Gertie at STC Craft: Awesome DIY Hairdos

 

I've been a Bust magazine reader since way back, and I've always loved their smart and sassy attitude. A feminist magazine with sewing projects and beauty tips? Yes, please!

So, of course, I was super-excited to get a copy of the new book, The Bust DIY Guide to Life. After flipping through it, I fell in love with the section on hairstyles. So I hatched the idea of trying out a couple of the 'dos (there are ten in total) and reporting the results to you here. Here goes!

First, I tried the "Go Go Kahlo," an homage to Frida the Great.

Here's my version.

 

The front is done in French braids down the side of the head, which then get flipped up to the top of the head and pinned in place. (I don't think I've French braided since I went to Girl Scout camp! It was a good refresher.) The book gives you several options for how you can finish the back of your hair, and I chose to twist it into pin curl-like shapes.

Of course, chandelier earrings were a must! This would be a great look for an elegant evening out.

Next, I tried "The Do in Doo-Wop," a bouffant style reminiscent of girl groups of the 60s, with a punk edge like Amy Winehouse (RIP).

I decided it needed glasses and more black so I did a quick wardrobe change. (And extra eyeliner would have been good, but I was on a tight schedule.)

 

I loved the messy approach to this style. As the book says, "Don't aim for perfection--this is rock 'n' roll, not a beauty pageant!" I dig that. This coiffure really spoke to my inner bad girl; it would look amazing paired with a motorcycle jacket, don't you think? (Note to self: Look into sewing motorcycle jacket ASAP.)

The best part about these two styles is that they worked with my hair's natural texture, so no blow drying or curling or straightening was needed or recommended. No fuss and super stylish--what more could a girl want out of her DIY life? The only hard part will be deciding which one to try next!

Also! See a gallery of project images from the book here.

Gertie at STC Craft: Oliver + S Is Not Just for Kids

When I was in the STC Craft offices a few weeks ago, I managed to get my hands on a copy of Liesl Gibson’s new book, Oliver + S: Little Things to Sew. And it is gorgeous and completely inspiring.

Now, I don’t sew for kids. I hardly know any kids. But this book is so stylish that you could make some of the projects for your grown-up self and no one would be the wiser. Let’s take this tutu skirt.

Sure, little girls will love it. But don’t you think the subtle loveliness of the multicolored layers of tulle would be much better appreciated by adults? And don’t you think it would be marvelous in just-below-knee length over a fabulous sheath dress?

 

Even better: the tutu skirt doesn’t require a pattern; you just cut the tulle to your desired waist measurement and skirt length.

And how about this chic "red riding hood" cape?

 

I can just see myself swanning about New York in something similar. I could just grade the pattern up a few sizes and it would be mine all mine! It even reminds me of the fabulous Red Riding Hood-inspired Vogue spread from a couple years ago.

I think lots of grown women have responded similarly to oliver + s patterns because they have a clean sophistication that’s rare in children’s wear. And the book totally, completely mirrors that aesthetic vision. The styling is just gorgeous, so simple yet completely striking. It was done by Diane Gatterdam, who has also done amazing work on store windows like Burberry and St. John.

So even if you live a child-free existence like me, do check out the book if you want some gorgeous visual inspiration--as well as your very own tutu!

P.S. You can see more beautiful photos from the book in this gallery.

Gertie at STC Craft: Alabama Chanin Ribbon Embroidery

 

Hello readers, I'm back! After a couple of months filled with travel to various craft and sewing shows, I'm home again and back to my weekly guest blogging here at STC Craft. Oh, and I'm also working diligently to finish up my own book, Gertie's New Book for Better Sewing. (Melanie is making sure of that!)

In my first post here, I wrote about proofreading the new Alabama Chanin book, Alabama Studio Sewing + Design. I fell in love with the ribbon embroidery in the book (see above), and just couldn't wait until the book released to try it out. Author Natalie Chanin was kind enough to send me a sample kit of a stenciled swatch, Japanese cotton ribbon, and some embroidery thread. It took me a little while to get the hang of embroidering with the tape-like ribbon, but once I did, I was addicted. (Tip: use a sharp needle with the biggest eye you can find; Chenille needles worked best for me.) I carried my sample around with me in a small plastic baggie, and would pull it out every chance I got. My subway rides have never gone so fast! There's something so soothing about doing such intricate handwork in the midst of New York City commuter chaos.

The pattern, called Climbing Daisy, is done with simple straight stitches and French knots in the cotton ribbon. The vines are stitched in regular embroidery floss in a stem stitch. You'll usually see ribbon embroidery done in silk ribbon, but Natalie's version is done in cotton, which adds to its simple charm, I think. The ribbon is a special Japanese trim; it's very rustic-looking with a gauzy weave. Don't worry if your local craft shop doesn't sell it; Natalie's company, Alabama Chanin, will be stocking it on their website by the time the book comes out in Spring 2012. If you're in New York, you can also find it at Mokuba, a fabulous Japanese trim store on west 38th Street.

Anyway, here's how my sample turned out. Not bad, huh?

I was pretty devastated when I reached the end of my little square, and I had to call up Alabama Chanin right away to order a full-sized project. They indulged me by stenciling a dress kit with the Climbing Daisy pattern. I'm not really one for wearing lots of neutrals (understatement alert), so I chose a deep rose pink with ivory embroidery. The long pink stitches are for basting the two dress layers together.) 

