy.
  7. Speaking of bags, I got my first order of Spoonflower fabric last week and made bags from it.
  8. I am going to the gym again.
  9. This .gif:

WTF Baby Jesus .gif

In the grand scheme of things a catalog or workout or dog isn’t much.  They won’t make the world a better place overnight.  What they will do, is shore up my ability to deal with the anger and sadness and frustration I experience every time I read the news.  They’re what keeps me from flipping the world the bird and hiding in a bottle of Scotch until the rising sea levels drown us all.  It is an element of self-care and it is important.

Tonight I am having a glass of wine and flipping through the catalog.  Tomorrow I will wake up to more atrocities and fights and causes, some of which I will be able to feel like I can do something about.

I hope those of you reading this can find more good to offset the bad.  It’s a rough world out there.  Take care of yourselves and each other.

 


*Eventually his post was overflowing with good things, including a link to this Tumblr.