Dotty Stripe Flint Trousers Venture Out - Christchurch Quilters' Exhibition Vivid

The Christchurch Quilters' exhibition Vivid was practically over before I knew it existed. Fortunately I read an email in the morning and was able to detour for a swift viewing before our Sunday afternoon stroll along Sumner beach. My beloved sitting in the car did detract from any shopping experience and I left the merchants mall empty handed despite a strong pull towards some hand dyed fabrics from Mallee Textiles.

The trousers

I had an epiphany with the pleats in the Megan Nielsen Flint trousers, which I shall explain in another post, and I now love this pattern more than ever. I play around with having a front fly zipper or side seam invisible zipper but this version has the original buttoned left pocket opening, creating yet another winning pair of Megan Nielsen Flint trousers.

Sandcastles in the sun (and wind) at Sumner beach
Outfit: Dotty Stripe Flint trousers, Sewing Workshop Maison Dijon Giant Seersucker top; Untouched World Poncho Serene / Slate; and P448 Skate Pailettes Stroil Sneakers

As an aside the (Sumner) Scarborough clock tower in the first photograph is looking splendid. This 1934 clock tower was badly damaged in the 2011 earthquake but now newly restored and strengthened it is extremely photogenic!

Excuse the creases - they had been worn all day by the time these photographs were taken. The fit of these is nearly perfect and I am very tempted to take them in about an inch at the waist - to reach perfection.

Megan Nielsen Dotty Stripe Flint Trousers - patchwork version 2!

Every now and then I become fixated on a fabric being made into a particular garment and this was the case with a Japanese linen cotton which was about half the amount I needed to make trousers. Simple - I had seen a number of fashion designers using a mix of fabrics, including my favourite Dolce & Gabbana, so I would use a different fabric for each leg. I bought another piece of cotton linen with grey/natural stripes from eQuilter. Disappointment loomed as when the fabric arrived from America it was not a match made in heaven. Now I have two pieces of fabric too small for trousers. First I found the perfect match for my original fabric at Nancy's Stitch Studio in Wellington, which is sadly no more. The resulting Flint trousers I just love love love, and will reveal in my Megan Nielsen Flint trousers take two post coming soon (or in two months which seems to be my current blogging schedule). A few months later I found the almost perfect match for the grey/natural stripe from Stitchbird Fabrics in Wellington. Convinced I could make them a perfect match I bought the mustard stripe fabric, partly because I am still pursuing the Sunset Swap inspiration.

Clockwise from left: the back leg pieces; Kokka linen cotton canvas Line in Mustard designed by Etsuko Furuya; the painting supplies; and Sevenberry grey natural stripe cotton flax canvas

I knew I would use the Line in Mustard border down the side of one leg front and around the bottom of the other leg. Each leg would be made from one of the fabrics, with the pockets using the other leg fabric. For this patchwork version that didn't seem enough to tie the two legs together so the fabrics sat for a while. As often happens inspiration struck just as I was nodding off to sleep one night - stencil polka dots in gold reversing the stripe and polka dot colours of the Line in Mustard fabric. When I dragged out my box of fabric paints serendipitously there was the foam dabber. No need for a stencil I could just use the dabber to make my dots. The paints were so old I had to thin them down with the textile medium, which seems to have worked well. The Lumiere acrylic paint True Gold colour was a bit too brown so I mixed it with some yellow on a palette until I thought it was just right. The dots are in a similar pattern to the Line in Mustard silver metallic dots but not quite as I got carried away dabbing. After all of my creative endeavours I am in love love love with this version too.

It seemed appropriate to take my patchwork trousers to Vivid the 2021 Christchurch Quilter's exhibition.

A wonderful opportunity to see some quilts especially as we aren't able to leave New Zealand so there is no Houston Quilt Festival for me this year. Its not quite true we can leave its the getting back into the country that is tricky. Obtaining a spot in managed isolation for the mandatory two weeks is a bit of a lottery, so we stay home and enjoy the talents of the local quilt artists.

If you are all about the garment sewing no need to venture further. The quilt pictures are many and the post is long because I included the artists' statements and other details about the quilts. This not only made for a very lengthy post it took me ages to compose even with the help of Google Lens copying the text from the image (not always possible due to blurry photography). I do think the time spent was worthwhile as it helps the enjoyment and understanding of the quilts. Especially important are the sizes of the quilts because I made the photographs as big as possible which obscures the real size of the quilt.