 

I've only started one panel, and couldn't help embellishing it further with clear sequins too. The whole dress will likely take me months. Actually, I'm counting on it taking a long time since I need my commuting fix!

What do you think? Are you looking forward to trying the ribbon embroidery in the new Alabama Chanin book? If it's not your speed, don't worry. There's a ton of other embellishment ideas, plus fabulous new garment patterns, including a totally glam long dress with a short train.

That's it for today, readers. I have lots more of my crafty adventures at STC to share with you--see you next week!

The BUST DIY Guide to Life Book Tour Begins!

Debbie Stoller and Laurie Henzel, two of the founders and co-publishers of BUST Magazine, are currently on the road with The BUST DIY Guide to Life book--a big fat labor of love that contains more than 250 favorite DIY and craft projects from the past 15 years of BUST Magazine.

San Francisco and Portland, BUST's boss ladies are heading your way this week! They'd love to meet lots of BUST readers and DIY enthusiasts, so stop by one of the bookstores below, say hi, and get your book signed in person.

Here is the full schedule. You can also follow Debbie and Laurie's day-to-day adventures on the BUST blog and on Twitter.

Thursday, November 3
SAN FRANCISCO, CA
7:00pm
Princess Animal: workshop & signing
803 Valencia Street, San Francisco CA 94110
 
Friday, November 4
SAN FRANCISCO, CA
7:00pm
Books Inc. at The Marina: talk & signing
2251 Chestnut Street, San Francisco CA  94123

Saturday, November 5
PORTLAND, OR
2:00pm
Powells Books: talk & signing
1005 W Burnside St., Portland, OR 97209

4:00pm
Ace Hotel: Happy Hour with Debbie & Laurie *RSVP required; contact Ellie for details
403 SW 10th St., Portland, OR 97209

Saturday, November 19

NEW YORK, NY
2:00pm
The New York Public Library: NYPL Crafternoon
Fifth Avenue at 42nd St., New York, NY 10018

Guest Blogger: Wendy Bernard on Customizing Her Knits and 90210

 

A month or so ago, my editor for the Custom Knits series, Liana, asked me if I would want to write a guest post for the STC Craft blog. We went back and forth on what I should write about, such as my experiences writing Custom Knits 2, or what it’s like knitting for my family, but nothing was feeling especially inspiring to me. That is until she finally said I could write about any old thing, even Beverly Hills 90210, if I wanted to. I’m not sure if she was joking, but I figured I might as well take her up on it, and actually 90210 does have something to do with how I write books. Truth is, I average two hours of the stuff a day when I’m writing a book and I’m not lying. (Believe it or not, I’m sort of proud of it, because at this point I’m an expert. I can look up at the TV, glance at Donna’s hair color, and know right off the bat what season it is.) 90210 keeps things interesting for me when I’m sitting in my office knitting or writing. In fact, as I type this out, Donna’s hair is short and blonde and that means she’s in the early part of her college career and her boyfriend’s name is Ray.

But what else does knitting have to do with 90210? Well, it is (obviously) set in Southern California, which is where I also happen to live, and living where I do is part of the reason why I started to customize my knits in the first place. You see, it’s almost always warm here, so if you’re knitting, you’re not usually knitting for warmth. When I started knitting and wanted to make sweaters, I always had to change things around in the original pattern in order to suit my climate. And this is what gave me the opportunity to start honing my design chops.

When I was a kid, my family lived in Minnesota, and my grandmothers--both of them knitters--would knit mittens for me. But when I moved to Southern California in the late 70’s, I noticed that the only people who seriously wore knits were wearing them for an hour or two, or in a super-cold office, or for pure fashion, and not usually out of necessity. As ironic as it may seem, it was in Southern California that I eventually found my favorite thing to do—knit and design and write books about it—yet I couldn’t experience what it was like to actually “use” the knits the way they were originally intended: for warmth.

So imagine how it has been for me to fall into a career and a passion that has so many environmental constraints! If I want to knit for myself, I absolutely have to consider my surroundings. Does it make sense to knit a cardigan that takes me weeks to knit and only be able to wear it for a few days in a season? Nope. What about a pullover? Does it make sense to spend a month knitting a pullover with the nicest alpaca I can find so I can wear it for, oh, two hours? No. No. No. But you know what? If I slapped short sleeves onto the cardigan instead of the long ones, I might be able to wear it. And the pullover? Same thing: Shorten the sleeves, add a deeper neckline to allow a colorful tank to show through, and I’m set. The alpaca part? I’d probably still knit with alpaca—some of my favorite yarns have alpaca—but I’d probably try to find a blend or something in a sport weight.

 

 

When I think back on how I naturally approached knitting when I first started designing, I realize that my personal limitations and point of view actually worked in my favor. I knew that people living in colder climates might want to wear warm items with long sleeves or cowl necks and spend the time knitting them, but I also discovered that people like me–who live in areas where there are fewer knit-wearing opportunities–might also like to knit them and wear them, and so I started to think about variations. The Knotted pattern from Custom Knits 2 (shown above) is a perfect example of the same sweater pattern being put to use for people living in different climates. If you live in a warmer place, like me, then you can knit the vest version of the pattern (in yellow, above) as is. But if you live in a cooler climate, you may want to add long sleeves and a hood to the pattern (in red, above)--which are both things I show you how to do in the book. And this has been the way that I have approached the Custom Knits series: I encourage you to look at a pattern and make adjustments so that the garment works in all areas—perfect for your climate, body shape, and personal preferences--and customize it so that you will actually get to wear it (and want to wear it).

