The University Chapel Project - July 2015 update

Yesterday the Chapel Stitchers got together for the afternoon, to decide on the design for the altar frontal. We'd had a lunchtime meeting previously, at which we'd discussed ideas, but this one was far more 'hands on'.

We've decided that we want look to the future, and have a contemporary design, but also celebrate the chapel's history, and the fact that it was built by the students themselves. With this in mind we have decided to work with the theme of hands. We also want to incorporate the Amber Peace Cross into the design, as this is something which is specific to the University.

The plan for the altar frontal is to have a representation of the Amber Cross in the centre, with applique hands around the sides. Some of the hands will be plain fabric, while others will be embroidered. The plan for yesterday was to create a paper mock-up, so that we could see how this idea worked in practice. Kath had created a full-size paper template of the frontal, and we already had some hand outlines which we had created by drawing round our own hands. We want to get outlines from as many of the students and staff as possible, to make this truly a community project for the University.

Members of the group set to work cutting out hands, while I scaled up the Amber Cross from a photograph. To add more interest to the design, we also had hand outlines from children in the University's creche. Then the real fun began, as we started painting!

We laid the cross in place on the template first, and then started arranging the hands around it. Christine painted over the edges of the cross and then removed it, which created a lovely effect.

Once we'd got the hand motifs in position, it became apparent that we're going to need a lot of them! Probably around 30 on each side.

Powered by cups of tea and coffee, and the delicious home-made biscuits which Ros provided, the afternoon went very quickly. By the end we had a clear idea of what the frontal will look like. Exciting! I think that we were all really pleased with what we'd achieved.

The next meeting of the group will be on Friday 4 September at 12 noon, in the usual room at Senate House.

#VintagePledge - Simplicity 2683

Most of the things I have made recently for the Vintage Pledge have been from vintage reissue patterns, such as my swing coat and my 'Horrockses' dress. Time to get back to my pledge to make up three of my vintage patterns.

Simplicity 2683 is a pattern of my mum’s, and it's a survivor. It survived Mum having a clearout of her patterns (sob) in the 1970s, and I acquired it about a decade later. It then survived me having a clearout (sigh) in the 1990s.

Pattern envelope

The pattern dates from 1948, and is for a housecoat, which was an informal garment intended for wear at home. Mum tells me that she made a summer and winter version, and wore them a lot.

I made the short-sleeved version in a flowered cotton in 1984 or ‘85 (I can remember wearing it to a specific event, but not the exact year) with a shorter skirt and a broderie anglais trim around the collar and sleeves. No photographs exist which is just as well, because while I’d be happy to share images of the dress, the likely accompanying hairstyle is another matter!

This time I planned to use a viscose with a vaguely 1950s pattern of leaves printed on it, and what was described as a ‘subtle silver overlay’. However when I looked at it, it wasn’t my idea of subtle at all. I got round it by using the wrong side of the fabric. As well as having no silver the background was lighter, and the design was slightly fuzzier, both of which I preferred.

Wrong side (left) and right side of the fabric

The fabric also went perfectly with some vintage buttons which I’d bought from The Old Curiosity Shop in Hay on Wye last year.

Fabric, pattern and buttons

Initially I wondered how I’d got my previous version to fit, as the pattern sizing is three sizes smaller than the one I currently use, and while I was definitely thinner 30 years ago I wasn’t that much thinner. However when I opened the envelope I discovered that I’d drafted new pattern pieces. I blithely assumed that I’d made all the necessary bodice length alterations at the time. (You can see where this one is going, can’t you . . . ?)

I made up a toile of the bodice, which needed widening but otherwise seemed to fit, so drafted new pattern pieces and made up the bodice. The instructions say to make the upper two buttonholes before attaching the facing. I decided to leave them until later, which turned out to be one of my better ideas.

One thing which I really like about the pattern is that the collar is cut with a curved shoulder seam rather than a flat one, so that it lies properly.

Back collar piece

As ever, I improved the skirt with the addition of in-seam pockets, and attached the skirt to the bodice. It’s a full skirt, so quite heavy, and once that weight was attached it became obvious that the bodice was much too long. Either I have partially shrunk in 30 years while miraculously remaining the same overall height, or I was a lot less fussy about fit when I made this previously. Cue much sighing, cursing, unpicking, getting Mum to help, fitting properly on Nancy, and being very grateful that I hadn’t made and cut those upper buttonholes.

