Category Archives: Sewing

Maximal procrastination

The Blazer of Awesome

I am (as my husband will assure you), one of the world’s champion procrastinators. It’s a major handicap, actually. But this jacket fix represents a level of procrastination rarely met even by me.

I got this little grey blazer in high school, ladies and gents, which was kind of a while back not that long ago after all, from my old standby Value Village. The fit was, and is, astounding—perfect shoulders, perfect waist length (no swayback issues!)… Great.

Except. The more I wore it, the more creepingly aware I became of the one, glaring, unforgivable flaw.

You guessed it. The sleeves are too short. (I need some kind of “ba-dum-dum” sound effect every time I say that. 😛 Or maybe a laugh-track.)

Back—OK, maybe not quite as perfect as I thought (or it used to be 😉 ). Still pretty damn good.

Not too long after graduation, the frequency of its appearance in my regular wardrobe rotation dropped dramatically. I am really not fond of the cold wrists >_<. But still I couldn’t give up on it entirely. Everything else was too perfect. So it hung in the back of the closet, making me sigh with occasional wistfulness.

About four years ago, I found a black corduroy curtain abandoned in the lobby of our apartment complex (these occasional windfalls are the only thing I miss about apartment living. Well, that and the endless hot water.) I bundled it home, and soon realized that the wale width and texture was a perfect match for the details on my poor jacket. And since the jacket had plenty of other black cord details, why not cuffs as well?

Nonetheless, four years passed. The corduroy curtain served many purposes, most of them involving taking up space in my closets, but never became part of a blazer.

Cuff closeup. Photographing black corduroy is rather akin to photographing dark matter, I’m thinking.

Well, finally today the prospect of a quasi-job-interview prodded me to haul out something approaching office attire—the businesswoman suit. By some miracle (probably as a way of displacing some intense anxiety), I motivated myself to find the curtain, locate the portion where the fading of the blacks matched best, and cut out two plain cord rectangles. I interfaced them with Armoweft, stitched into tubes and folded them in half, and tacked the resulting tubes inside the ends of the sleeves. Voila, stupid simple cuffs. Total time, probably about 30 minutes, plus time to dig out the fabric from the garage.

Because I enjoy a bit of a tailoring dissection, here’s some closeups on the jacket itself. Fortunately, the lining is loose, not bagged, so I could flip it up and gawk at the insides.

Label

The label is “Newport Sportswear Ltd” from Toronto, Canada. The jacket is #4138, and a size 7, according to the hand-written label. Google did not give me much (any) info about this brand, aside from some Etsy listings for vintage clothes. I had never really thought about the vintage of this jacket, but it’s certainly not a typical fit for the 80s or the 90s (remembering I got it in the latter part of the 90s). The rather flexible lady certainly has the hair to be 70s.

Corduroy insert, with fold

My favourite feature by far is this little corduroy insert on the back shoulder, which greatly increases the range of motion, otherwise the blazer would be way tight. According to Allison of A Fabric Fixation, this kind of feature is called a bi-swing back. (My motorcycle jacket has one as well, which makes sense.)

Bi-swing inset, interior view

This is what it looks like from the inside—it forms a little folded pocket or pleat. The shape is a bit more complex than it looks on the surface!

Lapel fold and pleat in lining at bust. (Sherry had us ease this in.)

Other little details? Well, the “tailoring” and construction is virtually identical to what Sherry went over in her RTW sewalong, which is to say it’s distinctly tailored but not heavily or intricately so. If this IS a 70s jacket, it’s also a testament to the powers of early fusibles, because everything’s still perfectly in its place.

Shoulder pad

The shoulder pad is very thin, two layers of felt, but it does the job. I had taken some photos of the buttonholes (machine) and collar interior, but really they didn’t turn out terribly informative, so I’ll spare you them, and just repeat how much I love this jacket.

Especially now that, fourteen or fifteen years into owning it, the sleeves are finally long enough. And it doesn’t even look funny!

(OK, I don’t think it looks funny, so if you do, you can suck it. It’s my blazer, not yours. And I’m going to wear the snot out of it, now.)

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Very Little Hats

The workshop

This past weekend, the kids and I trooped over to my mother’s and made hats.

