Beadwork On A Completed Garment

I've been using this garment as an example for the past few posts because it features a variety of embellishments. This post will cover the basics of beading (a video tutorial is in the works). I use beads on just about every figure I make and this post will cover my two more common techniques. The jacket is completed and beadwork is the last thing I add. Some people might add beads first, but I think this interferes too much with sewing on the machine. 

The garment sections are lined and the lining (in this case, silk) is attached around the perimeter of each section. Any stitches attaching beads will be hidden by the lining, but I have to be careful to not catch the lining. Its kind a dance between fingers and fabric. With each change in position, I have to take care that the lining hangs loose behind the area I'm working.

For beads that are going to cover an area, like the center of these flowers, I will add beads no more than three at a time using a backstitch. I use either waxed upholstery thread (for larger beads) or Nymo (for small seed beads). I knot in the fabric after every other stitch of beadwork. I am not fond of couching because I think it is a perfect way to lose a lot of beads at once.

I like to add picots of beads (small clusters of three beads) along the edge of garments. I use the same thread and stitches mentioned above, but often knot after each picot. On edges, I don't have to worry about stitches showing through to the back because I have for layers of fabric here (this includes the seam allowances).  A common question is how to evenly space the beads. Everyone has a built-in ruler - their thumb! You can attach beads a thumbnail apart (easiest), but if you want a smaller distance, mark it on your thumbnail with a fine marker.

Next time I'll share a book review. Stay tuned...

Technique Tuesday: Italian Knotted Tassels

A tiny tassel that looks like berries.

Recently, I did a Pinterest search on Italian knotted tassels (my favorite) and sadly, found few pins.  (Visit my Embellishments board for a few historical examples.).  Ahhh, you've never heard of Italian knotted tassels?  What makes them so special?  First, they have a complex visual texture that draws the eye.  Depending on the yarn used, the knots can look like beads, pom poms or embroidery.  Second, knotted tassels have more volume than the usual kind.  A few strands of knots can make a tassel as large as a 100 strand normal variety. Third, these tassels don't swing and swish, they bounce!  They have an enormous amount of movement that is amazing to see; truly, they are an underutilized embellishment.

Pairs of knots to be strung

Making a knotted tassel is pretty straight-forward.  You take a doubled length of yarn, make a series of knots, cut out pairs of them, then string them onto another length of yarn with more knots.  For the basics, and pictures, jump to my previous post describing the process.

The look of these tassels can change dramatically with the yarn used.  Silks and wool yarns can have lot of sheen and make the knots look like beads - a very complex look for little effort.  Usually my tassels are a single color, but multicolored tassels are super-easy.  Make knots in the yarn colors of choice, then string the pairs of knots randomly or in a pattern.  Tiny multicolored tassels and fringe made of these tassels are shown in multiple examples in Fashion In Detail by Avril Hart and Susan North (see my list of reference books for  more info).  If you leave longer tails on your pairs of knots, that also changes the look. 

If you are looking for a simple, classy and inexpensive gift, what about a knotted tassel?  Make one from yarns in your stash, or go out and buy some inexpensive cotton in a pretty color.  Knot up a tassel and attach it to a keychain ring - you are done!  Trust me, it will look great.

Technique Tuesday: Crochet

I like to use a lot of crochet embellishements in costumes.  Sometimes a well known stitch in a lightweight yarn is the perfect choice. If I'm making a coat or other garment, this is my usual method. Sometimes, though, I'm looking for a trim or small piece to add to a cloth-based garment.  For these purposes, I look for small-scale crochet that is easy to work and looks right with the garment.  I have a lot of crochet books and a Pinterest board, but something that looks good in a normal weight yarn may be too difficult or time-consuming to work in a fine thread with a tiny hook.  I have to experiment.

If you are a fan of crochet, you've probably seen a lot of pictures of the popular puff-flower grannies or African flower grannies.  They look great in bright colors and make an interesting textile.  Would I be able to use them in my work?  Let's see. I experimented with the puff-flower granny first.  I used these instructions.  I prefer diagrams, but couldn't find one anywhere.  My first choice is to use the largest yarn/hook combo that I think I can get away with.  Shown from top to bottom:

2 ply laceweight wool with a C/2.75mm hook
single ply laceweight raw silk thread with a C/2.75mm hook
size 5 perle cotton with a size 4/2.0 mm steel hook
size 8 perle cotton with a size 4/2.0 mm steel hook
size 8 perle cotton with a size 10/1.3 mm steel hook
N20 crochet cotton with a size 10/1.3 mm steel hook

Based on these results, I concluded that the only reasonable option was the second from the last.  Using the same thread/hook combo, I made an African flower granny (shown at right).  It looks good, although I wish it were smaller.  At this size, I would probably limit use to a single row or just one as a pocket. Although not as dramatic as when made with multiple colors, this is a nicely textured motif and I would make it in a single color.