For Custom Knits 2, I even went a step further with the customizing, this time including answers to all of the questions I have received in recent years about more advanced customizing techniques. For example, I have heard from knitters all over the world who would like to make a child’s pattern in a woman’s size (or vice versa), and in this book, I show you how. Many, many people have also asked how they can customize a raglan—one of the trickier sweater styles to customize--so I addressed that question in the book, too. In fact, the Zuma Tunic (shown above on the cover) is a raglan, and there are all sorts of ideas for customizing this pattern in the book.

So whether you’re living in 90210 or in 10011 (that’s the zip code for STC Craft), the key to successful sweater-making is understanding what works for you and how to make changes to existing patterns so that you end up with a beautiful garment that you can actually wear and love. Speaking of making garments you'll love, why not try your hand at making one of the patterns in Custom Knits 2 along with a helpful, inspiring group of other knitters? Next week, I'll be kicking off a Custom Knits 2 knitalong where knitters from all over the country will create garments from the book (and most likely customize them to their heart's content). Be sure to join the Knit and Tonic Knitters Group at Ravelry.com for announcements and updates, and check out my blog, Knit and Tonic, for more information.

Knitting for the Camera! A Star is Born

Back in August Andrea Berman Price (author of Knitspeak), Joelle Hoverson (author of Last-Minute Knitted Gifts and More Last-Minute Knitted Gifts), and I (Melanie) were each visited by a camera crew from Open Road Media. The crew's job was to film us talking about our passion for knitting and then create documentary-style videos with their footage (all of this part of our launch plans for our new digital knitting book initiative). Not surprisingly, each of us felt a little hesitant about our interviews and then self-conscious about the results. It was definitely a test of our self-confidence and groundedness. I asked Andrea to share her memories of the day she was in the hot seat. I'll share my story soon.

Cheers, ladies (left to right): my friend Melissa, Lily, Lisa, and Polly from Open Road, and me

You may not believe me when I tell you that even a florid extrovert can get nervous and tongue-tied when faced with a crowd or a camera.  I’m not sure I have ever been as nervous as I was on the day in August when the Open Road crew came down from New York to DC to capture me on pixels for STC Craft. 

The crew rolled up to my rowhouse in Washington, DC, just after 11am and began unloading black bags full of wires and lights in my living room.  I hid upstairs, I was so jittery. I let them have the run of the first floor to set up without me in the way. I identified the crew by their voices. I began to wonder: Were they knitters? Were they hungry? Could I connect with them? I was relieved they were all women, and highly competent. For some reason it seemed easier to talk about knitting on camera with a female crew; I felt as if they’d respect my passion for it rather than ridicule it. And I think they did.

The camera was set up in a corner, and a chair was placed in the middle of the living room floor. This was  going to be the hot seat.  The interviewer, sat facing me, next to the camera so I could feel like we were having a conversation, but I was mesmerized by the black lens. I rambled on about how I learned to knit, about patterns, why I think knitting is so great.  My hope was that there was a good editor back at the studio who could make this sound cogent in postproduction.  

“What’s your angle?” I had asked the producer a few weeks prior.  “Our angle is you,” said the producer.  Ack.   What is it about me that would be important to talk about? I could talk about teaching knitting, I could talk about pattern reading, and common pattern problems, but oddly enough for those who know me, I did not want to talk about me.

As friendly as the crew was (and they really couldn't have been friendlier), this was not like speaking to fellow knitters at a fiber festival, or my weekend knitting group, or to a group gathered at a yarn store event; the camera didn’t smile back.  I thought about what I really wanted to come out of the conversation. The message would be: The joy that knitting has brought to my life can be accessed and celebrated by all. A humble cause when you think about it, that a folk craft learned at a grandmother’s side, can fascinate, calm, and delight. I kept rambling, stopping, and asking the crew to let me re-take the questions.

This may seem a trumped-up aim for a humble craft, but I wanted to get across that knitting (and crochet) is a meaningful activity for so many reasons. We show love by making gifts, we celebrate friendship in knitting groups, we recognize the love in the connection when we teach others, and with those who taught us even after they are long gone.

I was tongue-tied all day long; the nervousness never left. How could I communicate this grand thought in a way that did not sound silly? If I was unfocused myself about what I wanted to say, how could I produce a cogent message with those lights in my face? By the end of the day, at least one of the crew talked about rescuing a long-forgotten project from the back of the closet. She tried on a soft, swirly shawl as we set up the last shot. I realized then that through all the fumbling and re-takes, that I might have hit the mark. I had chattered and pontificated all day, but my enthusiasm was (I hoped) inspiring a sometimes-knitter to reach for the needles and try again. Some of the comments I got from old friends on Facebook in the first days after the video released reinforced the feeling that the message had gotten through. The message was: pick it up again; knitting might just satisfy a vague need for centering, for creating, for connection. We popped a bottle of prosecco and the crew ran off to catch the train.  I was exhausted.  All I wanted to do was knit.

Click here to see Andrea's video.

STC Craft at the Sheep & Wool Festival

This weekend, STC Craft is heading to the New York State Sheep & Wool Festival up in Rhinebeck, New York. What better way to begin sweater season than with apple cider, cute wooly animals, and some of our favorite knitting authors?

