Fabric, Fiber, Beads and More...

How to Make a Lolita Style Hair Bow

2012-01-16T15:20:00.003-05:00

I recently received a custom order on my Etsy shop, Silk Thimble, for a gray Lolita style head bow. While it's a simple project, I thought people might like to see the steps I've come up with.

This is a basic, two-layer "bow" which is actually two rectangles gathered together with a faux knot and mounted on a covered headband. It's a popular hair bow style amongst Lolita fans - I based it on accessories I've seen from the Japanese name brands. It's pretty simple but does require precision and some hand stitching to finish.

Supplies

Fabric - I used a Moda cotton; you only need 1/4-1/2 yard per bow, depending on size and whether or not you're making a matching, covered headband
Thread
Lace - I'm using a 1/2" wide French maline lace; about 30"
Plastic headband - to hold bow on head; can also use various styles of hair clips that I discuss below

The headband I'm using as a base.

Tools

Scissors
Point turner
Iron
Hand sewing needles
Tape measure
Marking tool (chalk, disappearing marker, etc.); test on your fabric!
Sewing machine (optional)
Rotary cutter, cutting mat, and straight edge ruler (optional)

Cutting Pieces
I highly recommend using a rotary cutter and cutting mat for this project. You will be cutting simple rectangles, and the rotary cutter is really fast and very precise is this case. But it's not required! Just measure and mark carefully before cutting out.

The finished measurements of this bow are

Upper layer: 7.75" x 3.75"
Lower layer: 9" x 5.25"
Knot: 1" wide

I decided to use a 1/2" seam allowance and so cut out three rectangles to these sizes:

8.75" x 8.5"
10" x 11.5"
2.5" x 6" (the length really only needs to be about 3"-4" but I find the longer length easier to work with; I simply trim the excess as I finish the project)

Use the grid on your cutting mat to help cut out the fabric accurately.

If you're using a hair clip or bobby pins, that's all you need. But if you want to attach the bow to a matching covered headband, you will also need to cut a bias strip based on the size of your base. The wide spot of my headband is 1" wide, and it's about 13" long. Measure around the headband to account for its thickness. I used a doubled layer for a nicer finish and allowed about 1" at either end for hemming. So I needed a bias strip at least 4" wide x 15" long. The rotary cutter and ruler make cutting bias strips really easy:

Designed for quilters, a rotary cutter, cutting mat, and quilting ruler make cutting accurate bias strips very easy.

So here's everything all set to go:

Stitching

Fold each of the two larger rectangles in half. The folded edge of the smaller one should be 8.75" long, while the folded edge of the larger one should be 10" long. Stitch using a 1/2" seam from one folded edge to the other, turning at the corners and breaking (with back stitching) at the center of the long edge to leave a spot for turning.

Press and trim the seam, clipping the corners. Turn, using a point turner. Press. Repeat for each bow layer.

Here's a couple shots using that odd turning device I show in the above video. It's called a Point and Tube Turner, by the way, in case you're looking for one. I know they have them at Nancy's Notions and The Sewing Place.

The blunt end is inserted through the opening into a corner. Close the tool.

Gently pull the fabric up and over the side with the taper point, bringing the corner through the opening. Use your hands and a bamboo or plastic turner to finish the job and get clean corners and edges.

Applying the Lace
If using a sewing machine, the upper thread should match the lace with the bobbin matching the fabric. I'm pretty experienced and so don't so a lot of pinning ahead of time. I also do the mitering as I go along. Use whatever method you're comfortable with, but this is how I did this project.

The first round of stitching will all be at the outer edge of the bow. I applied the lace to the lower, larger bow layer.

Start at the center of the long edge with the turning opening. I put the lace about 1/8" away from the edge of the fabric, but use whatever placement you like. Stitch in the header (the denser edge) to the corner, stopping the same distance from the edge as you've been stitching. So, here, I'm 1/8" from the right hand edge, so I stop about 1/8" from the corner. Make sure the needle is down. Keep the needle in place during the next steps.

