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Indigo Shibori Dyeing Techniques

28 September 2016 by Heather Lou 14 Comments

This week my craft practice took a dive off the deep end... into a big vat of indigo dye. I've been wanting to dip my toe into the world of natural indigo shibori dyeing for a long time, and my friend Michelle and I finally got our acts together and spent a busy day at her farm in Vermont folding, twisting, tying, dunking and oxidizing like a couple of maniacs.

If this is something you've been wanting to do, please believe me: IT IS SO. MUCH. FUN. It's not as hard as you might think to get set up, and the DIY gratification levels are off the chart. You'll feel equal parts mad scientist, creative genius and dye boss.

Shibori is a Japanese method of resist dying which goes back hundreds of years. Traditionally done with indigo, you can apply the same techniques for use with other fiber reactive dyes, but in my opinion, dying with real indigo is MAGICAL. When mixed with water it is almost a clear green - it's only when the dye is oxidized by contact with air does it turn the deep blue we associate with indigo

Shibori Dyeing Supplies

Indigo dying kit (we used this one which includes all the components you need and will dye around 15 yards of fabric)
5 gallon plastic bucket
Dust mask
Rubber gloves
Mixing stick
A hose or sink to rinse out the dye
Rack or clothesline
Elastics
String
Other tools to create resist impressions like popsicle sticks, pieces of wood and bulldog clips
Natural fabric like linen, silk, hemp or cotton

Dharma Trading is my favourite source for dyeable fabrics. The prices are excellent and I've been happy with the quality. I tried a few substrates in this experiment. I thought the 6.8 oz linen was too coarse at first, but after washing and drying it has a beautiful, soft drape. I also got a yard of the cotton interlock to make baby outfits with, and a few yards of this lovely rayon modal jersey. All took the dye very well as you'll see below.

DYEING PROCESS

To get started, mix the dye outside according to the instructions while wearing a dust mask for safety. Let it sit completely covered for about 30 minutes (you want to keep the air away from the dye since it will speed up oxidization). When it's ready it creates this sort of bubbly floaty thing, so naturally we started calling it The Mother like it was a jar of kombucha. You can scoop it out while you're dyeing the fabric but we just pushed it to the side.

You'll want to have everything ready to go when the dye is done mothering itself, so you may want to prep your fabric before your prepare the dye. I'll cover some of the folding techniques and our results below.

To dye your fabric, place it in the dye bath so it is completely submerged, and gently agitate it and squeeze out any air bubbles. You'll want to leave it in for 1-2 minutes. When it comes out of the dye it will be a vivid green; cackle like an evil scientist as it slowly darkens to blue with exposure to air. At this point you want the fabric as exposed to air as possible in order to fully oxidize, so use an old drying rack or whatever you have lying around that you don't mind turning blue.

The fabric will need at least 20 minutes to oxidize, but you can also let it sit out overnight. You can dye your fabric more than once to get an even deeper indigo shade, so I suggest doing a trial run first to ensure you're okay with the colour. We only submerged our fabric once each time, and some of them did not turn out as deep as I would have liked.

After the 20 minutes is up, rinse the fabric while it's still folded in cold running water until it turns clear. We used a few buckets and a hose to do this outside (if you're doing this inside, I suggest using a stainless steel or utility sink so you don't stain your porcelain). Afterwards you can wash it in your machine to rinse out any existing dye.

SHIBORI FOLDING TECHNIQUES

There are a number of different folding and tying techniques in the shibori tradition. The goal is to expose some areas to the dye while protecting others, and depending on the technique you use the results range from organic free-for-alls to more linear rectangle and triangle motifs. I highly suggest picking up a copy of the book Tie Dye for design inspiration. I experimented with a few styles and these are my results.

TRIANGLES

In order to get this linear design, you'll need to accordion fold your fabric into one long strip, and then accordion it into a triangle shape so it looks like a fat piece of Greek spanakopita. You'll need to secure it all together with popsicle sticks or elastics - how you secure it will effect the design. The piece on top was secured with just two popsicle sticks, and the one on the bottom was done with lots of elastics.

STRIPES

This is my personal favourite method. To get a striped effect on your fabric, accordion fold it as evenly as possible. A tight fold will create more close together stripes. Then wrap the entire thing in twine. Experiment with tying the string closer and farther apart, but just be sure to tie it tightly so the impressions carry all the way through the fabric. You can also angle the fabric as you fold it to create diagonal lines like on the tshirt above.