We have an exciting lineup of events at the STC Craft table in Building B. Join us for two days of author signings (details below) and stop by anytime to say hello, check out our new books, and enjoy fun freebies!

SATURDAY, OCTOBER 15th

9am – 2pm:
Signing with Melanie Falick, STC Craft Publishing Director and author of Weekend Knitting, Handknit Holidays, Knitting for Baby, and Knit: A Personal Handbook.

9am - noon:
Signing with Michelle Edwards, author of A Knitter’s Home Companion.

2pm – 4pm:
Signing with Teva Durham, author of Loop-d-Loop Lace, Loop-d-Loop Crochet, and Loop-d-Loop.

2pm – 4pm:
Signing with Andrea Berman Price, author of Knitspeak.

SUNDAY, OCTOBER 16TH

10am – noon:
Signing with Andrea Berman Price, author of Knitspeak.

10am - 2pm:
Signing with Bruce Weinstein, author of Knits Men Want, Goat, and Ham.

Weekend Handmade: The Blog Tour

Today, Kelly Wilkinson--blogger, journalist, Weekend warrior, and "hipster Martha Stewart"--embarks on a one week blog tour to celebrate her new book. Not only is she stopping at some of her (and our) favorite blogs, but she's also taking the tour to the next level with a special Weekend Handmade theme. Kelly says it best:

"For the tour, I decided to mix it up a little and break a creative, relaxing weekend down into its chronological parts, and find a guest “host” for each segment. If you are confused, it’s okay. It will all be revealed over the next week, as will the details of what makes for a perfect weekend."

Intrigued? So are we. Here's where you'll find Kelly in the days to come:

Tuesday, October 4: Say Yes to Hoboken 
Wednesday, October 5: Diggin Food
Thursday, October 6: Not Martha
Friday, October 7: Mighty Girl 
Monday, October 10: SF Girl By Bay 
Tuesday, October 11: Design Mom 
Wednesday, October 12: Crafty Pod

Hope you'll follow along!

Knitted Dinosaurs Take Manhattan

This summer, we were thrilled to have some visitors join us at STC Craft headquarters in New York City. Tina Barrett, author of our new book Knitted Dinosaurs, sent five of her favorite prehistoric pals to hang out with us for summer vacation.

Truth be told, we had requested the samples for a sales meeting in July, but once we saw how amazing the dinosaurs were in person—just as detailed and nuanced and cuddly and ferocious as they appear in the book—we were reluctant to send them back. What can I say? We were smitten! Knowing that we couldn’t keep them forever, we decided at the very least to take some photos. For starters, Ellie arranged them on her desk (above).

And I couldn’t help but pose with a few, taking photos on my Mac with Photo Booth…after all, it’s one thing to tell your friends that you have a group of knitted dinosaurs on your desk. It’s quite another to send them a photo of a T-Rex attacking you at your desk!

And while I love each and every one of them, I do believe that the Triceratops has stolen my heart.

Since our dino friends were visiting from the UK, we thought it was only right to take them on a little field trip around the city. Here Parasaurolophus takes in the splendor of the Empire State Building just outside our STC Craft office on 6th Avenue.

Of course, now that we’ve shipped the dinosaurs back home, we’re going to have to fill the void by making our own buddies to keep. And as of this week, you can make your own dinosaur buddies, too! We’re thrilled to announce that the amazingly adorable Knitted Dinosaurs is now in stock. To see photos of the rest of the dinosaurs in the book, be sure to check out the gallery...you will not be disappointed. And if you DO make a dino, we would love it if you shared a photo with us on our Facebook page or tweet your photos to @STC_Craft. (If you couldn't already tell, we love seeing photos of knitted dinosaurs!)

Behind Every Great Knitter...

Back in August, Larissa Brown, author of My Grandmother's Knitting, wrote a guest post for our blog. In the spirit of her new book, Larissa asked the question: Who inspired you to knit? 

There's a story behind every knitter's first stitch, and Larissa had the idea--inspired by this legendary video--to celebrate teachers and mentors with a collective photo album. Participating is easy: Just find blank paper and a bold marker, write down the name of your special person, hold up your sign, and take a picture. Then add your image to the growing collection on the My Grandmother's Knitting Facebook page

I have the pleasure of working with many creative types, so last week I brought my camera to the office and got started on STC Craft's contribution to this project.

Liana and Melanie were the first to pose:

Even seasoned knitters like Melanie had to begin somewhere!

 

Did Liana's friend Susi know she'd inspire a hobby and a career?

Some of my crafty colleagues in the marketing department also proudly held up signs.  Ashley Rich: Marketing Manager by day, knitter by night.

I even snapped photos of some rather famous visitors. "Kaffe Fassett is here," Melanie casually mentioned as she passed by my office. "He's available now if you want to take his picture."

Sure, no big deal--I photograph world-famous artists all the time. I immediately scrambled for my camera and followed Melanie to a table where Kaffe, Brandon Mably, Liza Prior Lucy, and graphic designer Anna Christian were studying potential layouts for Kaffe's upcoming autobiography.

An impromptu photoshoot ensued. Here are just a few of the highlights:

Kaffe hints at the contents of his next book...

 

Not only is Brandon talented--he's also crazy photogenic! (Click on the photo to enlarge so you can read Brandon's message.)

 

Brandon and Liza horse around for the camera. Priceless.

 

Now we know who's behind Anna's many talents!