Lift the presser foot and turn the work 90 degrees. Bring the free end of the lace around and place the correct distance from the edge. Allow the excess in the corner to pop up for the moment. Pin the lace about 1" from the corner. Use your bamboo pointer tool to gently tuck the excess lace under the new side you're working on, forming a neat miter.

Turn the work and bring the lace around to the next side. Pin. Note the bit of excess lace left by the turn. This needs to be formed into a mitered corner.

Tuck the lace underneath. It should be a nice, neat right triangle.

Continue stitching along the outer edge, mitering each corner, until you get back to the starting point. I like to turn under the end of the lace just in case it should ever show.

Stitch around the inner edge of the lace, pivoting at the corners.

Pivot at the inner corners, making sure to keep the needle in the DOWN position.

Your corners should end up like this:

You can carefully hand stitch along the folded edge of the lace using matching thread to secure it. You will need only a few tiny stitches - just be sure to conceal the knots. I like to use silk thread because it disappears so beautifully.

Covering the Headband
If you're using a matching headband, you have to hand stitch the bias strip around the base. I must admit I find this step the most tedious by far: since my headband base is tapered at the ends, I've found it difficult to cover by machine and so have to hand stitch it to get a tight fit.

Fold the bias strip in half lengthwise and press. Fit and pin around the headband base. You will probably have to trim the cut edge to get a neat finish if your form is also tapered. Stitch in place with the folded edge running down the center of the under side (or as close as you can get it!). Just before reaching each end, tuck the ends under to hide all raw edges.

Assembly and Finishing
Fold and press the small knot rectangle lengthwise to a finished width of about 1" by folding the long raw edges slightly over the center point toward each other. There is no need to stitch it.

Put the smaller layer of the bow in place on top of the lower layer. Mark the center line from front to back by creasing or using a chalk marker. Hand stitch together in a small-to-medium length running stitch (depending on your fabric's thickness), securing at the starting point. Pull gently to gather. Secure. It can be helpful to back stitch the gathers from the underside to control them.

Put the gathered bow in place on the headband and wrap the knot rectangle around it. Cut to length and turn under about 1/4" on one short end. Stitch. If you're careful and don't stitch the bow or knot to the fabric of the headband, you will actually be able to slid it off to use elsewhere. Of course, if you want to prevent it from sliding out of place, just make sure to catch the headband fabric while stitching the knot ends.

Bow and knot gathered and stitched to headband.

There's a couple of alternatives to the headband for wearing a head bow. You can use alligator clips - which require you to only slide the bow onto the clip through the knot loop - or stitch on a French clip or pin back. You can even combine them on one bow.

Clockwise from left: alligator clips; French clip; pin back.

And here's the finished product!

Hope you found this tutorial useful. Let me know if you have any questions!

Making a Doctor Who Scarf

2011-12-19T13:14:00.010-05:00

Like a lot of Doctor Who fans out there, I decided to try the marathon that is making a replica of the iconic scarf worn by Tom Baker as Doctor number four back in the seventies. I'm actually on my second of these scarves (I sold the first one on eBay quite easily despite a flaw in the pattern!). It's a straightforward project with the real challenge being endurance - and boredom. But I find it the perfect thing to work on when I want something mindless: I just knit and knit and knit and only worry about row counts. I've actually worked on the scarf in a darkened movie theater.

The definitive source of information about this scarf is, of course, The Doctor Who Scarf, a site put together by a fan. It includes a history of the scarf (and its various permutations), an exhaustive run down of which version appeared in what episode, detailed instructions, yarn suggestions, and more.

I chose the original version from seasons 12 through 14. I'm a fan of Brown Sheep Nature Spun from previous projects and like that it's 100% wool. I used sport weight. Note that the quantity estimates on the web site are generous: I have almost enough left over from the first scarf to make the second one I'm working on! I'll only have to order a few more skeins in specific colors.

Speaking of colors, here's what I used from the Nature Spun Sport line:

Beige: Ash (720)

Brown: Bev's Bear (N94)

Yellow: Sunburst Gold (308)

Green: Nervous Green (522)

Purple: Plum Line (N18)

Red: Red Fox (N46)

Gray: Charcoal (880)

I ordered my yarn from Paradise Fibers, but Nature Spun is widely available online and brick-and-mortar.