The Vivid challenge

This selection of quilts from the Vivid challenge really lived up to the name.

Clockwise from top left: Little Boxes by Veronica Spittal; Vivid Triangles by Daena Schofield; Testing the Pen by Jennifer Middendorf; Aniwaniwa Piwakawaka by Denise Smith; Brightness Overload by Kaye Amos; and Vulpes Fulvus by Andrea McClare

Veronica's artist statement: The design idea come from the word 'Vivid' which reminded me of a child's crayon drawing. The theme was inspired by the 1960's hit song by Malvina Reynolds "Little Boxes" protesting against the rise of suburbia. My protest is about the ugly brick farm workers houses springing up over the countryside. Design: Own design using amended free vector images for houses and letterboxes. Woven quilting inspired by 'Simply Stunning Woven Quilts' book by Anna Faustino. Techniques: Applique, woven fabric, painted fabric, machine and hand embroidery. Materials: Fabric, embroidery thread, Applifix, Inktense pencils. Size: 46 x 41 cm. Award: Best - VIVID

Daena's artist statement: An attempt to experiment with triangles and bright colours. Design: Own design. Techniques: Machine piecing, machine quilting, 60 degree ruler. Materials: Cotton, bamboo batting, Egyptian thread. Size: 44 x 34 cm. $150

Jennifer's artist statement: The word "Vivid" made me think of the scribble everyone does when they find a Vivid pen in the bottom of a drawer, to test if it still has ink in it. That gave me the big central scribble, and then I continued the theme with the free-motion quilting, filling my 'page' with doodles. Design: Own design inspired by free motion quilting doodles by Angela Walters. Techniques: Piecing, raw-edge applique, free motion quilting Materials: Cotton, batting. Size: 43 x 47 cm

Denise's artist statement: Amongst the Tane of the forest, Aniwaniwa Piwakawaka flits from branch to branch, landing for a few moments to show his beautiful feathers. Design: Own design inspired by Helen Godden. Techniques: Hand dyed background with a resist, stencilling, free motion quilting. Materials: Calico, cotton fabrics. Size: 37 x 41 cm. $330

Kaye's artist statement: This was the best fun, choosing fabrics that were so bright they hurt my eyes. Design: I used a combination of designs from Kirsten Duncan's class. Techniques: Applique, couching trim, free motion quilting. Materials: Cotton fabric, batting, thread. Size: 45 x 40 cm

Andrea's artist statement: The prompt Vivid asked for Kaffe Fassett fabrics. I have used my favourite technique to create animals. Fabric collage applique which is then thread painted to add texture and fine details. Design: Own design using pictures of foxes sourced from library books and online. Techniques: Neocolour II wax crayon painted background, fabric, thread painting. Materials: Cotton fabrics. Neocolour II wax crayons, Aurifil thread. Size: 50 x 50 cm. Award: Best - Vivid

The Andrea McClare quilts

Here are three more quilts from my friend Andrea, all utilising her signature thread painted applique collage technique.  Interesting how when you know someone you find all of their pieces in the exhibition - the eye is trained to spot the familiar! Andreas's two other pieces in the exhibition are Vulpes Fulvus above which won the Best - Vivid award and Virescent in the Aotearoa Quilters Colour Challenge - Lime below. My favourite is Beatrix - love the original stories and the little Bilby who would have fitted right in amongst Ms Potter's other creatures.

Top to bottom: Vintage Camera; Miss Cassie at Twilight; and Beatrix the Bilby by Andrea McClare

Vintage Camera artist statement: This quilt was created from a photograph. In the original photo the camera was sitting on a blue cloth, I chose to give it a more aged look with a brownish yellow background. Design: Sue de Vanny online Facebook class. Techniques: Fabric collage, thread painting, blended background. Materials: Cotton fabrics, Aurifil threads, cut away stabiliser. Size: 40 x 55 cm

Miss Cassie at Twilight artist statement: The background is painted in delicate twilight shades to contrast with the wild almost prehistoric looking Cassowary. Design: Sophie Standing online Facebook class. Techniques: Painted background, fabric applique, thread painting. Materials: Neocolour II wax crayons, cotton fabrics, Aurifil thread. Size: 75 x 50 cm

Beatrix the Bilby artist statement: She reminds me so much of the characters from Beatrix Potter tales that I named her accordingly. Design: Sophie Standing Facebook class with own design used for background and free motion quilting. Techniques: Neocolour II wax crayon painted background, fabric, thread painting. Materials: Neocolour II wax crayons, cotton fabric, Aurifil thread. Size: 45 x 60 cm

Sophie Standing has quite a following here in New Zealand after her visits in 2019 and 2020, with one more quilt in this exhibition from her Facebook class, and it won the award for Best Kit / Class Work.