CIRCLES

This is the style that makes me remember being a grimy little 13 year old hippie, but I think the results can be cool and modern in a deep blue (no Dead Head colour explosions please!) To get these jellyfish like impressions, I gathered a corner of the fabric and twisted it tightly before securing into place with lots of elastics.

GALAXY PRINT

This turned out to be one of my favourite results since it looks like space (also because I got to repurpose some old and stained Everlane tees). To achieve it, I scrunched up the fabric tightly and randomly, made a small tight ball and then wrapped the entire thing in elastics. I love how weird and organic this one is.

Overall I dyed 4 yards of linen, 3 yards of rayon modal, 1 yard of cotton jersey and 2 tshirts. Michelle dyed 4 yards of linen, a few tshirts, two pillowcases and a huge duvet cover. Not too shabby for a $9 box of dye! We had an awesome time and are already planning our next dying event.

Have you tried indigo or shibori dying yet? Any great tips to share?

The Refashioners // Deconstructed + Reconstructed Levi 501s

22 August 2016 by Heather Lou 12 Comments

I was so happy when Portia asked me to participate in The Refashioners challenge this year; my contribution is on the Makery blog now. It really brought me back to my sewing roots since modifying thrift store finds was one of the early ways I learned to sew. My favourite thing to do when I was 14 and in my deep hippie 90s revival period (it happened, I regret it, let's move on) was to buy old Levi 501s and make them bigger (and baggier) by sewing in strips of brightly coloured fabric to the side seams. Basically I did that again, but with tone one tone denim and a little more skill, minus the bongos and patchouli essential oil (I said let's move on!)

Since I had a stack of too tight Levi 501s in my research bin, I decided to make one of them actually fit me. I wanted 501 butt but without the dated straight leg. I also wanted to experiment with some of the beautiful jeans deconstructions techniques I've been collecting on Pinterest lately.

It was a super fun project and I'm delighted to add these beauties to my denim wardrobe. You can get all the construction details (and a lot more photos) over on the Makery.

Have you ever deconstructed jeans? Are you participating in the Refashioners challenge this year?

Summer Staple // Self Drafted Linen Shirt Dress

10 August 2016 by Heather Lou 163 Comments

The nice thing about having a bunch of blocks and half drafted patterns sitting around (you have no idea how many things I have started playing with and then discarded like a baby with amnesia) is that when you have a vision of a very particular simple dress stuck in your head, it probably won't take that long to just draft it yourself.

pssst... As of April 2017, this dress is now a pattern! You can snag it in our shop here.

The original incarnation of this pattern was actually a shirt dress project from way back last year; I was inspired by the look of women in oversized men's oxford shirts (nothing sexier in my opinion... nothing). It's still an idea I love and may dust off one day, but my original drafts made the perfect base for this particular shirt dress. I wanted something super lightweight and loose fitting that would look great in linen, and be easy to wear during my travels this summer.

I couldn't be happier with it if it woke me up every morning with a cup of strong tea and a croissant. It's the absolute 100% perfect thing to wear when it's so hot you want to cry, I can dress sit it up or down, and because it's made from a beautiful creamy white linen, I feel like Meryl Streep in Out of Africa but minus all the problematic neo-colonial undertones.

It is also easily the most complimented thing I've ever made; I've been chased down the street to ask where I got it. "My Bernina" isn't the most helpful reply, sorry ladies.

The construction is pretty simple. It has a banded kimono sleeve with a classic shirt collar. What's unique is the deeply curved hem, an exaggerated version of a men's shirt hem. It's so curved that it had to be finished with matching bias tape rather than the typical fold press and stitch hem (if I change anything I might shorten the back by just a smidge). I also extended the back yoke into the sleeve and drafted an extra wide back pleat; I like how fluid and sculptural it feels from behind.

I was so happy to have it in Barcelona when it got uncomfortably hot and sticky, and even happier that I packed a pair of bike shorts to wear with it (I don't know when my inner thighs became allergic to humidity, but the chaffing is NO JOKE).

Heat rash aside, I'm looking forward to making a dozen more next summer, in every shade of linen available. Because.

What do you think of this dress/pattern? What's your secret summer weapon (besides bike shorts?)

