Vintage Strawberry Pincushion Ebay Treasure!

This gorgeous bunch of white strawberries is up on ebay and I dearly wish I could afford them! I'm not sure if they're intended as decoration or as a functioning pincushion, but either way, wouldn't they look great on your sewing table? Here's the link to the listing, which is almost over, so go quick!

Now, since I really can't buy them right now, but of course I just have to have them anyway, I came up with my own version.

Turns out a strawberry is a pretty easy thing to make. Just a half circle of fabric sewn up the side and gathered at the top. The original used white velvet, but naturally I don't have any on hand so I used this cotton print.

First thing to do is cut out 2 circles 3 1/2" in diameter. Fold one in half and cut along the fold. Take one of those halves and trim it down to about a 2 1/2"

diameter. Take the other circle and trim it down to a 3" diameter, then fold it in half and cut it along the fold too. Okay, I cut mine wrong. Creative license! Each half circle makes one berry, and you want 1 large one, 2 medium ones and a small one.

Next you'll fold each piece in half again (right sides together) and sew along the straight open edge with a 1/4" seam. (I used black thread so you could see). If you want rounded tips on your berries instead of the pointy ones shown, round off the end of your seam. You want to use a fairly small stitch length on your machine, or a small backstitch if you're doing this by hand.

Turn them all right sides out and run a small gathering stitch around the open tops. Use a fairly long length of thread. Stuff VERY firmly. You can always get a little more in! Draw up the gathering stitches and shape your berry as you go. When each one is stuffed, sew the top closed and knot the thread, but don't cut it.

Now, take the tail of thread and a bunch of seed beads and sew seeds all over your berries. I always seem to sew things in straight lines, but you want to make them as random as possible. Sew on as many or few as you want. When you're happy with it, run the thread to the top of the berry, knot it off and cut it. Do this with all of your berries.

The calyx on the original is just a square of velvet ribbon. Another thing I don't have on hand, so I used felt. You need a 1/2" square for the smallest berry, 3/4" for the largest berry and 5/8" for the medium berry. Cut 4 12" lengths of embroidery floss and tie a big knot in one end of each one. Using a needle, run the other end through the center of each calyx, then sew the calyx on the berry. When they're all done, hang the berries from one hand and adjust the lengths of the embroidery floss until you're happy with how they hang. Tie a knot on the other end to keep them in place while you make a bow.

Still no velvet ribbon so I used some 7/8" satin ribbon in a really pretty shade of apple green. Cut 2 pieces each about 9" long. Take one piece of ribbon, overlap the ends about 1/2" and sew together. Bring the center of the loop to the sewn join and wrap the thread around it several times. Knot the thread but don't cut it. Take the other piece of ribbon and, with the same thread, do a running stitch up the center going across the short width. Push this up to the loops, draw up and wrap the thread around the whole thing a few time. Then knot securely and cut the thread.

Being really sure not to lose your spacing, carefully untie the knot in the embroidery floss on the strawberries. Keeping the strands of floss parallel, lay the bunch of strawberries on top of your ribbon bow and wrap the floss over the thread wrappings. I went once on each side of the bunch, then once between the outer most berry and the next in, again, on both sides. This seems to keep them from tangling with each other quite so much. Carefully lay the whole thing down, back side up.

With an embroidery needle, knot off each strand of embroidery floss. Trim the ends of the ribbon and treat with fray check or something to prevent fraying. Right about now I suddenly realized that this would make an awesome pin for quilting or embroidery get togethers. Sure enough, no pinbacks in the stash, so I'm using a safety pin for now.

This and other great vintage patterns can be found at PatternsAlaCarte on Etsy, click on one of the little samples at the bottom of the page.

Birth of a Pattern

Birth of a Pattern

So last Christmas a customer contacted me with a sad story. Seems that she had made a felt applique Christmas wall hanging years ago and it had eventually wound up at her sister’s home. Well, I’ve made a few of those Bucilla felt ornaments over the years and it turns out that eventually they just disintegrate. I myself actually just tossed a couple of very cute little Christmas mice I had made back in 1998. Things were just falling apart. Turns out the sister felt the same way about the
wall hanging, so off to the trash it went. Not her fault really, most non-needleworkers just don’t see the value in keeping something that tattered - how was she to know it was still valuable as a template for a new pattern? So this nice lady contacted me to see if just maybe I had the pattern in my stash.