The second experiment is dragon scale crochet.  This pattern popped up a few years ago and  is popular for potholders and tea cozies.  It uses a lot of yarn and makes a very thick and interestingly textured textile.  I think the stitch is too bulky for garments, but with finer thread could it be usable for my figures?  Let's see.  I found instructions in an unremembered book, but these are similar.

Shown from top to bottom:
fingering acrylic yarn with a D/3.00mm hook
Aunt Lydia's crochet cotton, size 3  with a C/2.75mm hook
single ply laceweight raw silk thread with a C/2.75mm hook
DMC Baroque crochet cotton with a 2.0mm steel hook
N20 crochet cotton with a size 10/1.3 mm steel hook

Based on these samples, I would use any of the last three.  I would not use this stitch to create an entire garment for a figure (well, maybe...), but I would use a row or two of scales as a trim along a hem or other edging.  I like the look of the stitch when made with thread.  I think the scales are well defined and have a crisp look - very clean.

One last comment.  Whenever possible, I experiment with white or off-white yarn/thread in natural fibers.  If I choose to use any of these stitches in the future, I would use the same yarn/thread.  The final step would be to dye the crochet to match the garment under construction.  This is far simpler than hunting down the color I need. 

Stay tuned for more techniques!

Reworking a Porcupine

January is a time for new beginnings and I usually go into the studio with a eye towards organization.  Winter is my favorite time in the studio because the sunlight pours in brightest at this time of year - and it is the warmest room in the house.  This year, I took a hard look at my design wall.  For years - yes, years!- I have had a porcupine figure hanging unfinished.  I took him down from the wall and decided I would complete his look.

So, what was the problem?  It was the quills. I don't try for a perfect replica of a species, but I do want to get the right overall look.  Porcupines have a dense coat (including quills). The quills are mostly along the back and sides and stick out a bit more than the rest of the coat, giving the mammal a unique fuzzy and almost soft look. I had tried various options for getting something to stick out and gave up with the leather tubes shown here.  They were too big, chunky, and didn't give the fuzzy look I wanted.

I decided I would have to forgo the whole idea of quills and focus on the overall fuzzy look.  I tried various fabrics, but everything frayed too much, so I settled on brown leather. Many strips were cut into fine fringe and attached to the coat by hand.  I didn't want any fringe on the body of the figure, so to give the appearance of quills on the head, I attached a fringed hood to the coat.

I did want something to provide the idea of quills.  To do this, I cut longer strips of leather and tipped each with a glass bead.  Real porcupine quills have lighter tips and catch the light, giving the animal a bit of a glow.  I hoped the beads would have a similar affect. 

Each of the longer quills was sewn onto the coat by hand.  In the end, they blended into the other leather strips a bit more than I wanted, but the overall look was very 'porcupine.'  He's quite a guy and has a lot of personality.  I haven't decided if he's going off to a gallery or for sale on the website, but I am glad that he is finished.

Old Crochet Lives Again

I recently began a commission and I decided to use an old crocheted doily in this piece for added texture and visual interest.  I dyed the doily a dark green and discovered that, gasp!, the motifs were joined with nylon or polyester thread.  I find it comforting that the artisan who created this piece broke a rule or two when finishing her work. (One is always supposed to use the same fiber to connect pieces of crochet or knitting.  There is lively debate among some sewists whether it is appropriate to use silk thread with cotton fabrics because silk is stronger and may eventually cut through the cloth.)

I wasn't concerned about the white thread because I eventually needed to deconstruct the crochet to finish the piece.  Step one was basting the crochet to the green wool backing.  Pins never work for me, so hand basting was done with a long milliners needle and bright yellow thread - shown at left. Step two created the body parts: right sides together (wool plus crochet treated as one fabric), sew, turn, stuff.  The fabric was used to make arms, upper legs and the body.

Step three took a bit of time.  Each bit of stitching holding the crochet motifs had to be carefully snipped, then the doily restretched and repinned.  Every single picot stitch was firmly tacked to the wool backing by hand and an olive green glass bead sewn into the center.  The glass beads are not immediately obvious, but they give another layer of texture and touch of delicacy to the work.  In this case, they body will be left as the main costume (like a body suit) and the layers of color give a rich finish.

Stay tuned for more on this piece...