Details: Self drafted linen shirt dress, handmade Greek sandals from Etsy

Hannah Dress by Victory Patterns

21 July 2016 by Heather Lou 28 Comments

Do you ever get so ridiculously jazzed by a new pattern that you basically push everything else off your sewing table in your excitement to get started? This was essentially my reaction when Kristiann at Victory Patterns released the Hannah Dress this spring. I got to see this feat of engineering live on Kristiann at Camp Workroom Social last year, and I was blown away by how innovative the construction is; this is a very special pattern.

At first glance it's a chic little shirt dress with a tunic placket and a deeply curved hem. What really sets it apart is the crossover back panel that wraps around the front and dies into the front pockets. It's sculpturally interesting enough on its own to be made in a solid colour (how fabulous in linen!) but I decided to dive into my immense stash of shirt making fabric instead. I pulled out this lovely blue oxford, and waited for the right contrast fabric to sing my name.

It happened at Fabrications in Ottawa; I knew as soon as I saw this huge floral print quilting cotton that I had found my match. Of course I failed to save the selvedge so I can't remember the company, but it's very soft with a much drapier hand than typical quilting cottons. I'm not normally a big floral print kind of lady, but I loved how modern and graphic this one was, and the blues matched my oxford perfectly.

It's a great pattern to experiment with dramatic prints since they only pop in as an accent and don't dominate the entire dress. I am utterly in love with the final result of this pairing; it feels modern and feminine and very very cool.

Other details to love? The super deep pockets (perfect for dog walking!), the slanted side seams and the wide hem facing. I LOVE HEM FACINGS! Full disclosure, I was working on a shirt dress last year that had some of the same design features of Hannah, and I was experimenting with a wide hem facing as well. It's such a nice alternative to a rolled hem. I forgot to snap picks of the guts, otherwise you'd see that the facing is also from the same floral cotton; a little special touch that only I can see. #secretsewing

The placket is drafted and explained well, which may be a relief to some of you since they can be a little frustrating to sew if the instructions aren't crystal clear. The button band is hidden, and while I liked the detail, I skipped the buttons because a) I would never do them up and b) I could probably use a little more room in the bust. I'm fine with how clean it looks sans buttons. You can see a little pulling around the placket but since I don't have to do it up I'm not sweating it.

This pattern is definitely on the more advanced side; the way it's assembled is a bit like origami and while the instructions are written well and Kristiann provides more than enough match points, you'll have to pay attention when it's time to put it all together. However, this is a pattern that is absolutely worth a little care and time; I get borderline harassed by people whenever I wear it.

Have you made Hannah yet? Have I sold you on this little miracle of a dress?

Details: Hananh dress in oxford and cotton, handmade leather sandals from Etsy, prescription sunnies from Firmoo

How to Install a Button Fly

13 May 2016 by Heather Lou 7 Comments

One of my favourite features of the Morgan Boyfriend Jeans pattern is the button fly. I love a good button fly (always the best thing about vintage jeans!) but I was really confounded by their construction until I took an old pair apart to figure out how they worked. Turns out, that it's not hard to sew at all! In fact, it's probably easier to install than a fly front zipper since there are fewer steps and less zipper flipping, always the part that confuses my students. In this tutorial, I will show you how to sew a button fly, it couldn't be easier!

If you want that classic vintage look (which looks especially cool when it distresses naturally over time and fades on the fly of the jean), the button fly is the way to go. It first showed up as the original closure on the very first pair of 501s in the 1870s; zippers weren't invented until a good 20 years later. Traditionally the inner fly buttons are a little smaller than the typical jeans button; they are hard to source but luckily we now carry button fly kits in the shop in three finishes, so you can install the typical 17mm button for the main closure and use the 15mm buttons inside your placket.

You will need:

The Morgan Jeans Pattern
Non-stretch denim
Jeans buttons (size 0-14 x 4, size 16-18 x 5, size 20 x 6)
Denim rivets (optional)
Topstitching & regular thread
1/4 yd fusible interfacing
Marking tool
Denim needles
Button chisel
Fray check

PREPARING THE JEANS

Once your front pockets have been installed, place your legs right sides together and align along the fly extension and front crotch seam. Baste a line of stitching from your center front notch to the circle marking (I find it helps to draw this line with chalk so you sew in a straight line). From the circle mark down, switch to a short stitch length, back stitching right when you start stitching again. Trim and finish the crotch seam and cut a notch from beneath fly extension to circle marking.

Press the fly extension open and the finished crotch seam to the left. Serge the left fly extension to finish it.