Check out the My Grandmother's Knitting Facebook page here. One click of the "Like" button and you can download a free pattern from the book, admire other knitters' photos, and hopefully share one of your own!

The BUST DIY Guide to Life Lab at Maker Faire

Maker Faire takes over the New York Hall of Science this weekend and STC Craft will be there! Join us at The BUST DIY Guide to Life Lab, where we'll be crafting up projects from BUST's big new book. What's on the schedule? Two days of exciting demos and DIY projects, plus a book signing with authors Debbie Stoller and Laurie Henzel.

Check out the full schedule after the jump. For those of you who won't be at Maker Faire but can't wait to get your hands on the book, follow @STC_Craft and @BUST_magazine on Twitter. We'll be giving away a signed copy to one of our lucky friends online.

To get the full scoop on the making of The BUST DIY Guide to Life, read editor Liana Allday's behind-the-scenes blog post here.

Read more

About Last Summer

Last summer a friend helped me through a hard time. Among other kindnesses, she invited me to spend some time with her in Paris. While we were there, I tried to find a gift to thank her but nothing seemed quite right. Knowing how much she appreciates handmade, when I arrived home, I decided to knit her something. But what? What would be good enough? Right for her? Meaningful? I spent a long time seeking out a very particular mohair yarn in a very particular golden color for a scarf that, after several starts and restarts, I realized wasn't going to be right. In the meantime, I had posted a series of photos from my time in Paris on a wall in my office. What struck me most about Paris last summer and what I continue to be struck by everyday on my wall are the beautiful colors nearly everywhere. 

In the apartment where we were staying: 

 

 

Looking out my bedroom window:

 

On doors:


 In shop windows:

 

In gardens: 

 

On the street:


That cool lady wearing a pink shirt, with a man carrying a pink cooler behind her (and someone else in pink even further behind). That's my friend.  

 

And this is the scarf I made for her to say thank you and to remember our trip.  

Merci, mon amie.

An Interview with Alison Reid, Author of Stitch Magic

We wrapped up our Stitch Magic Stitch-Along last week and I'd say it was a rousing success. I now have several new skills under my belt to incorporate into my sewing projects, like smocking, pintucks, and cording. But the most inspiring thing for me was following Stitch Magic author Alison Reid's experimentations with fabric. I love her non-fussy, freeform techniques. I was lucky enough to do an interview with Alison and ask her some of my burning questions. I hope you enjoy it--and I very much hope you enjoyed the stitch-along!

 

What is your process like when developing your techniques? I imagine a lot of experimentation is involved.

 
I start by buying fabric, often it’s fabric that might be slightly unusual-looking. As I wrote in my book I live with it for a while and handle it. By doing this the fabric almost dictates what can be done with it. I never just launch myself in, I always have to appreciate the fabric first. Once I get going it’s just a matter of experimenting. Once I hit on an idea another one will follow. In other words, one thing informs the next.

How would you describe your philosophy when it comes to sewing and fabric manipulation?

 
I don’t actually have a philosophy. This creates boundaries and takes control. I have no rules; it’s all about how you feel and see things. It’s important to be creative and to be experimental. I am an art teacher as well as an author. One thing I always tell the children in my class is never be afraid to take risks. Be experimental, try new things, and never be afraid to make a mistakes. Mistakes do happen, but I find that often something great can happen out of a mistake.

What's your sewing background? Do you have traditional sewing training?


I attended art school in the 1980s and studied fashion and textiles. I specialized in woven textiles and my focus was weaving fabrics for interiors. The weaving process taught me a lot about patience and concentration. Dressing and setting up a loom could take days; you really had to be patient during that process. After finishing my own studies I taught for 20 years and it was during that time that I was sent to train in sewing at Manchester Metropolitan University.

Do you have any advice for readers looking to incorporate your techniques into garment sewing?


I love the idea of incorporating the techniques into garments. Garments are blank canvases for many of the techniques in the book. I have pattern-cutting and garment-making skills and I suppose if I was to give one piece of advice it would be to make a toile prior to using your chosen fabric. A lot of the techniques are folded, tucked, etc, so youreally need to work out how much fabric the technique needs.

What are you working on now? Can we look forward to more books from you?


Yes, I am working on some other things right now. I am not allowed to say what they are at the moment but, yes, you will see more books by me.

 

Thanks, Alison! And thanks to all the readers and stitchers who joined our stitch-along!

Introducing...The BUST DIY Guide to Life

The idea for The BUST DIY Guide to Life came to us one day in fall 2009 as Melanie and I sat around the office, dreaming up future books. I said something like, wouldn’t it be amazing to do a book with BUST magazine, including hundreds of their craft and DIY projects from over the years? And Melanie said something like, let me give Debbie a call! And so we found ourselves just a couple weeks later having lunch with Debbie Stoller and Laurie Henzel, the editor in chief and creative director of Bust, talking about this exact book idea.

1,498 emails and 23 months later, we have a book! And so it is with great excitement that we want to tell you a bit about The BUST DIY Guide to Life and why we hope you will be excited about it, too.

At our kick-off meeting with Debbie and Laurie, we had a really great conversation about the current craft community and what it means to be “DIY.” You see, ten years ago when so many of us were picking up our knitting needles for the first time or blowing dust off of our grandmother’s sewing machines, we were mostly single-subject kind of gals. We might knit, but that didn’t mean we were going to grow our own vegetables or make our own cheese. Slowly over the last decade, that mentality has changed, and a person who is willing (not to mention excited) to make her own sweater is fairly likely to also want to bake a pie, or cut her own bangs. And so, as we discussed articles from the magazine that could be repurposed in the book, we came to realize that so much of what Bust produces could be considered DIY: from removing stains to giving yourself a beehive hair-do to learning how to fix your bike to starting your own craft business. 