The lower buttonholes are created by leaving gaps in the waist seam. Initially I was going to reinforce them with buttonhole stitch (hence last week’s post), but I decided that I didn’t like the effect. Instead I machined round the gaps, and made bound buttonholes for the two above.

The four buttonholes completed

I kept the dress quite long for the fifties look. I’m not sure if it would have been worn with a petticoat if it was intended for wearing at home, although the pattern illustration seems to suggest that it was. I took some photos with just a slip underneath, and then wearing my net petticoat. Unfortunately my camera decided to vote with its focus mechanism, so only the straight skirt images were usable. Gah! Hopefully I'll get some better images later in the week.

Finished, but petticoat-less

Update, Monday
Not sure whether the camera is still playing up, or the extreme breeziness was making the tripod wobble. Either way, taking this still slightly fuzzy photo reminded me that when I made this dress previously, I added a couple of press studs (snaps) to the skirt wrapover. Guess what tonight's little job is!

With petticoat, and wind!

Blanket v buttonhole

This week I had hoped to be posting about my latest 'proper' (as opposed to reissued pattern) entry for the Vintage Sewing Pattern Pledge, but unfortunately four large hand-stitched buttonholes are taking longer than planned to sew.

Buttonholes on a late 1780s frock coat, © Victorian and Albert Museum, London

This did remind me that for ages I've been meaning to write a post about the difference between blanket stitch and buttonhole stitch, so here it is. (Note to anyone reading this who knows that I'm left-handed - I've flipped all of the images so that they don't completely confuse right-handers!)

Blanket stitch - the needle is inserted from front to back, pointing upwards, towards the edge of the fabric. The thread is passed round the back of the needle, and then the needle is pulled through.

The stitches can be spaces out, or close together.

The thread runs along the fabric edge in more or less a straight line.

Until quite recently i.e. when I made my embroidered camisole, I thought that buttonhole stitch was just blanket stitch worked close together. In fact, it is a different stitch.

Buttonhole stitch  - the needle is inserted from back to front, pointing downwards, away from the edge of the fabric. As with blanket stitch, the thread is passed round the back of the needle, but it is then passed under the point of the needle as well.

Once the needle has been pulled through the fabric, it is then pulled upwards. The thread forms a loop around itself.

This gives a thicker and therefore stronger edge to the buttonhole than would be achieved with blanket stitch, however closely it is worked.

It also explains the slight ridge visible on hand-worked buttonholes.

Archery coat, 1830-1850, © Victorian and Albert Museum, London

Sisterhood of the World Bloggers award

The lovely Gina of Beauty From Ashes, she of the very wonderful Sailor Suit of Swear and the I-hope-soon-to-be-completed (hint, hint) Ruth DeWitt Bukater Boarding Suit, has very kindly nominated me for a Sisterhood of the World Bloggers award. Aww, thank you Gina!

There are five rules for the award, but I’m going to be Very Bad, and wimp out at three.
1.Thank the blogger who nominated you, linking back to their site.
2.Put the Award logo on your blog.
3.Answer the ten questions sent to you.
4.Make up ten new questions for your nominees to answer.
5.Nominate ten blogs.


So, on to Gina’s questions.

1. What do you watch/listen to while sewing? Quite often, nothing. However Mr Tulip got me into listening to cricket commentary on the radio (i.e. Test Match Special was going to be on whether I liked it or not, so I decided I might as well take an interest), so I’ll listen to that if it’s on. Occasionally if I’ve got a lot of hand sewing to do I’ll put on a DVD, but it’s got to be something which I’ve watched before, so I don’t get too distracted by watching it.

2. What costume/outfit has filled you with the most sense of accomplishment and joy? This dress, which I made ages ago and only blogged about in relation to pattern matching.

I hadn't done much dressmaking for several years when I made it, but it fitted so perfectly that I just sighed with joy every time I put it on, and it inspired me to start making clothes again.