On the right side of the jeans, stitch a single line of topstitching 1/8" away from the center front seam on the left leg. Once that line of top stitching is done, use your template to mark your fly topstitching with a piece of chalk or my favourite tool, a Clover Chaco Liner. The topstitching should catch the fly extension beneath.

Now you'll want to prep your button fly shield and placket. Press the shield right sides together and sew along the bottom diagonal edge. Trim the seam down to 1/4" and snip off the inner corner so it will turn crisply on itself.

SEWING BUTTONHOLES

Press your fly placket wrong sides together and finish the raw edge with a serger or zigzag stitch (if you're serging, use a hand sewing needle to thread the loose end of your thread trail back into your stitching along the curved side so it doesn't unravel). Sew your buttonholes as indicated on the pattern piece - you want them to start about 1/4" away from the folded edge of the placket. When finished, both pieces should look like this:

Strengthen your buttonholes with some Fray Check. You can open your buttonholes with a sharp seam ripper, but I prefer to use a buttonhole cutter which ensures an accurate cut with no severed threads.

INSTALLING THE PLACKET

On the wrong side of the jeans, line up the placket with the left fly extension. it should line up with the top of the jeans and sit about 1/8" away from the center front seam - you want it inset just slightly so it's not peaking out when your jeans are closed.

Pin into place along the top of the pants and through the front of the jeans. You'll be topstitching through the left leg and the placket so I find it easiest to keep your pin where you can see it.

With the placket secured into place, topstitch the first line of fly stitching starting at the top of the jeans, slowly following the chalk guide you added earlier. Backstitch as you approach the center front seam. Make sure you are catching the placket evenly in your stitching.

Repeat another line of topstitching 1/4" inside the first one. Backstitch again as you approach center front.

INSTALLING THE FLY SHIELD

Flip your jeans to the wrong side again. It's time to install the fly shield, but first we need to remove some excess width from the right fly extension. Trim off 1" from the extension.

Line up the raw edge of the fly shield with the right fly extension. Sew together at 3/8" seam allowance and then finish the seam (you can serge it, zig zag it, or finish with bias tape).

From the right side of the jeans, remove the basting stitches securing the center front together and press the shield flat. Secure the fly shield in place by topstitching as far down as you can go along the right leg, about 1/8" away from the seam.

The joint between left and right leg is a little wiggly right now. To really secure everything together, pin the fly into place again through all layers. Starting at the bottom of the crotch seam, sew a second line of topstitching along center front, 1/4" away from the first line. Stop stitching about 1/2" after the curved fly topstitching double line. You can angle this out a little as you cross that curved line. If I'm going to do that, I mark it with chalk first so I have a guide to follow as I sew.

Once you've sewn past your curved line a ways, leave your needle down, turn your work and die the stitching into the center front seam, making sure to backstitch a few times.

For extra support, add a bar tack at the top of this small horizontal line of stitching and along the curved portion of your fly stitching (my favourite setting for a bar tack is 2 wide and .25 long). This really locks the placket, shield and pants together nicely.

INSTALLING THE BUTTONS

Once your jeans are assembled and you've sewn your waistband buttonhole, you can mark the locations of all your buttons. Close the jeans and use a pencil to mark the button location through the buttonholes.

The critical thing is to line up your buttons on the far side of the buttonholes (closest to center front). This ensures your jeans will actually fit correctly and all the buttons will be sitting in the right position. For the inner fly buttons, this will mean installing them around 1/4" away from the seam.

Use an awl or a hammer and nail to make holes for your button backs. Push the button backs through.

Once all your backs are in place you can install the buttons. You can use a piece of wood to hammer these in place (but please note that rivets need to be installed on a steel surface). I now use my mini anvil from Tandy Leather to install all jeans hardware so that's what I'm using here. Put your button face down and then center the button post in the buttonhole. Try to get everything lined up so that the post is going in straight. Give the bottom of the post a few good wacks with your hammer, ensure its going in straight, and then finish off with a few more taps. If you want to use a hand press, we have a tutorial here on how to use that.

Time to enjoy that vintage button fly goodness!

If you'd like to do an exposed button fly like Morgan did, you would simply omit the button fly placket and sew your buttonholes directly to your front fly.

Hope this helped you learn how to sew a button fly on your Morgan Jeans, although you can certainly use this method on any pants pattern that needs a classic touch!