I spent a couple of days looking through all my old magazine, then a couple of weeks searching the internet, all with no luck. I did finally run across a Christmas tree skirt that looked like it might match the description and she said it was remarkably close. More hunting on the internet and darn if I can’t find the thing anywhere. The picture I found was for an item that had sold and was actually regular applique, not the felt. I finally just took a deep breath and decided to recreate the pattern from the (distorted) picture. Lots and lots of fiddling and I finally came up with line drawings for each of the 12 Days of Christmas based on that old tree skirt.

Now, 1970 was not my favorite decade at the time, and let’s face it, bell bottom hip huggers (aka low rise) jeans look good on remarkably few people. The colors for the period are all wrong for me. I do think lime and apricot go well together, just not as MY clothing! I’m still not sure about red and pink, but hey, it actually seems to work for these little birds. It’s good for me to work in a different palette though, or else I’d make everything in blue, grey, black and pastel pink. And even though the original picture was fuzzy on the details it did provide good color direction. I figured out how to cut out all the little felt pieces using the Heat n Bond after doing the first Day. Those little pears just about drove me nuts! The bonus with Heat n Bond is that you also get to do away with pinning anything and get right to the embroidery.

I’m looking forward to putting this one up on Patterns ala Carte just to see how many people tell me it reminds them of the old one. And I can almost guarantee that someone somewhere has that old magazine pattern, so maybe it’ll come to light too. I’d love to see how close I got to the original!

The American Silk Bubble

What Happened to Silk Production in America?

Although the manufacture of silk as a commodity started in America as early as 1603 when King James of England sent both mulberry tree seeds and silkworm eggs to Virginia it didn’t really take off until 1830. At that time a new species of mulberry tree was brought from China. The Chinese Mulberry grew quickly and was easier to propagate than the White Mulberry, and to make it even more attractive, worms fed on Chinese Mulberry leaves were said to produce a better quality of silk.

In 1830 the new mulberry tree also got an additional PR boost from congress. The result? Similar to the housing speculation of our own time. People rushed out to buy trees, saplings, cuttings and seeds. Naturally prices rose as demand outstripped supply. Pretty soon the price of the trees surpassed reason. In the space of just 4 years the cost of a hundred trees went from about $5.00 to $500.00. There is also the tale of just two trees that were sold for $100.00!

Obviously such outrageous prices couldn’t sustain themselves and the market for mulberry trees crashed around 1840. People lost fortunes and farmers tore out the trees to use the land for more profitable crops. I imagine people went around muttering dark things about tree sellers the same way we currently grumble about mortgage brokers and banks. Even so, silk production hung on for a few more years until, around 1844, when a blight struck down the remaining trees. And so ended the manufacture of silk in America as a cottage or home industry.

But what of the big silk mills? Names like Belding Brothers, Richardson and Corticelli? Although the local farmers couldn’t compete with overseas prices for raw silk and labor, the mills could still make a profit using raw silk imported from overseas. Another interesting parallel to our times. Although the raw materials come from overseas and America’s workforce faces increasingly fewer jobs, the large companies stay in business.

By the early 1900s the American silk industry was the largest in the word, despite having to rely on imported raw silk from Japan. In 1920 there were more than 1000 silk mills, although most were small operations with less than 300 employees.

America had succeeded in bringing within reach a product formerly considered a luxury. Unfortunately this achievement was short lived and silk gradually returned to being a luxury item. In the 1920s with the growth of rayon (the first of the synthetic imitators) contributed to that return to luxury status anlong with unstable prices for raw silk and over production . Towards the end many companies merged in an effort to remain viable. You can see evidence of this on old thread spools; the names of Belding Brothers and Corticelli can be found sharing the same spool end. Eventually space was made on the same spool for Richardson as well.

Flower Looms

Flower looms, aka the Bloom Loom, Knit Wit, or Crazy Daisy Winder, seem to be making a comeback thanks to a lady in California and Martha Stewart. The problem I have with them is the same reason I didn't think much of them back in the 70's. While the flowers are very pretty, I'm a small person and they're just too big and clunky for my own taste. Although I do have to admire what people are doing with new yarns and ribbons and wire and beads and pretty much anything you can wind around the little pegs.


I've spent some considerable time trying to track down my own vintage loom, I've discovered that they're harder to find than I thought. Doesn't help that I spend ALOT of time looking at vintage magazines and now I'm pretty sure what I thought I'd seen in a store a few months back was probably a vintage advertisement.