The entire thing is done in garter stitch. Row after row after row of knitting... I highly recommend a row counter, and you will quickly get in the habit of double-checking those counts. Every color block is an even number of rows, so the color changes appear only on one side.

Oh, and I recommend you stop periodically and weave in your ends. You'll easily be changing colors over 50 times, so there's a lot of ends to deal with. Not only is it tedious to do that many ends in one go, all those loose strands get a bit messy to deal with as the scarf gets longer. As you can see below, I need to take some of my own advice.

The tassels are the last thing to add after casting off and before blocking. Make them longer than they should be - and include each of the seven colors - then trim carefully to neaten. I like using my rotary cutter with a straightedge, but some people find that "too" perfect for a handmade item and prefer to hand trim.

Blocking. Well. Lay out several towels end-to-end, doing your best to stay out of traffic areas. I actually have to stretch it from my dining room into my living room. Hope for low humidity so the monster dries fast.

Enjoy!

Book Review: Couture Sewing Techniques by Claire B. Shaeffer

2009-10-17T21:26:00.012-04:00

Like many sewers and crafters, I've assembled a reference library of fun and useful books. One of my favorites - a book I purchased for myself years ago - has proven to be Couture Sewing Techniques by Claire B. Shaeffer, first published in 1993 and now available in paperback. Sewers might already be familiar with her patterns for Vogue Patterns and her articles for Threads magazine. Don't let the "couture" in the title scare you: this book is remarkably practical for the home sewer who wants to take that next step upward in technique. It's not for true beginning sewers, but anyone at a low intermediate level should be able to apply many of the included techniques. All sewers can benefit from the sections on tools and pressing techniques.

Ms. Shaeffer has spent several decades studying, using, and researching traditional couture techniques, acquiring a collection of garments and reference materials. As she discusses in the introduction, she chose to focus on construction techniques in this book rather than design, draping, pattern making, etc. She also carefully selected those construction techniques she felt would be of most use to the home sewer.

She begins with a history of haute couture and a discussion of just what makes something "couture" (according to one industry professional, the distinguishing feature is the amount of handwork). Along the way we learn about the process of ordering a couture garment as well as what goes on behind the scenes during actual garment construction. I found this section one of the most fascinating in the book - I love learning about the process of executing any complicated endeavor.

Handwork is the heart of couture construction, and so early on we have a review of basic hand sewing techniques and tools.

Needles and their uses
Threads and their uses
Tools
Stitches, including how to start and end a line of stitching
General workroom techniques

The stitch section includes both temporary and permenent stitches. I was surprised by the number of different construction stitches the first time I read the book - I count nearly 20 varieties, some being subtle variations on others but with distinct uses. All are accompanied by instructions for use and execution as well as clear line drawings in the style used in Threads magazine (Couture Sewing Techniques is a Taunton Press publication).

The bulk of the book consists of specific construction elements, the couture method of executing those elements - often with a comparative discussion of the relevant ready-to-wear methods - and practical application for the home sewer. Ms. Shaeffer provides many examples of actual couture garments - from Dior to Adrian to Vionnet - many of which use very clever solutions to construction problems and which also demonstrate the techniques she is documenting. Among the many topics covered are

Pressing tools and techniques
Seam finishes
Hems
Closures
Pleated skirts
Fitting a basic bodice
Stays
Sleeves (an entire chapter!)
Pockets
Tailoring basics (this one chapter alone is worth the price of the book)
The iconic Chanel suit
Eveningwear

Going back through the book while writing this review, I was impressed all over again with how much information the author fit into 217 pages. Ms. Shaeffer has created an interesting and useful melding of history, construction philosophy, and practical technique. I, personally, have refered to this text for both specific How To and broader inspiration.

Understanding the type of work that goes into the highest-end clothing has changed my approach to clothing construction for both streetwear and costumes. I can actually tell the difference in how garments fit and hang when I take the time to apply the techniques I learned in Couture Sewing Techniques. I cannot recommend the book highly enough.