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Just Make it Already! How to Boost Your Sewing Confidence

2 January 2016 by Heather Lou 152 Comments

I’ve been thinking about sewing and confidence for the past few months, and have written and re-written this post in my head so many times that it’s time to finally just get it off my chest. Here it is:

Stop telling yourself you can’t do it.
Stop telling yourself it’s too scary.
Stop telling yourself you’ll fail.
Stop being your own worst enemy.

In blog posts, in comment sections, on Instagram, time and time again I read, “I want to make X but I’m scared”. Each time you say this, I want to reach across the internet, take your hand, look deep into your eyes and say, "Enough".

If you can thread a bobbin, you can make a shirt. If you can sew a zig zag stitch, you can make a bra. If you can cut fabric, you can make a pair of jeans. The only thing stopping you is the little voice in your brain that is whispering, “You can’t do it. You’re not good enough, you’re not smart enough, and when you fail you will only show everyone what a great, big fraud you really are”.

That voice is evil. That voice is some vestige remainder from our Neanderthal days when self-doubt kept us from being eaten by cave lions. That voice serves no purpose anymore except to bully you and prevent you from reaching your full potential, and that voice MUST BE STOPPED.

Here's how to stop the voice:

Start sewing. Pick that “scary” project you’re longing to make and just. Make. It. Pull out that fabric you’ve been fondling but are too nervous to use and just cut into it. Turn on your machine, put on whatever song makes you feel invincible (may I suggest this or this?) and just. Make. It. Already.

What is the absolute worst case scenario if it doesn’t look exactly like the Pinterest-worthy image your perfection-mad brain has conjured? Will you have to cut off your own arm? Will a serial killer throw you down a well with a bottle of lotion? Is a spider going to hatch eggs on your face? WHAT ARE YOU REALLY AFRAID OF?

Failure.

Now, here’s the thing about failure, if this is what you fear; you’re giving it way too much power. Even if the thing you do or make is the ugliest thing that anyone in the history of mankind has ever done or made, it is still teaching you something about doing and making. And chances are, your Neanderthal Pinterest-scrambled brain is seeing failure where any random passing stranger would see aptitude and courage, because you tried. You made something with your bare hands, and that in and of itself is important and true.

The beautiful, priceless, magical thing about learning to sew is that you get to learn. Each project presents new challenges, skills to practice and opportunities to improve; how lucky we are for that. Few things in this life are enjoyable AND valuable in a meaningful way, and the act of making is one of them. When you push yourself, finally turn that self-defeating voice off and just go for it, the pay-off is enormous.

You start to believe in yourself and your inherent capabilities; "the voice" gets quieter.
You realize the endless potential of your own innate creativity.
You satisfy that deep, primal instinct we all have to make things and leave a physical mark on the universe.
You get to make and wear things that no one else in the history of the planet has worn, because there is only one, and you made it.
You learn to love yourself more, because sewing your own clothes is at its very core an act of self-love.
You start to admire and appreciate your body for what it is, rather than what you wish it would be; through sewing, your body becomes your friend, not your enemy.
You learn that each mistake is just an opportunity to get better.

The next time you are beating yourself up about a wonky seam or talking yourself out of something you really want to make, ask yourself, “What would I say if I was talking to my best friend?” You would tell them that they are smart and amazing and totally capable of anything. Tell yourself that and just. Make. It. Already.

STOP MAKING EXCUSES

Approached a technique you’ve never used before? Google it. You’re blessed to live in a time when everything that has ever been done now has a youtube video. Our grandmothers had to rely on their peers, luck, trial and error; we have the internet. Take advantage.

Worried about ruining that "special" fabric? Is it woven from unicorn eyelashes? No? Life is short. It's just fabric.

Scared it's going to look like a hot mess when it's finished? It probably doesn’t (the voice), and even if it does, no one really cares but you. It’s not a reflection on your integrity as a human being. If you're committed to getting better, remember that everything you make is a step forward, a lesson learned. It may not happen as immediately as you would like, but that evolution is happening each time you try.

But what if it doesn't fit perfectly? Again, no one really cares but you. You are asking way more of your me-made garments than you would of ready-to-wear, and if that pressure is preventing you from getting started or simply stopping you in your tracks, you need to learn how to shake it off. A drag line is not the end of the world. Learn what you can for the next time. Resilience is about not getting tripped up by imperfection. Be resilient.

But my topstitching is off by 1 mm and this zipper is not quite invisible and my handstitching is uneven and and and and..... LEAVE IT. It’s fine; it really is. Finish it. Stop beating yourself up and just move on to the next thing. The next thing will be incrementally better.