I did find something called a Bloom Loom at JoAnn's. It's about 4" in diameter with pegs on both sides so you can make a double sided flower. My flower ends up about 3.5" in diameter as I tend to pull the yarn pretty tight. The instructions specifically say not to, but I can't seem to keep the yarn on the pegs any other way. I also find the instructions a little confusing. Maybe it's the format; the lines tend to run together so it's hard to keep your place. Bear in mind I've got a 2-handed death grip on the loom so everything stays where it's supposed to be. It could also be a left-handed thing. I really want to go clockwise, not counter-clockwise! I did finally get it and then started thinking about how to make them smaller.

My favorite of the vintage looms is the one called "Hazel's Loom" because it has more than 2 rounds of pegs so I can make 3-5 graduated layers of petals if I wanted. I drafted up plans for making my own since I can't find one of those at all and the nice lady in California has apparently bought up all of the old flower looms of any type out there.

As a test run, I put a double circle of really big pins in my pincushion and did the little flower. It turned out to be 1.5" in diameter, which is more like it. I'll crochet a couple of leaves and turn it into a barrette. The pincushion thing worked for testing, but the pins want to move as you're winding the yarn so I'll be making the wood version or maybe in metal since the pegs will have to be so small and I don't want it breaking. Hopefully it'll work out as well as I think.

In closing, some of you may be wondering why so few new patterns have been put up lately. This picture explains it pretty well. This is Poki, who hears the sound of a printer or sewing machine and comes running to "help". It is very, very hard to work with a cat sitting in the middle of your project! Especially one who reaches out to grab stuff. She's named Poki for a reason, and not just because it's "cat" in Hawaiian.

dmoz.org

Belastraw

Thanks to ebay I have finally gotten my hands on a few spools of the mythical Belastraw crochet yarn - er, thread, umm, "stuff " for lack of a better word. Belastraw was the material of choice for a lot of the purse patterns in the 1950's and I've been trying to get a handle on exactly what it was and what's available now that would make a good substitute.

On first sight I was tempted to dismiss it as junky funky plastic yarn. The sort of thing that gave crochet a bad rep back in the 70's. It's pretty thin and bears a definite resemblance to nylon rope. It feels a lot softer though and the little metallic strand running through it makes it kind of pretty. I also remembered that aluminum was a luxury metal when it was first invented and chainmail or mesh purses made of aluminum were much more expensive at the time than the steel ones. Belastraw was the up and coming, fashion forward, gotta have it fiber in its day. Remember, this was not long after WWII and everyone wanted modern. Now we appreciate the wonderfulness of 100% wool or cotton, back then it was old fashioned and synthetics were just way cooler.

The labels say Belastraw was distributed by John Dritz & Sons, and yes that Dritz. Dritz was eventually bought out by Prym and became the Prym-Dritz Corp we all know from the sewing notions. It also says that it's made from "viscose process rayon". Had to look that one up.

Turns out that rayon is made much the same as a spider spins its web. A liquid is extruded (shot out) of spinnerets and becomes filaments, which are then spun together to create the final strand or thread/yarn. Bottom line, it's still a form of synthetic, much like nylon. "Viscose" is not quite the same as "viscous". Viscose is "a thick golden brown viscous solution derived from cellulose and used in the manufacture of rayon and cellophane. Viscous means "having a relatively high resistance to flow", or in a sentence now; Molasses is more viscous than water. (Both definitions are from the American Heritage dictionary)

The photo shows the Belastraw at the bottom with some Red Heart Baby Sport above it. They're roughly the same size and the Red Heart is weight size 3 in the new standards. The label originally said there was 144 yards on the spool but it's been blacked out and 125 yards stamped instead. Judging from the vagrancies in the stamps for color, dye lot and yardage, it looks like some poor person actually stood there with an ink pad marking each spool. How's that for a boring job! At least it was a job, and that's something we all appreciate these days. I'm thinking that just about any 3 yarn will do for a substitute and any with a slight sheen will be better. The belastraw does have that faint plastic glow.

Resizing Vintage Knitting & Crochet Patterns

*Waist measurement on the Size 16 = 28"

These are from a Bucilla/Bear Brand book from 1939 that not only gives the standard measurements for that time period, but also fairly clear instructions on adapting patterns to fit.

The following is a copy of the original instructions for resizing a pattern.