Brimming with excitement about this new kind of book, Melanie and I went back to the office and contemplated how many pages we would need to produce a book like this (the answer: 368), while Debbie and Laurie had their staff dive into the archives, flagging any articles that could be considered DIY, and developing categories, which roughly turned out to be these: home crafts, cleaning, gardening, sewing basics, repurposing clothing, jewelry making, hair-dos, make-up tricks, DIY soaps-n-scrubs, home remedies, cooking and entertaining, finance, travel, work-out tips, sex, marriage, birth, and death.

Phew! In a word, this project was feeling ambitious.

Once we picked our categories, we created an outline, and Debbie and Laurie dove back into the archives again, this time to extract all of the Word documents, photos, and illustrations. The writing styles from the articles were all over the map, so the first step was to retrofit the text so that it would have the same tone. After many months of wrangling this material, we handed all of the text and art files over to our graphic designer, Anna Christian, who flowed it into her design.

That’s when we discovered that the book was coming in at 520 pages (not the 368 pages that we needed it to be). I never in my life thought it would be possible to trim 152 pages from a book—after all, many of our books are  152 pages—but we rolled up our sleeves and hacked away at the book, moving things around, combining articles, cutting others. Above is just one “storyboarded” page from the book (each box represents two pages), which we used as a roadmap to tell the graphic designer what to cut and what to move.

Some of the photos from the magazine were shot ten or more years ago, so we decided to give them a spruced up look. We picked about 25 projects to remake from scratch and had Marianne Rafter photograph them. Probably the most chaotic moment in the entire process of making this book was two days before the shoot when our sewist’s machine broke and she couldn’t finish the remainder of the projects. Debbie and I got on the phone and called every sewist we know in town (and many thanks to all of you who replied so quickly!). To make myself feel less stressed out, I went home that night and sewed three of the projects myself—a pillow sewn in the shape of a dachshund, a scarf made from sweaters, and this skirt shown above. Oh, the glamorous life of a craft book editor!

 

Despite all of the ups and downs creating this book, I must say, I was inspired every step of the way. I remember reading through the instructions for these cute fabric-covered sewn notebooks and thinking, hmmm…this looks so easy. That night I went home and whipped up a set of my own.

In the grips of winter, I made myself some sugar scrub using the recipe in the book, adding tangerine essential oils to add some cheerfulness.

For a friend’s party in March, I followed the instructions for giving myself a Frida Khalo hair-do, which garnered rave reviews from friends!

And that’s hardly scratching the surface…I’ve also made piñatas, flower hair-pins, and homemade butter. I've repaired my bra when the underwire poked through, and I've even grown potatoes in a bucket (yes, those are my potatoes shown above, and yes, potato plants look like this!) Not to mention, the Bust DIY Guide to Life even helped me plan my wedding. I was engaged while working on the book and was beginning to feel a bit stressed about the preparations. I remember reading this sentence in the “Planning a DIY Wedding” article and feeling greatly comforted: If you’re planning a DIY wedding, all you really need is an officiant, the papers, and the love of your partner. Everything else—and we mean everything—is totally optional.

So, if it isn’t totally obvious, I became pretty passionate about this book during the process. It was a primary focus for STC Craft between January of 2009 and May of 2011, and we couldn’t be prouder of how it turned out. To check out more of the images from the book, be sure to check out the gallery here. But really, nothing quite matches the experience of flipping through it yourself—there is sure to be something (or a dozen things) that you will want to make, learn, or grow for yourself—so be sure to preorder a copy or take a look when it hits bookstores this October!

 

Stitch Magic Stitch-Along: Smocking

 Hello and welcome to week 6 of our Stitch Magic Stitch-Along! This is our final installment, smocking. I saved this technique for last because it’s always seemed so mysterious to me. I’m happy to say that I now have a novice understanding of how this whole thing works. We’re going to do a honeycomb smocking technique to add to your group of samples. You can follow along on page 115 of Stitch Magic by Alison Reid. The above image of smocked and embroidered melton wool is taken from the book and you can see lots more pictures in the gallery.

Cut a long strip of fabric that is 10” tall by about 30” wide. Make a grid of dots on the wrong side, 1” apart from each other. I made 16 horizontal dots and 8 vertical dots.

 

Thread a needle with a long strand of all-purpose thread and enter the fabric on the uppermost righthand dot. Using your dots as a guide, stitch a running stitch through your dot pattern, going in at one dot and up at the next.

 

Pull the threads, two at a time, so that they form even folds.

Secure the thread ends together by placing a pin in the fabric and looping the thread tails around it in a figure 8 pattern.

Now you’re ready to smock! Note: Do NOT do what I did and do your smocking on the wrong side of the fabric, where your dots are. Those are meant to be on the backside. Oops!

Thread a large-eyed needle with 6-strand embroidery floss. Start at the uppermost left fold and enter the fabric from the back. Stitch the two folds together using a couple backstitches. From the back of the fabric, proceed to the 2nd and 3rd folds, moving down a row diagonally. I loved Alison’s illustrations explaining this:

 

Continue in this way until you’ve smocked the whole grid. Here it is! Pencil marks and all, I still think it's pretty cool.