Scared to cut? JUST CUT. Scared to get going? GET GOING. The secret to getting things done is just to do them. It’s truly that simple. The voice is the only thing telling you otherwise.

Need more convincing, my Debbie Downers? In all the time I have been helping people make things, I have never, ever heard a single person say after they tried something new for the first time, "I really wish I hadn't done that". No one. Whether it's online or in class, what they actually say when they challenge themselves with something "intimidating" is "OMFG I freaking made this!" That feeling is like heroin, only it's free, and it won’t ruin your life. And you can get that feeling every time you challenge yourself to try new things, even when they are intimidating or scary or hard. Because when you do, you create a positive feedback loop where you tell your brain and that voice that you are smart, capable and worthy, and the voice gets smaller and smaller, until eventually it's not really there at all. And that is called winning.

Sewing teaches us so much, but the most important thing is that you can do anything when you simply do it. If you have been holding yourself back, make 2016 the year that you jump forward. Turn the voice down, and just make it already. It wants you to.

Sewing & Cutting Table DIY for Your Craft or Sewing Studio

5 August 2014 by Heather Lou 112 Comments

Want to take your sewing or craft studio to the next level? Time to make a custom DIY cutting table! Not only will this save your back - no more stooping over a too-short dining table or crawling around on the floor - but it will provide you will lots of storage and give you the perfect surface to make your most beautiful creations. Using supplies you can find at any hardware store, in an afternoon you can create a cutting table that will give you years of loyal use!

This blog post walks you through constructing the cutting table of your dreams, but I've also created a free PDF which includes detailed dimensions and plans, 3D drawings, and instructions that you can print out and refer to anywhere. To access it, you'll have to join our newsletter; in our first email we'll send you the password to our Sewing Resource Library where you can download the ebook and plans for free!

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If you sew a lot, there are few things in the world more desirable than a sturdy table you can work at without stooping over. I have lower back issues from years of sitting at a desk and postponing yoga, and my dining room table was slowly killing me and my body. A comfortable working height is 36 inches for most people (hence why it's the standard counter height in kitchens) so that's what we're aiming for here, although the shorter or taller among you may want to tweak the height accordingly. Just keep in mind that stools are designed to be used at 36" and 42" countertops, so sitting may be awkward if you stray too much from those dimensions.

The great thing about this project is that it requires minimal tools. You will have the bulk of the cutting done at your hardware store, which makes it much easier to get stuff home. This tutorial will provide you with a table that is 3 feet wide by 6 feet long. If you want something smaller, you'll have to tweak the dimensions.

Here's what you'll need:

TOOLS

an electric drill with a drill bit to match your screws (I love this one - cheap enough that it's worth it just for this project!)
an electric sander (I prefer one like this model - you can just use sheets of sandpaper rather than having to buy special shapes)
a level (I use a level app on my iphone)
measuring tape
a handsaw (something this simple is all you need)

LUMBER

one sheet of 3/4" plywood for the tabletop cut down to 3 feet by 6 feet. I used spruce. You can also use pine or maple - just make sure you like the grain. Higher grades of wood are more pricey. This tabletop will overlap each side by about 2".
one sheet of 3/8" plywood in the same wood as above cut to 67" x 31". This will be the bottom level of your table. Make sure to find a sheet that isn't cupping.
(6 x) 2x4's that are 8' long in spruce or pine. You will ask all of them to be cut at 5'-4" - this will give you 6 pieces to act as your long support posts, and 6 additional pieces at roughly 32" long. 4 of these will act as your vertical legs - the other 2 pieces should be cut down to 31" to provide the additional horizontal support for your castors at the very bottom. Make sure your 2 x 4's are nice and straight - you can eyeball them by looking down each side, or ask someone for help. Bowed 2 x 4's do not a straight table make.
(1 x) 2x4 that is 10' long in spruce or pine. Ask for 4 cuts of 24" each (the saw takes off a little so you want to use a slightly longer piece of wood). These will brace your legs.