Please bear in mind that vintage clothes fit ALOT closer to the body than modern ones! According to these charts I'm a size 16, but when I made a sweater using that info for the sizing it was way too small! I will probably go with a size 18 or 20 on these charts just to get the extra room I'm used to.

"Knit to Fit"

First work a sample piece to determine the right Gauge. Before beginning work on a garment, take the yarn and needles specified in the directions, cast on 20 stitches (or if a specified pattern stitch is used, cast on a multiple of the number of stitches required for the pattern). Knit 2 inches in the pattern used in the garment. At beginning of directions fro each garment you will find that the number of stitches to 1 inch, and the number of rows to one inch is given. This is called the gauge. By comparing this gauge with the number of stitches and rows to one inch on your sample, you can make sure whether or not your gauge is the same as the gauge called for in the instructions. If you gauge is different from the gauge called for you garment will be of different size than the garment described. In order to get the same size garment you must adjust your gauge to correspond to that given for the model you intend to make. If the difference in gauge is slight, adjust by tightening or loosening the tension of your yarn when knitting; if the difference is considerable change the size of your knitting needles so that you can obtain the right gauge with ease. The same principle applies when crocheting a garment.

The directions for most garments are given in Size 16. For each larger or smaller size, the number of stitches and rows to be worked must be altered according to the different measurements n width and length for the new size. the normal change in width for each size is 2 inches (1 inch for front, and 1 inch for back). If a special pattern stitch is used, attention must be paid to the number of stitches needed for the pattern).

Take your own measurements in places as indicated on Chart A, then decide which one of the size charts comes nearest to your own measurements. f your measurements differ in any particular place from the standard measurements on the chart, make these changes on your chart. Now multiply the number of inches on your chart with the number of stitches in the gauge and you have the number of stitches needed in width at this particular place on your garment. Change (decrease or increase) the number of stitches accordingly The length measurements are easier to adjust as you can measure the needed length in inches as he work proceeds. If the difference in length is considerable (as may be the case in length of sleeves, armholes, skirts, etc.). make less or more rows between decrease or increases in order to get the proper width at the required length.

Decrease more stitches at beginning of armholes in the larger sizes as the difference between bust measure and bank and front upper body width is greater in the larger sizes.

A skirt may be worked any desired length, but all changes in distance between decreasing rows must be made before the hip line; the hip measure marked on the chart must be attained 7 inches below waistline.

Vintage Beaded Bags without the Frame

Beautiful as the vintage beaded knit purses are, let's face it - a good frame is hard to find. vintage frames are out there, but often damaged or too worn and new frames can be just as pricey as the antiques!

I've found just two websites that sell decent frames at reasonable prices and I'd highly recommend both of them if you just have to have a frame for your beaded masterpiece.

The first is that American bastion of antique needlework patterns and supplies:

http://www.lacis.com/catalog/catalog.html

Click on the image of the purse frames at the top of the page and scroll through the wonderful selection. The measurements given are for the overall size of the frame, not the inside dimensions from hinge to hinge.

The second is less well known, but no less wonderful:
http://www.purseparadise.com/purseframes.html



Both sites have a pretty good selection and the best pricing I've been able to find. I've ordered from each. Again, both have quick shipping times and great customer service. If you just have to have a metal snap frame I'd go with one from either of these two merchants.

Another recent discovery is on Etsy. Not as many vintage looking frames, but several of the modern ones will look almost as good. Check out ThaiSupplies.etsy.com



But what if you just don't want a frame or can't afford one? Well, there are alternatives.

The drawstring method is an old standby. Actually there were quite a few vintage patterns that have little beaded tabs across the top to thread a cord through. Or a "header" can be crocheted at the top of the bag. Basically a decorative border done in crochet, a header has little holes in the pattern called "beading". Cords are threaded through the beading and often twisted out of the leftover silk thread used for the body of the bag.

Zippers are pretty easy to install in the lining before sewing into the purse. It makes a kind of floppy top, but a bit of boning or buckram between the lining and the purse can solve that problem.

Speaking of buckram, it can be shaped into all sorts of tops and is often the inner layer on those little white Japanese beaded purses from the 1950s and 1940s. The edges of cut buckram are sharp and will wear away your threads and lining so enclose them in seam binding if you choose this method.

As you can see, there are a few alternatives out there. Look at purses in thrift and antique shops to see how the problem was solved in the past. You'll be amazed at the variety of methods used!