Nuala the Koala by Karyn Elder

Karyn's artist Statement: This was an online class by Sophie Standing which started just after lock down last year. Nuala came to life as more fabrics, colours and threads were added. Design: Sophie Standing kit with own design of background trees. Techniques: Fabric painting, drawing outline, textile collage. Materials: Canvas, fabric, thread. Size: 67 x 57 cm.

The Catherine MacDonald quilts

Catherine is a favourite quilt artist who is well known in New Zealand. I love her dyed fabrics (Mallee Textiles) and the complex messages she entwines in seemingly simple quilts. Catherine has another quilt, Flanders Fields, in the Aotearoa Quilters Members Challenge - Reflections below. All of Catherine's quilts are her own design using her photographs.

Clockwise from top left: A Point in Time; Then Till Now; Ailsa Craig; Alone in the City; The Power of Weapons; and Working Together

A Point in Time artist statement: This reflects my 2019 visit to see the completed 9-11 memorial in NYC which is breathtaking in its stillness and reverence of visitors. I took a lot of pictures inside the tributes and parts of the original towers. I was taken by the strength of the concrete pillars and how they were broken, how strong they looked yet we know they crumbled. Techniques: Machine piecing, hand stitching and quilting. Materials: Rusted as well as flour paste printed fabrics. Size: 102 x 40 cm. $950. Awards: Best - Art / Contemporary; Merit - Judge's Choice Sophie Wood.

Then Till Now artist statement: I was comparing the media required when my parents flew back in 1968 to myself in 2010. No longer do you need printed tickets and travellers cheques, everything is electronic these days and available at the touch of a button. Materials: Hand dyed and treated fabrics, photo transfer. Size: 102 x 69 cm. $750

Ailsa Craig artist statement: Neighbourhood means many things to me but none more so that a small country town that espouses the values of working together for the good of their town. In my piece I have tried to show the open countryside all around the town as well as those working to make the NZ exhibition such a success. Techniques: Machine piecing, applique and quilting. Materials: Hand dyed and treated fabrics, photo transfer. Size: 102 x 72 cm. $750

Alone in the City artist statement: When you walk through a city or town and look at the lights on in the buildings you can often feel alone as you don't know anyone. However, how many people in their buildings are feeling on their own or in need? Do they feel trapped? Techniques: Machine piecing, applique and quilting. Materials: Hand dyed and treated fabrics, indigo fabrics. Size: 102 x 102 cm. $750

The Power of Weapons artist statement: Inspired by a visit to Peter Jackson's WW1 exhibtion about the war to end all wars. Now these weapons are used by all including single gunmen in mass shootings. How easily people seem to have forgotten the WW1 sacrifice...Lest we forget... Techniques: Machine pieced and appliqued, hand stitching. Materials: Discharge dyed fabric, hand dyed fabric, Wonderfil thread. Size: 100 x 60 cm. $950

Working Together artist statement: Inspired by a 10 acre sculpture park with over 170 sculptures. I based this work on 3 to 4 of my favourites, taking bits from each. Techniques: Machine piecing, applique and quilting, Materials: Hand dyed and treated fabrics, thermofax printing. Size: 102 x 48 cm. $750

The Kaye Amos quilts

Kaye also had a quilt in the Vivid challenge above.

Top to bottom: Aqua Delight; and Pods in a Vine

Aqua Delight artist statement: I was inspired by the pattern and fabric that was part of Allison Cocks collection. Design: Pattern for traditional Hawaiian needle turn design. Techniques: Invisible applique, trapunto and free motion quilting. Size: 112 x 112 cm.