ADDITIONAL SUPPLIES

(4 x) heavy duty castors, 2 of them locking. I bought 3" castors that had an overall height of almost 4". This plus your legs and the tabletop will give you a total height of just over 36". This set includes everything you need.
(8 x) galvanized steel rigid ties exactly like this. You can find them in the hardware section of the Home Depot or buy them online. These are great because they let you join all your 2 x 4's easily and accurately. I also think they look industrial and awesome.
A large box of #8 1 1/4" long wood screws. Get at least 200 - each rigid tie takes 20 screws.
A small box of #8 3" long wood screws, at least 20. You will use these to secure your long and short support posts.
1 can of stain, if you want it. I am in love with Minwax White Wash Pickling Stain- it lets the grain show through while lightening the wood. And it looks Scandinavian and sexy as hell. I don't suggest paint for this project. It's not a good finish for tabletops that get a lot of use - it will look terrible within a few months.
1 can of water based polyurethane. I suggest Minwax Polycrylic; it dries totally clear. Most polyurethanes have a yellow tint.
A couple of foam brushes.
3 kinds of sandpaper. At least 3 sheets each of 120, 150 and 180 grit. You will use each one at different times in the sanding/sealing process.
a dust mask
lint free cloths

All in, the supplies will cost around $200, not including any of the tools. I thought this was very reasonable, especially after looking into getting something custom made (OUCH!) It took me a day and a half to complete the project, a worthwhile investment to save my weary back muscles.

ASSEMBLING CUTTING TABLE

Once you get everything home, you'll need a good place to start sanding. I used my balcony. If you do it inside, try to seal off one room of your house because you will get dust EVERYWHERE! Start with your 2 x 4 pieces. Sand each long side with your 120 grit paper. You may have to work a little harder to sand off any of the markings on the wood. The only bottom and top edges you need to worry about are the ones for the 2 x 31" pieces. These are the only edges you will see in this project. You basically want to sand off any splinters and rough edges and get a somewhat smooth finish but don't go crazy. 2 x 4's are notoriously imperfect.

Finish sanding the 2 x 4's with your 150 grit paper. This prepares the wood for the stain.

Wipe all your wood down with a barely damp cloth to remove the dust. Once they are dry, use your foam brush to apply stain to all the long sides, rubbing it off with a dry cloth as you go. The only short sides you need to worry about staining are on your 2 x 31" pieces.

Let your stain dry for a few hours and sand them again, this time with the 180 grit paper. It smooths down the wood that expanded and got rough from the stain.

Wipe with a barely damp cloth again and use a fresh foam brush to apply your sealer. Check when you're done each piece to smooth out any drips. You'll want 3 coats total; sand again with the 180 grit after the first and second coats to smooth out any bumps. It seems like a lot of sanding but it actually goes by quite quickly! I wrap my foam brushes in saran wrap in between coats so they don't dry out. Pro tip: Blare some classic rock and feel like a badass while using your sander.

Closet Core Patterns- Cutting Table DIY — Sanded, stained and sealed 2 x 4's.

You are going to repeat the exact same sanding process for your two sheets of plywood, but you only have to finish one side of each, since the other will be mostly invisible. Before you sand your 3/8" plywood, cut each corner so that the plywood will hug your 2 x 4 legs with a handsaw. Be sure to sand the edges of the plywood well, since you don't want your lovely fabric to catch on snags!
Now that you've got everything sanded, stained and sealed, we're ready for the fun part. ASSEMBLY! Before we get started, you may want to remove the stickers from the rigid ties with some Goo Gone. The Goo Gone will also help remove any grime or oil on the steel - wash them with soap and water and let them dry.

Lay your 24" pieces on the ground and thread your 32" legs through the rigid ties. Add two long supports so you can make sure everything lines up.
Start screwing in the 1 1/4" screws with your power drill. Make sure you go in nice and straight, and back off the drill when they tighten up so you don't thread your screws. Don't forget to screw the inside corners too.

Once your legs are screwed in, you'll want to attach the bottom 2 x 24' bracings. They should start 6" from the bottom of your legs. Use a measuring tape, pencil and level to keep everything straight.

Attach the remaining long supports, using your 3" screws.
Drill your 32" cross bracing to the inside of each set of legs, making sure your 2x4 is level with the bottom of your legs.
Screw in your castors. In my case, I had one castor edge hanging out, but 3 screws per castor should be plenty if the same thing happens to you.
Flip that baby right side up. Shed a single, proud tear. And then turn up the classic rock.

To get your 3/8" sheet of plywood in, you'll have to do some creative angling but don't worry, it will fit.
Lay your tabletop on the frame. I didn't want to secure the table in case I wanted to pull it out and create room for my legs when I'm working, and also for ease of dis-assembly if I ever move to a bigger studio. If you're staying put, you can use construction adhesive to glue it down, but I found using some silicone furniture pads available at the dollar store prevent it from moving around too much.