3. What is your favourite fabric/trim/embellishment to work with when making an outfit? I have an unreasonable weakness for self-covered buttons - I have to stop myself from putting them on every garment I make, even ones which don’t need buttons!

4. Do you take a lunch/food break while sewing or sew right on through the hunger? I have to take a break. It might be a little late sometimes, but skipped meals and being a migraine sufferer really don’t go well together.

5. Would you rather read something Sci-Fi or a historical/classics novel? Historical/classics every time, I don’t really do Sci-Fi.

6. When going out to eat at a restaurant, do you like to sit outside in the fresh air or inside the restaurant? Living in the north-west of England, the climate tends to answer this one for me! It does mean though that when the weather is good enough to eat outdoors, I really appreciate it.

7. What has been your most favourite historical place to visit? Easy. Venice, hands down.

8. What fills you with awe and wonder when you gaze upon it and why? Venice again. It’s astonishing to think that centuries ago a group of people moved to a marshy, mosquito-ridden swamp for safety, and when the danger had passed, instead of moving somewhere sensible they stayed put and built this amazing city.

9. If you could take a time machine and visit a certain time, what era/eras would those be? I'm a bit of a wimp when faced with the prospect of disease and grime, so it would have to be a flying visit to Renaissance Venice, avoiding mosquitoes, fires, plagues and assassins.

10. Do you prefer to go barefoot or shod on the cool summer grass? Have you ever noticed that no matter how hot it is, that grass is always cool? On grass, shod. However put me on a beach and I’ll nearly always end up barefoot (unless the water is really, really cold!)

The University of Chester Chapel project

I'm involved in a new venture, and it's something a bit different from what I usually work on.

At the talk about the University of Chester’s 175th Anniversary Quilt at the Textile Stories Study Day in April, the speaker Fiona Roberts mentioned that the group who had made it were keen to tackle another project. She also extended an invitation to anyone in the local community who would like to get involved. I’ve lived near the university for all of the 20-plus years I’ve lived in Chester, and this sounded like a lot of fun, so I put my name down. Also joining is textile artist Christine Garwood, who spoke at the Study Day. On Friday the group held its first meeting for the new project; to make some items for the University of Chester Chapel.

Inside the chapel

We started off with a tour of the chapel. Thanks to Reverend Canon Dr Peter Jenner, the Senior Chaplain, and Fiona Roberts, Alumni and Development Manager, for the history which follows.

The chapel entrance

The university started life in 1839 as Chester Diocesan Training College, and was the UK's first purpose-built teacher training college. Its purpose was to take young working-class men from the industrial cities of northern England and train them to become teachers in those cities.

As a Church of England institution, the college expected its students to attend morning prayers at the Cathedral (about half a mile away) every morning. The exact time of morning prayers is no longer known; 07:30 is one possibility, but it may have been as early as 05:30. Either way, it seems that the students were soon keen to have a chapel of their own close to the college! So keen in fact that they built it themselves; digging the foundations, quarrying and carving the stone, and carving the woodwork. One of the later stained glass windows on the south side of the chapel depicts this.

Stained glass showing the students hard at work

The original college building and its new chapel, from Wikimedia Commons

The east window was designed by the students of the college, while the west window commemorates the university’s 150th anniversary in 1989. A new window commemorating the 175th anniversary has recently been commissioned.

The east window

The west window

Like a great many chapels, this one has a memorial to World War I. Unlike most memorials, this one has a gap in it. Some time in the 1920s or 1930s a group of former students were visiting the college, and one of them looked at the memorial and pointed out that he was still very much alive! So his name was removed - no easy task from a cast metal memorial.

The war memorial with its missing name

The plan is to make two kneeler cushions for weddings, two chair cushions, four altar sets of chalice veil and stole, and a single altar cloth which will depict the four church seasons and tie in with the altar sets. We have a few ideas, and hope to include an image of the Amber Peace Cross, made by university alumnus Frederick Starkey in the 1980s, which stands in the university grounds.

Amber Peace Cross

The timescale is to have at least the altar cloth and the appropriate altar set completed in time for the unveiling of the new window early next year, so there's a lot to keep us busy. Watch this space!

#VintagePledge - Butterick 5716 finished!