Pods in a Vine artist statement: This image has been on my mind for some time, it was great to experiment with the Inktense pencils. Design: Own design. Techniques: Applique, free motion stitching, colouring and painting. Materials: Quilting cottons, batting thread, Inktense pencils. Size: 103 x 40 cm. $150.

The Maria Rohs quilts

I oh so nearly purchased the Mike Goes Skiing quilt, it really conveyed the insignificance of man against the snow covered mountain, and the danger it holds. Maybe I was drawn to it because a friend broke two vertebrae in his neck skiing a couple of weekends ago. Not that I ski, standing up on terra firma is enough of a challenge for me.

Top to Bottom: Sisters; and Mike Goes Skiing

Sisters artist statement: My Austrian sister Heidi has walked a lot in the Vienna woods - her family say she knows every tree! Of course I have walked there with her whenever I have visited. Inspired by a photo I took and placed myself in it with her. Design: Own design. I began this quilt in a class with Gloria Loughman. Techniques: "Tiles" in the background and applique in the foreground. Materials: Cotton fabrics. Size: 59 x 44 cm

Mike Goes Skiing artist statement: Made for a hexagon challenge. If sold, the name can be changed to suit the buyer. Design: Own design. Techniques: Machine applique and quilting. Materials: Cotton fabric, metallic thread. Size: 35 x 41 cm. $95

These three eye catching quilts are from a class taught by Maria using Katherine Roumanoff techniques. I would be afraid to sit on the sofa with one of these cushions on it.

Top to bottom: Wildlife Beauty by Joy Brett; Flora by Kirsten Tritt; and Flora by Sue-Ellen Sandilands

Joy's artist statement: My wildlife daughter begged me to take this class since she couldn't! Not my usual style but I made the pillow for her. Techniques: Applique. Materials: Cotton, upholstery fabric. Size: 45 x 48 cm

Kirsten's artist statement: Flora was made as an example for Christchurch Quilters class on faces. Techniques: Raw edge applique, quilting. Materials: Cotton, polyester batting. Size: 51 x 38 cm

Sue-Ellen's artist statement: Freeing fun class offering opportunity to play. Techniques: Machine applique. Materials: Cotton fabrics, curtains. Size 61 x 62 cm

The Kathleen Burford quilts

Four stunning quilts as always from Kathleen, and such varied styles too, all based on her own design. Kathleen also had a quilt, Shimmering Water, in the Aotearoa Quilters Members Challenge - Reflections below.

Clockwise from left: Ghost Ships of the Orient; A Taste of Japan; The Long Journey 3; and Kimono Treasures

Ghost Ships of the Orient artist statement: This quilt was made in a class at Auckland Symposium 2019. Design: Inspired by Pat Archibald. Techniques: Machine pieced and quilted. Materials: Cottons, netting, embroidery thread. Size: 107 x 31 cm. $140

A Taste of Japan artist statement: I purchased some of these fabrics from Japan, others from my stash. I wanted to share the beauty and simplicity of Japanese design. Techniques: Machine pieced and hand quilting. Materials: Cotton fabrics, silks. Size: 91 x 32 cm. $350

The Long Journey 3 artist statement: These birds create a backdrop for the late evening colour contrasts, a view I often see from our home. Techniques: Machine pieced and quilted. Materials: Cotton fabrics. Size: 135 x 100 cm. $600

Kimono Treasures artist statement: I purchased several packets of kimono pieces while in Japan. These beautiful colours needed simplicity to enhance the colours. Technique: Machine pieced and quilted. Materials: Cotton fabric, silks. Size: 179 x 212 cm. $650. Award: Best - Modern.

The Ngaire Dawson quilts

The techniques used may be a little bit different but all are based on Ngaire's own design.

Top to bottom: My View; The Cliffs; and The Ashburton Bridge

My View artist statement: I am always captivated by the ever changing moods and light I experience looking at the sea and sky from my home. I have tried to capture a glimmer of this in my quilt. Techniques: Cyanotype printing, hand quilting, couching. Materials: Cotton fabric. Size: 35 x 35 cm

The Cliffs artist statement: What could be over the ridge? This thought is one of the joys of tramping. Techniques: Silk painting, hand and machine quilting, couching. Materials: Silk. Size: 32 x 31 cm

The Ashburton Bridge artist statement: We have been warned to expect increasing major flood events as part of global warming. We are being informed of that happening in many parts of the world, including New Zealand. Techniques: Shibori dyeing, piecing, hand and machine quilting. Materials: Cotton fabric, fibre reactive dyes. Size: 71 x 59 cm. Awards: Merit - Art / Contemporary; Merit - Judges Choice Linda Pringle.