I love how stretchy and sculptural it is. I’m eager to try this on some garment projects, and Stitch Magic has a great apron with smocked pockets for inspiration.

Well, readers, that concludes our stitching portion of the Stitch-Along. But I have a treat for you! An interview with the author is coming soon, which will wrap up the whole series.

My Diary of a Wimpy Kid Repurposed Tee

 

Two years ago, Amulet Books (part of Abrams Books, just like STC Craft is) released the fourth book in the Diary of a Wimpy Kid series--Dog Days. The Abrams marketing department went all out promoting the book, even organizing a cross-country ice cream truck tour. One day that summer, all Abrams employees walked into their offices to find a bright yellow Dog Days T-shirt on their desks. Just a little gift to get us excited about the book. And truly, I thought it was a very sweet gift. But deep down, I felt a little bit guilty because, well...I don't wear T-shirts. Pretty much ever. Let's just say that the boxy sleeves and straight waist of a standard tee don't do me any favors. So I took the shirt home and it sat in a drawer. I thought to myself, maybe I should hang onto the shirt and take it to Antiques Roadshow in 40 years when it will have become a true collector's item. But then, as summer 2011 rolled around, and I came up with an even better idea. Being a craft editor, I was, in fact, a little embarrassed that I hadn't thought of it earlier. I decided to cut up that boxy tee and turn it into a cute girly tank.

I first considered using the corset pattern from Alabama Stitch Book, but those tanks require cutting up an extra-large shirt and the Dog Days T-shirt was a trim ladies medium. Instead, I reached for a fabulous all-purpose T-shirt transformation book--Save This Shirt--which was, incidentally, the very first STC Craft book I ever helped edit.

I settled on the design for Fit to Be Thai-d, a tank with a high front (so I could preserve the Dog Days logo), and an ornate laced up back. One of the first steps is to spread out your T-shirt, place a tank top that fits you really well on top of it, then trace around the edges. Once you've transferred the shape of your tank, you pin along the shoulders and sides and stitch along the tracing lines on a sewing machine.

 

I realized about halfway into making the shirt that I wasn't going to have enough material on the sides (or the bottom for that matter) to do the fancy lace-up ties in the back. Yes, it's true, even craft book editors sometimes skim the instructions and make silly mistakes. But, never one to be discouraged, it was at that point that I strayed from the pattern and improvised! I trimmed away the excess material from the neck, shoulders, and sides, and tried on the tank to check the fit. The top looked nice, but I didn’t like the way it fit at the hips. I wanted it to flare out a bit more like a tunic. So I cut slits up the sides and then cut out two triangles of fabric from one of the sleeves. I sewed the triangles into the slits, and voila, instant flares. And now I have a lovely tank to wear during these last long dog days of summer...perfect for barbecues, picnics, water balloon fights, naps in hammocks, and of course, eating ice cream cones.

 

Stitch Magic Stitch-Along: Cording

 

Welcome to week five of our Stitch Magic Stitch-Along! Today we’re talking about cording, which begins on page 85 of Stitch Magic by Alison Reid. Alison has tons of great ideas for unusual cording techniques. I have to say, today’s exercise was one of my favorites. I’ve been hard at work on my own book and doing this cording experiment was a great reminder of how fun and spontaneous sewing really is! It was just the break I needed.

Let’s start with the technique that the author uses on the awesome pillow pictured above. I was especially drawn to this because I feel like it could be incorporated very easily and charmingly into apparel sewing. Wouldn’t these little loops look adorable around the border of a skirt?

I started by marking my lines on a 10” square piece of scrap fabric. I made lines 2” apart and drew little marks 1-1/2” apart on each line to mark where the loops would occur.

Now grab some cord (I used some natural-colored cotton cord that I had around the house). You can use a cording foot on your machine, but I wasn’t able to get one in time for this post. I started with my zigzag foot, but then found that my buttonhole foot was more effective since it has grooves on the bottom for the cording to pass through. (Mine is a traditional multi-step buttonhole foot, not one of the automatic buttonhole feet.) Zigzag over the cord and when you get to your little marks, stop with the needle down. Lift the presser foot and arrange the cord into a little loop with a twist at the top. Put your presser foot down and continue zigzagging. That’s it!

 

Here’s my practice version, which I did without marking lines and just improvising. Experiment with less regimented lines and loops!

 

Next I wanted to try something that was a little more intricate, inspired by this corded blouse tutorial. Get a new piece of fabric and arrange your cord however you please. You can make loops, bows, lines—whatever you want! Pin your design in place. Now stitch it down by hand, using a slip stitch. This means that you’ll take one little stitch out of the base fabric, followed immediately by one little stitch out of the cord. Your stitches should be on the underside of the cord to make them invisible.  Match your thread to your base fabric to help it blend in.

Ta-da! Wouldn’t this be pretty on the neckline of a blouse?

 

I'm dying to try this with some premade satin cord, which is also called rattail cord. Ooh, I wonder if it comes in metallics?!

That wraps up this week’s stitch-along fun. Next week is our last week—smocking!

P.S. To see lots of images from Stitch Magic, cick here.

Stitch Magic Stitch-Along: Pleats

 

Welcome to week three of the Stitch Magic Stitch-Along! My apologies for the delayed post this week. I’m writing to you from lovely Cleveland, where I’m filming an episode of a PBS sewing show.