Yarn Over

2009-06-25T22:28:00.008-04:00

I took a semi-impulse trip to London in early May. I hadn't been over in ages but didn't think I would be able to make a trip until next year. The recession, however, has been a boon for travelers: I found a fabulous package deal in late March and decided to venture across the pond!

Naturally, I brought along some knitting, although I didn't actually carry it on the plane in either direction: I wanted to make sure I slept on the flight over, and they don't allow knitting needles in carry-on luggage when flying out of the U.K. But I figured I would pull out the needles while on the Tube, waiting in lines, relaxing in my room, etc. So I invested in circular needles suitable for the sock project I had designated for the trip and bundled up my cute little GoKnit pouch. I normally use double-pointed needles for socks, but they can be a bit of a hassle while knitting on-the-go (I've lost one or two at baseball games, much to my dismay).

Like any self-respecting knitter, I was determined to do a little shopping in some of the London's yarn shops! I did some research on Ravelry looking for recommendations and settled on two shops that would be easy to get to by Tube within zone 1 - turned out to be good choices since there wound up being partial shut-downs of the Tube over the weekend because of rail work.

My first stop was at I Knit London in a neighborhood behind Waterloo station. Because of the aforementioned rail works, I had to get off at the Westminster Tube station and walk across Westminster Bridge. It was a gorgeous day - and a bank holiday weekend - so that meant that the bridge was packed with visitors, vendors, and street performers. (How do the locals stand we tourists?) But once across the bridge, the crowds miraculously disappeared. The shop is located in Lower Marsh Street and was clearly a non-touristy area, despite its proximity to Big Ben et al. The cheery yellow sign was easy to spot:

The shop itself has a fairly typical layout for the genre with square wall bins of yarn, some comfy seating, and an excellent selection of tools, books, and patterns. The yarn options were many and varied - including a number I had never seen before in both conventional and unconventional fibers (even a really cool plastic yarn in fun, bright colors). They didn't have a particularly large selection of cotton or cotton-blend yarn, but that is perhaps attributable to the cooler climate - as compared to Philadelphia, that is - which translates into a longer wearing season for wool.

The shop advertises its selection of U.K. yarns, and I did hear a fellow Yank asking about them - not a huge range, but interesting. The shop assistant was very nice and helpful, and, after much deliberation, I purchased two skeins of Malabrigo sock yarn (a sophisticated variegated green and an inky blue kettle-dyed) plus a set of square double-pointed needles from Kolláge that I'd been anxious to try.

Upon leaving I Knit, I walked up the street the opposite direction from which I had come and made a wonderfully serendipitous discovery of a pretty little park, Waterloo Millennium Green, where I sat amongst the flowers by an Asian-inspired bridge and stream to eat my lunch. Egg & cress sandwich - one of my favorites!

After an annoying trek around Waterloo Station, I made my way to my next target, All The Fun Of The Fair in the Carnaby shopping district off Oxford Street. I really do not like Oxford on the weekends - it's just way too packed - but it was unavoidable. The Carnaby area is a pedestrian shopping zone of what appear to be converted factories and warehouses. There are courtyards of shops off the central spine of Carnaby Street, and the yarn shop was in Kingly Court, a charming spot with three levels.

All The Fun is on the third level and is a tiny little nook of a shop. Their selection of yarns is small but thoughtful, and they have a truly unusual collection of whimsical buttons, charms, notions, and pre-made knit items - including amazingly realistic donuts, cakes, and biscuits rendered in yarn! As busy as the courtyard below was, the yarn shop was a relaxing oasis of soothing colors and natural light.

I browsed for quite a while and finally selected five skeins: one of a lace-weight merino silk from Grignasco in a pale aqua and four skeins of Patons' Linen Touch DK in two different colors (pale blue and natural). I plan a shawl with the Grignasco and several spa accessories with the Linen Touch.

And despite all the money I spent on yarn, I did show a small bit of restraint: I had stopped in Liberty at the corner of Great Marlborough and Carnaby Streets before heading to All The Fun Of The Fair and visited their fabric department. I somehow managed to not buy any of their gorgeous prints!