The Rin Tipa quilts

Aside from the wonderful use of colour I found it interesting that these two quilts were made by the same person.

Top to bottom: Bird on a Wire and Pampas Grasses

Bird on a Wire artist statement: This quilt is a combination of two different patterns. Loved the birds from a Wendy Williams pattern and the blocks from an Abbey Lane pattern. Design: Wendy Williams and Abbey Lane. Techniques: Machine pieced. Materials: Cotton fabrics. Size: 177 x 152 cm

Pampas Grasses artist statement: This was a club challenge for 2020 of "LINES". Design: Own design. Techniques: Machine pieced with fused grasses. Materials: Cotton fabrics. Size: 43 x 43 cm

The Lynda Thrower quilts

So here is the Best in Show and the Best Traditional quilt, with another more fun but still meticulously executed quilt from Lynda. My photos of these two really don't do them justice.

Top to bottom: Paisley and Tea Roses; and Oh Sew Pretty

Paisley and Tea Roses artist Statement: I have quilted on a domestic machine. Design: Based on a pattern by Denise Sheehan and inspired by Cindy Keitz Krug. Techniques: Hand applique. Materials: Cotton fabrics. Size: 200 x 225 cm. Awards: Best in Show; Best - Traditional.

Oh Sew Pretty artist statement: The pattern was designed for wool applique and was much larger. I downsized it and used cotton fabrics, free motion quilting on a domestic machine. Design: Pattern by Buttermilk Basin. Techniques: Hand applique. Materials: Cotton fabrics. Size: 107 x 83 cm

The Julia Li quilts

These three hand sewn beauties by Julia Li, where a study in precision.

Clockwise from left: Stars and Stripes, size 208 x 175 cm, $1,650; Daisy, size 124 x 102 cm, $880; and Perspective, size 53 x 53 cm, $440

The other quilts that caught my eye

I resisted taking photos of every quilt at the exhibition but there were a few more that appealed to me.

Reflections by Anne Howard
Artist statement: I liked the design and as I had never tried paper piecing was eager to give it a go. I can see myself using this technique again. Design: A block out of the Quilt - The Bachelor in the book Paper Pieced Modern by Amy Garro. Techniques: Paper piecing, straight line quilting. Materials: Cotton fabric, thread. Size: 57 x 56 cm

Shibori by Annette Blair

Artist statement: Samples from many different experiments over the years with Shibori. Finally pieced together. Design: Techniques from books on Shibori. Techniques: Shibori - stitching, clamping, folding and immersion. Materials: Cotton fabrics, Procion dyes. Size: 84 x 47 cm

Hex-Plosion by Barbara Davies
Artist statement: A quilt along based on Katja Marek's book The New Hexagon 52 Blocks to English Paper Piece. Design: Hex-plosion by Katja Marek. Technique: English paper piecing with stitch in the ditch quilting. Material: Cotton fabrics. Size: 120 x 120 cm. $550. Award: Merit - Best Use of Colour.

Flight of Fancy by Joanne Burton
Artist statement: First time exhibitor. Design: Pinterest pattern 'Flight of Fancy' by Lynne Tyler. Techniques: Machine pieced, hand quilted. Size: 115 x 160 cm

Weedy Sea Dragons by Joy Brett
Artist statement: Made for a new baby grandson whose mother drew and painted the design for me to work from. Design: Angela Brett. Techniques: Machine appliqued and quilted. Materials: Cotton fabrics. Size: 114 x 83 cm

Looking Through My Window by Kerian Gill
Artist statement: Building on ideas and playing with colour, design, shapes and forms to create a cohesive picture from a random, colour clashing of old and new fabrics. Design: Own design. A class by Kirsten Duncan who showed us how to put a bizarre group of fabrics together cohesively by simplifying block sizes, using traditional block patterns and modern applique ideas. Techniques: Patchwork and applique. Materials: Cotton fabrics. Size: 150 x 150 cm. Award: Best - First Time Exhibitor

Wanderers' Daughter by Lee Harper
Artist statement: Just love the colour and texture scrap quilts deliver. I completed a Jen Kingwell Wanderers' Wife quilt and there were many off-cuts and scraps. Rather than waste them they have been used to make this scrappy quilt. Started in 2018 and finished in 2021, quilts can take years to finish. Design: Own design. Techniques: Machine and hand stitched. Materials: Cotton, cotton batting, cotton pompoms, tassels. Size: 140 x 132 cm

Beautiful inside and out 1 by Lynne Doubleday

Artist statement: Celebrating friendship and beauty. This quilt was made using raw edged applique and free motion quilting techniques. Using my own photo I designed a pattern and translated it into different values to gain the life-like look.