For the Hallowe’en costumes. You remember.

Little, teeny, steampunky tophats.

Little hat

I used this pattern as the starting point, and then kind of hung a left. It turned out it called for all kinds of esoteric stuff like fusible fleece and craft foam. OK, I did have craft foam, and I actually was looking at the fusible fleece in Fabricland the other day and then decided not to buy any (on account of not having looked up the pattern yet so I didn’t know they were going to call for fusible fleece). And the craft foam I picked up at the dollar store was stupid thin and nearly useless. So we mostly used Bristol board and, well, it’s not exactly sew-able. And I kind of forgot to trim off most of the seam allowances, so our hats ended up a little larger than otherwise. And they probably took longer to make, since I was hand-covering and hand-stitching all the fabric that holds them together. And then sewing on trims and feathers and bits and bobs, and then painting. Actually, there were several iterations of sewing/painting/sewing/painting. I thank my ever-generous mother for her contributions to the trim, and for willingly sacrificing artifical flowers and berries that are probably older than I am to The Muse. I quite enjoyed the painting (it’s been ages since I dry-brushed anything), though of course as soon as we were doing it I wished I had five other colours.

Closeup

All I need to do now is sew on the clips which will (in theory) attach them to the hair of various children come Hallowe’en. Oh, and keep the damn things from getting shredded between now and then.

(Oh, and yes, there are two hats, but I only remembered to photograph one while at my mom’s.

Next up… goggles!

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My first pattern

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Butterick 6206

Long and long ago (I’m guessing I was about sixteen), I found this pattern kicking around the house. It was, presumably, my mother’s, and I was (just barely) able to look past the 70s styling to the romance of a sweet peasant blouse.

Being me at sixteen, I turned it into a crop top and made it sheer. Subtle, I was not.

The only thing I didn’t do was lengthen the sleeves. My congenital arm-length abnormality hadn’t really sunk in yet, so it didn’t even occur to me that the pattern drafter wouldn’t magically know that my family has ape arms*.

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Pattern pieces

I’m pretty sure I had some help from my mother, if only of the “this is a grain line—you know what grain is, right? Yes, that bit goes on the fold” variety. I had been sewing (Barbie clothes) for years at this point, but this was probably my first commercial pattern. I know I did no seam finishing, but it wasn’t a ravelly fabric. Not that that would’ve made a difference.

It was not a terribly practical garment, but it looked pretty much how I had hoped and served whatever costumey goal I had in mind. So when I found the pattern the other day while digging around my mom’s sewing stuff (she has a surprisingly large stash for someone who “doesn’t sew”) I had to throw it up here, for old time’s sake.

In hind-sight, this was actually a pretty damn good choice for a beginner project. Not that I thought of that.

 

*This is the spot where I stop and point out that humans are apes because you can’t construct a natural group that includes all apes but excludes humans. For the same reason, although much further removed in time, birds are also dinosaurs. Dontcha love cladistics? 😀

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Fantasy Sewing: World’s cutest blouse edition

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Yup. I can’t be certain, of course, but I think this just might, possibly, be the world’s cutest blouse pattern, EVER.

I love every single detail of every single view. And (unlike some patterns of a certain era) it really is three different views, not one view in different fabrics. And it’s totally my size. I love the collarless view with the serious little bow. I love the wide neckline with the stand-up collar. I love the ruffly, deliciously silly little white view (although I think those sleeves should maybe be puffed. Or would that be overkill?)

And yet, I fear this one will remain relegated to fantasy for longer, rather than shorter. Why? Because that nagging, insidious part of my brain that likes to keep my sewing practical is reminding me that, despite the adorable illustration and cute collar details, this is really a basic, boxy little blouse. The only shaping comes from those teensy bust darts.

It’s a blouse that, in fact, is made for tucking in.

I don’t tuck.

Seriously, I enjoy my body, I don’t obsess over my weight, I have about as healthy a body image as it’s possible to have as a woman in the western world. And few things send me into the pits of body-loathing despair quite like a tucked-in blouse. Actually, anything cinched in at the waist. It’s something about the shortness of my waist, or the fact that there’s no discernible taper from my underbust to my waist, so anything blousing out around there just makes everything look wider than it is. I know loads of people who love the look, who look drop-dead gorgeous in it. I just can’t do it on myself.