A Project and Shopping

2009-06-04T19:56:00.005-04:00

One of my costuming projects for the coming convention season is Queen Sai (alt. Saiou) from the Twelve Kingdoms anime. She's a rather obscure character, appearing in only two episodes, but I like that - I'm not likely to see five other cosplayers as the same character. The anime is based in both plot and aesthetics on Chinese mythology, and her outfit is a much-simplified version of traditional Chinese robes.

I'm making her robes from silk habotai for several reasons:

Light weight to fight the summer heat.
Easy to dye and work with.
It's silk! Love it, and it's reasonably historically accurate.

For those interested, I bought my silk (and dying supplies) from Dharma Trading Co., one of my favorite sources for costuming needs. I'll be decorating a silk paddle fan with silk painting, but I'm going to hand embroider the simple floral design on Saiou's outer coat/robe. I'm a casual embroiderer: it's a craft I've practiced off and on since high school, but it's never been a great passion. But I plan on this costume being a competition piece, so I've been gathering reference materials (such as Painting with a Needle: Learning the Art of Silk Embroidery by Young Yang Chung) and seeking out better quality materials than I normally use.

I plan to do the embroidery in silk threads and was pleasantly surprised to discover a needleworking shop near me that carries a fabulous selection of such supplies, Fireside Stitchery. I spent a fun hour this past Saturday testing all sort of color combinations and comparing different types of silk thread. Who knew there were so many? I finally settled on Soie d'alger in a range of pinks and greens since I'm going for a more naturalistic look than shown in the flat anime art, bringing home a precious little stash of skeins.

I have to draft a pattern, make a muslin (test garment), and dye the fabric before starting the embroidery. Also at issue is how to mount the fabric for doing the work. The size of the piece plus the rather fragile fabric are making for a tricky balancing act. While I'd love a slate frame (one day, one day...when I start that 18th-century gown...), I'll probably wind up with careful hooping. I might indulge and at least get a higher quality hoop than I currently own. I've considered doing the embroidery on smaller pieces of fabric and treating the pieces as removable motifs, but I'm not sure what that would do to the drape of the garment. I might at least experiment with that approach to see what happens - it would certainly make cleaning the costume easier!

Mad About Hats

2009-04-24T20:49:00.005-04:00

I love hats.

I love wearing hats. I love looking at hats. I love making hats. When I found out that the Victoria & Albert Museum has a special hat exhibit going on right now, I took it as a sign that my trip to London was meant to be. I took a millinery course in college, and it remains one of my favorite classes these many years later.

I don't own a large number of hats, primarily because they tend to take up a fair amount of space. Most of the hats I wear on a regular basis are small, soft, and easily rolled up. But I do go all out for costume hats. My pride and joy is the silk-covered top hat I made for my Millennium Earl costume (from the D.Gray-man manga & anime).

I hand wove the checkered hat band from 1" (2.5cm) wide black and ivory silk ribbon, shaping it to fit the tapered shape of the crown. The hat lining matches the lining of the costume's waistcoat. I don't always go to such lengths in finishing costume pieces, but I get a particular joy out of fussing with all the little hand stitched seams and trims of a hat.

When making a hat, you're dealing with small lengths of fabric, small quantities of trim, so it's possible to work with higher quality materials than you might otherwise be able to afford. The Earl's very tall top hat required less than a yard of silk twill, so, even though I used about 12 yards of silk ribbon, the materials cost probably totaled about $50. Pretty good bang for the buck considering how much an accurate and well-made hat can add to a costume.

So don't shy away from millinery work. It's a bit fussy, but it's not particularly difficult. Most structured hats - as opposed to soft, unstructured ones such as berets - must be put together by hand. The Earl's top hat has exactly one machine-stitched seam (up the center back of the crown). But handwork is great for movie watching time! In future posts I'll talk about various categories of headgear, cover some basic techniques, and provide additional references and sourcing information.

Introduction

2009-04-24T14:49:00.003-04:00

Hi, I'm Kris, and I'm a textile and handcrafting fanatic living in the Philadelphia suburbs. I'm just setting up my first public blog and am working on a number of ideas for the coming weeks. I hope to cover a range of topics related primarily to sewing, beadwork, knitting, crochet, costuming/cosplay, and other handcrafts.

Hope to see you here often!