Design: Own design inspired by a friend's photograph. Techniques: Raw edged applique and free motion quilting. Materials: Cotton fabric, thread, batting. Size: 60 x 62 cm. Award: Best Landscape/Pictorial

NZ Birds and Fauna by Mary Toner
Design: New Zealand flowers and birds. Techniques: Paper piecing. Materials: Cotton fabrics. Size: 46 x 46 cm

Maths Lesson by Sharron Philip
Artist statement: It was my first COVID quilt. I have kept the magazine with the pattern for over 10 years. So pleased I got around to doing it. Design: Lisa Walton, Australia. Materials: cotton fabrics. Size: 164 x 154 cm

Bunnies from a Griet Lombard class, top to bottom: Not for the Pot by Nicky Holland; and The Bunnies by Denise Smith

Nicky's artist statement: Rabbits are brown, generally, so a class to use up the disliked brown fabrics. The rabbits took on a life of their own, all quirky and rustic, with their own personality. I realised that brown works well with many other colours. Techniques: Pieced, applique, machine and hand quilted. Materials: Cotton, lace, velvet, mesh. Size: 115 x 111 cm

Denise's artist statement: Levi Strauss, Calvin Klein, Lee Wrangler. and Amco Peaches make up the Bunnies Gang. Techniques: Raw edge applique, free motion quilting. Materials: Old denim jeans, cotton fabrics, lace. Size: 58 x 43 cm. $550

And then a quilt inspired by the Griet Lombard bunnies technique

9 + 1 Lives by Dallas Hoskin

Artist statement: I enjoyed participating in Griet Lombard's bunnies class and decided to design one on cats. Animals with attitude always appeal to me and so these cats were designed with this in mind. Design: own design inspired by Griet Lombard and Helene Knoff's Garden Patch Cats. Adapted from free clip art. Materials: Scraps of left over quilting and sewing fabrics. Size: 113 x 102 cm

The guest exhibitors

The exhibition had two guest exhibitors the late Allison Cocks, who never felt her quilts were good enough for an exhibition kindly exhibited by her family. and Alice Jones.

Go Read Go by the late Allison Cocks

My Last Gift by the late Allison Cocks

Any Mother's Son by Alice Jones, 2021
Size: 109 x 301 cm

The Aotearoa Quilters' challenges

A few of my favourites from the two challenges on display. First is the Member Challenge - Reflections and then the Colour Challenge - Lime.  All of the quilts from these two challenges can be found on the Aotearoa Quilters' website.

Clockwise from top left: Flanders Fields by Catherine McDonald; Shimmering Water by Kathleen Burford, Christchurch; Little Treasures by Sonya Prchal, Whangarei; Reflecting in Mathematics for Transformation by Merrilyn George, Ohakune; and She is... by Fyvie Murray, Wellington

Catherine's artist statement: I think about the senseless loss of young life that comes from war. Why do those who send the young to fight think their lives are expendable. Why do we not learn from history and stop the carnage. $975.00

Kathleen's artist statement: I frequently walk along the banks of a a river near my house, the sun light that shines on the water changes daily. This is the 3rd quilt in a series I have made. $630

Sonya's artist statement: Long reflective walks during lockdown, had me reassessing priorities. Life is short. Enjoy every moment. Treasure your loved ones and embrace the freedoms we experience in our beautiful country. $630.00

Merrilyn's artist statement: Reflection of two kinds: on our stamp and relationship with the land, and a mathematical term. Visceral joy is in the maths I see in all natural and manmade pattern (including Maori design) about us. $975.00. Award: Merit.

Fyvie's artist statement: The Me Too slogan on this quilt caused me to reflect about the way society sees women and how women are taught to see themselves. Measuring women in terms of family relationships blurs their reality. $515.00. Award: First.