Commissions have been completed, presents made (to be posted about once the recipient has actually received them!) and it was time to get back to finishing my swing coat.

The pattern . . .

. . .  and my completed version

When last seen, this coat was causing me all sorts of grief. I'd made a mistake cutting out the fronts, and the loose weave of the fabric meant that the coat lacked any sort of structure. In truth, I was quite glad that other calls on my time meant that I could abandon it for a while.

When I picked it up again, I decided that the underlining was definitely worth doing, so I cut out the front and back lining pieces from black voile, basted them into the coat, and stitched along the edges of each square of the fabric.

And stitched, and stitched. . . . . and stitched.

Interlining sewn into the front

Then I made up the sleeves, basted them into the coat, and - well, you can guess. The sleeves were a lot more awkward because I wasn't working on a flat piece, but finally it was all done. The coat now hangs much better, so it was worth the effort.

Then I decided that yes I did want the fronts as symmetrical as I could get them, pattern-wise, so trimmed down the right front so that its raw edge matched the left front. Of course, this meant that I had to alter the lining as well. I left the contrast collar section unchanged, and instead made the actual lining narrower.

Once the lining is sewn onto the main coat, the instructions just say to press the seam. However I wasn't entirely happy with the end result, so I understitched around the fronts and the neck, using a back stitch rather than a running stitch to make sure that the stitches went through all the layers.

The contrast cuffs form part of the inside of the sleeves, and can be folded back if desired. When I tried the coat on, I felt that the cuffs could do with being a bit longer, so I lengthened the sleeve linings. This meant that when I sewed the lining onto the edge of the cuff, the whole sleeve was longer.

A gust of wind shows just how full the coat is

After I'd taken the photos I needed to to some shopping, and couldn't be bothered to change. Yes I was a little overdressed for popping out to the corner shop, but it gave me a chance to try the coat out. It was surprisingly toasty; I think that the underlining really makes a difference, even though it's only a thin voile. Also, the coat doesn't flap open nearly as much as I feared; the collar and the pockets add a little weight to the front and hold it in place. So all in all, I'm really glad that I actually finished it!

Ready to hit the local Spar!

Behind the scenes, at home and away.

Months ago, when I posted about the Georgians exhibition at the Fashion Museum in Bath, I meant to write a follow-up piece about the main costume display. Well time passed, and other things came up, and it never got written. So finally, here it is.

Poster for the Fashion Museum - another dress I want to make!

Note: because a) flash photography is not permitted, b) I didn’t have a tripod with me and c) I’m hopeless at standing completely still while taking photographs, most of the images are less crisp than I’d normally post. Apologies, and if anyone has any tips about avoiding camera shake, I’d love to hear them!

The display covers one hundred years of fashion, from Regency to Edwardian. It is displayed in 10 cases, approximately one for each decade. For each case there is information about the fashions of the period, a quote from a novel of the time, and a focus on a particular type of accessory.

White muslin in the 1800s case

And white cotton in the 1910s case

The museum also holds a number of Lady Mary Curzon’s Worth dresses, including the “Oak Leaf” dress. This is no longer on display, and has been replaced with the white satin "Orchid" dress.

The Orchid dress and part of its 14' train

Train detail

Bodice close-up

Click here for more details of the Orchid dress.

Although each case is lined with period-appropriate wallpaper, the theme of this section of the museum is “Behind the Scenes”, and the displays are set out like the museum stores.

Wallpaper in the 1820s and 1830s case, image © Fashion Museum, Bath

Boxes in the 1840s to 1860s case, image © Fashion Museum, Bath

The displays were changed in January this year, and some of the items on display have been changed. The “Behind the Scenes” element has also changed; shelving has been removed, and replaced by more boxes.

The previous 1870s display

As well as the cardboard boxes, I was amazed to see plastic boxes in use. I was even more amazed because they were exactly the same boxes that I use in my workroom. So while what I produce is certainly not of museum standard, at least I can say that I have something in common with the Bath Costume Museum!

Hats stored in plastic boxes, image © Fashion Museum, Bath

1880s dress, and more boxes, image © Fashion Museum, Bath

"Behind the Scenes" in my workroom