Although, that cummerbund look is cute. And possibly a really wide cummerbund could make tucking doable (OK, in honesty it needn’t be really wide. My bra line is only about three inches above my waist at the best of times). Especially if the cummerbund were shaped to extend below the waist… but then you’re venturing into territory where the cummerbund becomes, not a fancy belt, but the mainstay of the outfit, and that’s a bit of a different look altogether.

But you can rest assured, tucked or un, this blouse will certainly keep its place in my fantasies…

(And yes, there has been a little bit of progress on the Hallowe’en costume front and other sewing, but it’s been in haphazard and piecemeal little increments that make it really hard to talk about. And I bought a new seam ripper, but I lost it already.)

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Unmentionables

As I write this, I am wearing my first “successful” pair of self-stitched undies.

Pillow form.

I will keep “successful” in “quotation marks” because, well, wearable they are but perfect they ain’t. In particular, my elastic tension leaves, ah, something to be desired. (Scroll down to the full wrinkly mess, I didn’t want to start off the post with it.) And as proof that home-stitched undies need not resemble elderly dried fruits, I’ll link you to Carolyn’s drool-inducing sets.

The pattern, as I may have mentioned before, is Kwik Sew 2100, which is actually in print (I can never tell with Kwik Sew patterns based on the envelope art… except for the few 70s-era ones I have, anyway.)

The upside of using an in print pattern (especially having found it at the thrift store) is that there are reviews on Pattern Review, and for once I even remembered to check them. They were universal in two recommendations: go down a size (or two) and narrow the crotch piece.

Not being one to ignore the wisdom of PR (except when I do, usually to my own detriment), I dutifully went down to a size 4 (the smallest in the envelope, about 1.5 sizes below the one indicated by my measurements). I also shaved 1 cm off each side of the crotch piece, tapering to nothing at the edges where it seams to the front and back pieces. Then I promptly lost the crotch pieces, and there things languished until the other day, at which point I rallied my courage and cut new ones.

Now, last time I made attempted undies, I really had a hard time wrapping my head around the fancy sandwiching that creates a neatly-finished crotch. Maybe it was the Kwik Sew instructions, or maybe I’m just better rested this time, but I found it pretty simple to sort out this time around. It’s the same “burrito” construction method you use with a yoked shirt, except instead of a shirt front and back you have pantie front and back, and instead of a yoke you have a crotch piece. And it is a nicer finish than anything storebought, which is probably the only really nice part on th

So that was good.

Elastic—stretched.

Less good was I realized that the pink lingerie elastic I had been planning on using was nowhere near long enough, so I had to hunt through the notions stash (which is even more poorly-organized than the regular stash) and all I came up with was some plain black 1/4″ elastic. Not really nice for undies, but available. Even worse was my elastic-tension, which was too loose on the first leg, perfect on the second, and then too tight on the waistband. (I should say, being worn they are comfy and feel and look fine. Unworn, they crinkle up pretty badly except at the one leg where they are stretched out.) Ok, so I probably should pay attention to the actual suggested recommendations for elastic length. Bite me.

Umm. Ruffly much?

Now, on to the fit. I made (of course) the “bikini” rise. The rise in back is pretty good, the rise in front is a tad high—it could easily be lowered an inch; as it is it ends up riding down the underside of my tummy and bagging a bit. A little more annoying is the width of the front of the crotch-gusset, where I blended back to the original width. I think I could’ve narrowed it there, as well. They are still a bit big—this fabric has good recovery, so it’s not a big problem, but if it were inclined to stretch out it would be annoying.

Stretch Sewing  400

Next time—I’m a bit up in the air over whether next time should be with the Kwik Sew pattern, tweaked, or another pattern, out of curiosity. I acquired this stretch-sewing undies pattern at the thrift store (Value Village in my hometown is expensive for patterns, a whole dollar apiece except for the ones that come in annoying baggies.)