Finally, you can attach a bar to the sides if you'd like to hang your tools. I got a silver one with some S hooks at Ikea.

And that's it folks! It's a few days of work, but I cannot even begin to tell you how much this cutting table has transformed my sewing practice. I don't dread cutting anymore, and it's a pleasure to unfold silk and watch it slip around on my beautifully varnished tabletop.

And if your friends and family think you're a sewing superstar now, wait until you tell them you BUILT this!

Happy making!

Sallie Silk in Shigawake

22 August 2013 by Heather Lou 65 Comments

Something really, really special came into my life recently. Last month, I opened a package from Texas, filled with 5 yards of hand-painted silk from my beloved Sallie Oh. How did this small miracle come to be? I made an offhand comment about some sort of silk trade after seeing her truly magical Satsuki dress, not really expecting her to actually take me up on the offer. But I guess long-distance pen pal love affairs are the real thing.... She emailed me to tell me she would be happy to watercolour her magic for me. After I stopped hyperventilating, I sent her ten yards of 16mm crepe de chine from Dharma Trading Co for us to share. A few months later I practically wept when I unwrapped her handiwork.

What I emailed Sallie when my preciousssss arrived....

A light chartreuse with a field of indigo and rose watercolour splotches.... It even has a repeat! So in awe was I, that it sat on a hanger in my studio for over a month, terrifying me. How on earth was I going to get the balls to cut into this fabric, made with such love and skill? It kept me up at night. Sallie and I began to call it the Silk of Intimidation - she had the same fear to make it, worried she was going to disappoint me (FAT EFFING CHANCE MY DEAR).

I had Vogue 8827 in mind from the beginning, but deliberated for weeks about whether I was making the right decision. I had fallen in love with the short sleeved maxi dress when it was released and had been waiting for the right silk to come into my life to make it.

There was not EVER going to be a better silk.

Finally, I marshalled my courage. I made a strong cup of tea and spent over 3 hours meticulously and thoughtfully cutting out my pieces, ensuring the pattern on the silk was distributed as beautifully as possible.

The pattern came together fairly easily, but I took my sweet time assembling it, using only the finest silk pins and french seams. I spent many hours watching Orange is the New Black, making the tiniest, most even hem stitches to fasten the facings down the length of the dress. I widened and lengthened the belt to have more of an obi effect, and angled the corners for a prettier finish. The silk is so fine and light, I have yet to Colombo an ideal way to fasten the wrap from the inside. However, because of the crepe texture, it stays together quite nicely with only the obi keeping doing the work.

The only issue with the dress is that the sleeves are quite narrow - I will have to be very careful wearing it over time as I worry about the stress on the armhole seams. Otherwise, it fits perfectly, feels sinfully good on the skin, and blows in the wind like a prayer.

I spent more time on this dress than I've spent on almost anything I've made yet, wanting it to be as perfect as the silk itself. And when I was finally done, it sat in my closet for weeks. This wasn't a dress I could shoot on my balcony. My Sallie Silk needed a special location - Sallie Silk needed Shigawake.

Last Thursday I made the 11 hour drive to Shigawake, Quebec with the dress fluttering on the garment hook in the backseat of my rented Jeep. It sat there for 3 days while I frolicked with a huge gang of displaced Montrealers in one of the most beautiful places in the world. The Gaspe region is awe inspiring - think New England, but more rugged and elemental, filled with a salt of the earth mix of English and French, living simply surrounded by sea, field and sky. We camped down the road from an agricultural and music fair and spent 4 days swimming in the ocean, romping in waterfalls, drinking in meadows, cooking over a fire, singing in barns, watching the sunrise. On our last full day there, I asked my friend Sean to help shoot the Sallie Silk in the grounds surrounding our campsite. I couldn't have asked for a more beautiful place to document what is easily the most beautiful garment I could ever hope to call my own.

This weekend has been so much about gratitude for me. Gratitude to live in this amazing country filled with such kind, good people; gratitude for the inspiring friends (old and new) I get to share this journey with; gratitude for the unspoiled beauty of Canada, which takes my breath away every time I get a chance to explore it; gratitude for this amazing small community of sewists and makers, who are so generous with their time, their skills, their support. Gratitude for Sallie, who feels like a soul sister even though we have never met and live thousands of miles away from each other. Gratitude for this little corner of the internet, where I get to share the things I feel so lucky to be able to make...

Thank you Sallie. Thank you goodness. Thank you life.