Today we’re talking about pleating, which begins on page 41 of Stitch Magic by Alison Reid. But first, a note: the author uses the terms pleats and tucks to apply to her own techniques, which are gorgeous (like the beautiful throw pillows pictured above). In the sewing community, there have been downright impassioned discussions about the difference in terms. For this sew-along, don’t worry too much about what the “proper” terminology is, but rather focus on how the author utilizes the techniques in her own designs—and how you can customize them for yourself!

Okay, let's dive in. Pleating requires very precise marking and folding, so I’ve only gone over two design samples this week. There are several more techniques in the book to try; I especially like the origami box pleats, shown below.

 

We’re going to start out with knife pleats, which are flat pleats that are generally uniform in size. Each pleat takes up three times its width. So, for a one-inch pleat, you need to allow yourself three inches of fabric. Make sense?

Start by marking your pleat lines. Mark two-inch pleat sections one inch away form each other. Mark them on the bottom of the fabric as well. Bring one pleat line to the other and pin in place.

 

To retain the soft, sculptural feel of the pleats, we’re not going to press our sample. (If you want crisper pleats, go ahead and press them.) Now take some six-strand embroidery thread and stitch the pleats down in incremental lines with running stitches.

 

It’s hard to get a straight line, so mark your fabric with disappearing ink or some sort of tape that doesn’t leave a residue. Masking tape has worked well for me; you might also want to look for Tiger Tape, a quilting notion that has incremental stitch marks along a tape that doesn’t leave any gunk on your fabric. Genius!

Now let’s try another technique. This is a sort of grid, with small projecting pleats in both the horizontal and vertical directions.

Make ¼” pleat marks on your fabric. The pleat marks should be 1-1/4” away from each other.

Fold and pin the vertical pleats. Now, stitch along the side of the pleat that isn’t folded. Next, do the same with the horizontal pleats. But! When you stitch the sections that intersect, pull back the little flap to form a sculptural detail. Your presser foot will want to do this naturally anyway, so you’ll only need to help it along a bit.

My sample got a little crooked at points (See? Marking well is so important!) but I still like how it looks. In fact, it reminds me of the bodice of a designer dress I saw recently. Zac Posen, anyone?

I hope you’ve enjoyed a look at Stitch Magic’s pleating techniques! Next week we’ll be trying cording, which is completely new to me. If you can, get yourself a cording or braiding foot for your machine. This isn’t crucial though—methods with a regular presser foot as well as hand stitches will be shown.

Tell Us: Who Inspired You to Knit? A Guest Post from Larissa Brown

The second-ever Sock Summit was held in my home town of Portland, Oregon, last week, and it was the most joyful gathering of knitters I've ever seen. From flash mobs to fleeces, the convention center was overflowing with creativity and stuff. A huge marketplace showcased a world of gorgeous hand-dyed yarns from the tiniest dye company to Blue Moon Fiber Arts itself. I was introduced to MacKintosh Yarns and Black Trillium for the first time, got samples of gorgeous buttons from Lantern Moon, and made notes about several new yarns, including my favorite of the weekend—a linen-esque recycled denim from Kollage. A highlight of the summit was the final morning, when darling lambs were herded into the convention center and sheared onsite for the start of the Fleece to Foot team spinning and knitting race.

I was attending the Sock Summit for fun, but also as the excited author of a very new book, My Grandmother’s Knitting. The book features family stories, and even baby pictures, from 17 top designers. The book honors the people who made us the crafters we are today.

Looking around at the 6,000 summiteers, I figured that amounted to at least 6,000 inspiring teachers and mentors. I managed to capture the names of about a hundred of them, by asking 100 knitters to hold up signs.

It was kind of an odd request, and I’m shy, so I recruited my friend to approach those hundred people. Stevanie (of Pico AccuardiDyeworks) worked the room with a big stack of white paper and a fat black Sharpie. The assignment: Write down who taught you to knit or who inspired you. Then smile big for the camera.

So many people joined in, from the famous to the amazingly anonymous, it was impossible to get all their names. But I have recorded “on flim” the names of those who came before them, who inspired and nudged and supported them. Or in many cases, I have a smiling photo of someone who taught themselves to knit (there were lots of signs that said “Me!”)

Just a few proud knitters seen below include Clara Parkes, Emily from Portland’s Twisted yarn shop, Gryphon (of The Sanguine Gryphon), Shannon Okey of Cooperative Press with her sweet purple hair, Benjamin Levisay, designers Marnie MacLean and Star Athena, and bon vivant Franklin Habit. A highlight for me was taking Joan McGowan-Michael’s photograph with a sign honoring “her dear mom” Angelina, whose story and photograph are featured in My Grandmother’s Knitting. As I took Joan’s picture I could feel her love for her late mom. You can see her in the center of the mosaic. 

The photos are now on Flickr and Facebook, where more are joining them each day. Knitters from all over the world are adding their own.

All that is missing is you.

We’d love to get 1,000 knitters posting their photos on Flickr and Facebook by the time the book hits stores on September 1.

Please get out some paper and a Magic Marker and take your photo and the photos of your friends. We’d love to see your face and the name of that special person, and we’d love to know if you blog about it, Tweet it, or Facebook it.  There were 6,000 knitters at the Sock Summit. There must be at least ten times that number who have a special person to honor, right? Show us!

See the project on Flickr.

And on Facebook.