Pattern piece comparison

I’m a little curious over how the differences in pattern shape would play out (the seam allowances are the same, if I recall correctly.) The length of the crotch gusset in the 70s pattern seems to be longer, while the rise of the front & back pieces seems similar—so the overall rise might be a bit higher, right? The shape over the leg is very different, but maybe some of that would be accomodated by the longer crotch gusset? I just don’t know. But I sure am curious.

And obviously, I need a lot of practice on the elastic insertion. 😛

 

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Oops.

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Spot my booboo? Fantasy sewing is so much easier.

And I managed to lose BOTH my seam rippers in the move.

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October 15, 2012 · 9:03 pm

Who enables the enabler?

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So I’m not sure if this counts as enabling or enablement. But the other day, after a month and a half of subtle (and not so subtle) hints being dropped on both sides, my Stylish sister-in-law finally pulled out my mother-in-law’s old sewing machine, a Janome Memory Craft 6000 (c. 1986) for us to play with.

Now, as background here, my mother-in-law has assured us for years that, while her machine was the pinnacle of its breed back when it was new, it no longer worked well. In particular, the bobbin thread tangles. And a year or two ago, when we were visiting home, Stylish and I had poked gingerly at it (rather like poking a tiger in a cage, I think), and gotten absolutely nowhere. It’s a computerized machine with a drop-in bobbin and a sideways-lying spool for the thread—completely beyond my experience.

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Well, whatever dark stars were in ascendance before, apparently the other day the planets were in conjunction in the constellation Janome, because the machine worked. Initially, (after painfully perusing the manual to make sure we had it threaded just right), I was just happy it was forming stitches, but the feed dogs (although moving) didn’t seem to be feeding the fabric. We pushed the buttons for a few more different settings, read some arcane incantations from the manual, and all of a sudden they started working. (And yes, there is a feed-dog-dropping mechanism but it wasn’t engaged and we didn’t start messing with it until after they’d started working)

The first few decorative stitches I tried were less than perfect, but the more of a workout we gave the machine, the better it behaved, and by the time I had finished stitching out series of letters and kitschy little penguins and alligators over pretty much every scrap of cloth Stylish could locate around her house (it turns out normal people don’t just have stuff like that lying around), it was humming along happily, even when I mashed five or six layers of denim under the foot to see what it would do.

Now, there are people who love modern computerized machines for their wide range of functions. And there are people who love vintage machines for their sturdy reliability (I’ve long considered myself one of the latter). But I don’t know that there’s anyone who loves elderly computerized machines. (As with 80s patterns, I’m not sure it’s quite appropriate to apply the term “vintage” just yet.) That being said, Stylish and I had an almost unseemly amount of fun. Or rather, I had a ton of fun and she sat and looked on in bemused wonder (I’m going with wonder. Horror might have been a possibility). We swapped out feet (it has a wide array, all of which live in their own neat little slots in the top of the machine, almost none of which I recognized), played with the disgusting variety of programmed stitches, and I even managed to program it to make a keyhole buttonhole. And while I know there may well be no hope for it when the circuits do decide to finally go, they haven’t gone yet, so why not enjoy it while it lasts? I should mention, there was nary a hint of bobbin-tangling either.

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I thanked the sewing gods, repeatedly, for the small miracle that my mother-in-law actually kept the manuals to this machine (unlike for my, formerly her, serger) because we would’ve been flailing helplessly without them. For example, they revealed that to engage the manual control of the stitch length and width dials, you have to push them down like a button, first, lighting up a light, and then you can adjust as you see fit. Otherwise, it’s pre-programed, baby.

Also, it always finishes with the needle in the “needle up” position. And then there’s a button to hit right on the harp arm if you want the needle down (say to pivot around a corner). I had heard of these things, but always scoffed at their usefulness. Especially since my hand automatically goes out to adjust the handwheel to make sure the needle’s in the right place, regardless. But, if you were lacking such reflexes, I can see how it would be kinda awesome. One of those things you could get used to. I am thinking I had better not sew too much with this machine…

Our first “project” (once I had finished messing around with fancy stitches) was to sew little covers for Stylish’s two little Christmas-themed couch pillows, so she doesn’t have to look at Frosty and Santa in July. I stitched the first one while Stylish watched, and then made her do the second one (although I stitched them both shut, which involved the zipper foot and a fair bit of swearing.)

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In fact, we were sufficiently pleased with ourselves that by the time we had to go actually do grown-up responsible things, we set ourselves to clearing out the lone under-utilized space in Stylish’s (not large) house, unearthing her Papa’s old treadle* for a sewing table, and setting up a teeny little sewing space. It’s not fully functional yet—she has an ironing board (I think left by the previous homeowner) but no iron—but it’s something. And she spent a good chunk of the evening sorting through all the patterns on my phone app, and making a list of her favourites.

I’m still not sure if I’m spreading the sewing bug or just getting suckered into Sewing For Others, but I had a lot of fun, Stylish had at least a little fun, and I’m not sure but I think the Memory Craft had fun, too.

*Papa was, in fact, Stylish and Osiris’s great-grandfather, who lived to be 94 and used the treadle, a handsome old Singer, for stitching harness and various other manly things. It probably deserves its own post, so I won’t talk too much about it here.

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Concordance/Discordance

That Damn Treadle

Y’know how when forensic specialists are matching finger-prints (or dental records), and they go through the whorls (and fillings) and things looking for points of concordance and discordance between the different images? No? Obviously you should’ve paid more attention in your Forensic Anthropology classes… Well, this  is what’ I’ve been doing.

I know all y’all are just as obsessed as I am about my new treadle. 😉 No? Well, I imagine I’ll have an actual sewing post up one of these days. I still haven’t actually had the chance to work on the treadle; my Mom unexpectedly got a full-time contract (YAY, MOM!) and then Thanksgiving happened, which involved four turkeys, four days, and absolutely no energy for anything but digesting. In the meantime, I spent some quality time hunting down old Eaton’s catalogues, of which there is a surprising abundance on teh marvelous internets. Thank you, internets. Also, Library and Archives Canada and Archive.org. You rock my world. Anyway, I think I have located my machine!

I think I’ll pause here to allow you to imagine the scene as my perplexed family got to witness the peculiar dance of the exultant researcher.

My machine appears to match a model shown in the 1915/16 Winter catalogue through the 1917 spring/summer catalogue (but not in the 1917/18 winter catalogue). Woot! I’m not sure about before 1915 as there’s a gap in the archives before that until 1908, at which point the models are distinctly different.

ZOMG there it is! Also, source.

Yes, that appears to be my machine.

Points of concordance:

  • Cabinet. Oh yes, this took some hunting. I had started off looking in 20s catalogues because I thought the plain, almost masculine style of the woodwork looked newer, although most twenties machines seem to have more art-nouveau kind of decals. But it’s really distinctive both in its plain-ness, the six drawers, and the shape of the bits on either side of the drawers.
  • The machine. Even though the catalogue copy describes this machine as the “Seamstress”, if you click on the illustration to see the full-size image, the machine says “Improved Seamstress”. Every detail of the tension, threading, stitch-length screw, and even decals are pretty much spot on, allowing for a small amount of artistic licence (and a LOT of crud and wear on my machine…)

Compare.

Points of discordance:

Ok, really there’s only the foot pedal, which is distinctly different, and, frankly, doesn’t look like any of the Eaton’s foot-pedals I’ve looked at in the last few days. Which is a lot. It makes me wonder if that part might’ve been replaced, or if it just happened to be a different factory lot from the illustration.

Oh, yeah, along the edge of the board on the illustration, just in front of the sewing machine, you can see a series of regular ticks. It’s actually a measuring-tape decaled onto the surface of the wood. It’s pretty beaten up on my machine, but parts of it are still visible.

Oh, and I finished the Kwik Sew underwear. I’ll tell you all about it next time… 😉

EDIT: A bit more digging turned up a Fall/Winter 1913/14 catalogue, which has a six-drawer model that is different from mine. So that’s an upper age limit. One interesting detail: most of the machines in the 1913/14 catalogue have a foot pedal identical to the one on my machine (but different from the one in the later catalogues). So maybe my machine is an earlier version of its model, fitted with the older pedal style—or maybe it was just some variant from the factory. Anyway, at this point there’s only three catalogues “missing”, Spring/Summer 1914, Fall/Winter 1914/15, and Spring/Summer 1915. And, frankly, a date to within a year or two seems like pretty good accuracy considering a few days ago I wasn’t even positive about decade. So I’m still pretty satisfied, although of course there’s one or two more avenues I could pursue…

EDIT #2: I found the serial number, underneath the slide plate of the shuttle compartment. 2330993. Not sure if there’s anywhere I can look this up to get a date or location of manufacture, but that’s what it is. There’s also a faint letter “A” above it on the left.

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A denim debate.

So, I’m pretty much due for a new pair of jeans. It’s been over a year, believe it or not, since I last made myself a pair, and not because I’ve stopped wearing my me-made jeans or anything. But apparently when you have more than two or three pairs in rotation, jeans last a lot longer. Who knew. But there’s some red denim in stash that’s getting louder and louder…

Anyway, as my me-made jeans age and acquire that broken-in appearance that’s so much a part of the jeans look (to the point where we pay hundreds of dollars for a good worn finish), I’ve noticed one subtle, yet nagging difference between my me-mades and storebought jeans.

It’s the ripple.

The Ripple

You know what I mean. The way the fabric between the two lines of topstitching makes this little repeating wave, which wears into bands of light and dark. It also happens along the non-topstitched edge of the outseam, wherever the seam allowance habitually falls.

Left: storebought; right: me-made

And it doesn’t happen, (or barely, barely happens) even after years of wear, on my me-made jeans. Now my first thought, of course, was “what sophisticated little wear-roller are they running along all the seams in their big jeans factories?!?” Then, of course, my brain kicked in—this feature is far too universal (especially on my husband’s sturdy work-wear, no-fancy-finish jeans) to not be inherent in something about the jeans-making process.

And then it hit me. (Hush, I can be slow if I want to.)

Shrinking. Because, like a good little sewist, I pre-shrink my fabric and then construct my pants, whereas commercial jeans, from what I understand, are shrunk after construction. (Can you imagine trying to launder huge industrial rolls of denim?) So that characteristic ripple is probably the result of post-stitching shrinkage. Which is why my jeans have comparatively little ripple (and if I was really good and pre-washed my denim multiple times, as is often recommended, they probably wouldn’t have any ripple at all), and even brand-new dark-washes from the store, like the ones above on the right in the left picture above (how’s that for confusing), have a well-developed ripple.

Now, I’m not so concerned about this for the red jeans, but in general it’s bugging me. And it’s bugging me more the more I think about it. It’s one of those legitimacy issues. Jeans are supposed to have it. If my jeans don’t, they’re not “real jeans”. Which, yes, is all in my head. But it’s still one of those things, y’know.

So yeah, I’m seriously considering, when I run through my current set of denims (most of which have been pre-washed already), trying to enlarge my pattern so I can shrink my jeans after construction.

Bad idea? Probably. Even with doing test-swatches. I mean, from what I understand it took jeans companies ages to figure out how to wash their jeans and still get consistent sizing, which is why, at least in North America, they didn’t usually sell pre-washed jeans until the 80s (or sometime thereabouts.) My mom talks about how you always bought so many inches larger in the waist and longer in the leg than you needed, and just hoped that it would work out when it came out of the wash.

But I want the ripple, dammit. And I don’t want to have to sit there and sandpaper each individual fold by hand. 😉

So what do you think? Is the ripple worth it?

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Another Closet Monster

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Another city, another birthday party, another monster made (loosely) from the Closet Monster book.

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This one is not really as cool as the first. It’s ok, though. Its chief claim to fame is its super long limbs, which were harvested from an old octopus costume I may have worn for a school play a quarter century or so ago. Yes, my mom has stuff like that lying around.

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It enjoyed playing in the back yard for a few minutes before being wrapped up and sent away.

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Tyo sewed on the limbs, button eyes, and stuffed it. I made the belt, including a salvaged buckle, and did the big final seam around the rectangular body, which was pretty tricky since all the limbs were stuffed inside by the end. The purple embroidery on the face doesn’t show up as much as one might have wished… I should maybe have insisted on white.

In any case, it’s one more on the list of projects down. In enabling news, my crafty sister-in-law stopped by to show me the plaid coating she picked up at the thrift store the other day. So we’ll be going through my multisize coat patterns soon…

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