Clockwise from top left: Unleashed by Camilla Watson, Porirua, Award First; Virescent by Andrea McClare, Christchurch; Cosmic Jewels by Sandy Briggs, Whangamata; My Molly by Barbara McFarlane, Ashburton; and Harakeke by Melanie Martin, Tauranga

Outfit of the day

This version of the Megan Nielsen Flint trousers has become a firm favourite. They ventured out for lunch with my beloved to celebrate my second dose of the Pfizer COVID vaccine. Sorry I didn't make my facemask - I consider it but don't do it.

Megan Nielsen Dotty Stripe Flint trousers; Sewing Workshop Maison top; Style Arc Palermo jacket and United Nude Lucid Molten mid heel boot in colourway Iridescent

We enjoyed a delicious leisurely lunch at the Untouched World Kitchen. I love the Untouched World Kite and its symbolism even if my beloved thinks it looks like the Angel of the North by Antony Gormley which sits beside the A1 at Gateshead, Tyne and Wear.

The Maori Kite symbol embodies the Untouched World philosophy, "the emblem of an ideal relationship between people and nature. It is the outcome of an art involving natural materials and human skills; it links the earth to the sky, and symbolises a soaring freedom of the spirit."

I also wore these trousers to the hairdresser. An emergency appointment when I realised it had been three months since my last cut and if I didn't do it then it would be another month before it happened. These OOD pictures are pre-haircut and I am quite grateful that messy natural hair is the new trend. This is a trend I can achieve - long may it last. Actually I don't really believe it will catch on as most hairdressers are fixated on making your hair straight. Luckily Mike at Surreal Hair is a magician he understands curly hair, can cut it to maximise its curl and doesn't spend ages drying it straight. My beloved took a post haircut shot but I'm not entirely convinced you can see the difference (but I can feel it!)

Liesl + Co Rush Hour Lagos Laurel Blouse

Good job no one is hanging out for my every word as despite sewing up a storm so far this year I have not been very productive on the blogging front. Sometimes this is because I am not very proficient at the photography stage other times it is a lack of inclination to write the words. However after a long hiatus (more than three months if anyone is counting) I feel the need to commit my projects to the blog. I enjoy flicking through to see projects of the past so I need to up my blogging game and catch-up with the 2021 sewing. Starting oldest first this top was made in early January (twice - but more about that later) when I was still enjoying the summer Christmas holidays. Now we are enjoying the downward rush to winter.

This knit top was made as part of the therapy to ween myself off Vogue 8710 which I have sewn so many times now it almost sews itself. Two of the things I enjoy most about Vogue 8710 are the slightly flared hemline and the princess seams for fitting the bust. The Rush Hour blouse has an interesting peplum (the reason I bought the pattern) and the princess seams. Sewing it before peplums become passé was another motivator.

The big question is does the Rush Hour blouse have enough similarities with Vogue 8710 to replace it in my affections? I was hopeful the answer was yes and set off on my new pattern adventure.

The finished garment

This is version one which would never have been made like this if I had read the reviews for this pattern on PatternReview. However as I only read them after the event this version saw the light of day. It was worn on an expedition to The Fabric Store. As I stretched to reach or pull various fabric bolts I could feel a definite draft around my kidneys. An undesirable situation according to my grandmother who often exclaimed "you'll catch your death" when as a teenager my tops got too short thus exposing my kidneys to the cold. Wise words I didn't appreciate at the time but I certainly do now! 

A top that is only suitable for quiet moments of contemplation doesn't really suit my lifestyle so after a few pattern alterations a second version was born. I can reach and stretch to my hearts content in this and there are no unwelcome breezes on bare skin.

In all of the photographs I am wearing the Megan Nielsen Flint Peggy Yellow trousers and Arche Ikhini Yellow Sandal.

The fabric

Another Liberty of London fabric from The Fabric Store. This time it is the Lagos Laurel Ganton jersey in colourway B. I also happen to have this fabric in the A and C colourways. Whilst I clearly like this design this is the first of the Lagos Laurel fabric to become a garment. It is also the most recent purchase fitting in with my current yellow obsession, and my imaginary Stitcher's Guild SWAP 2021.

This Liberty jersey doesn't have that much stretch and I took that into account when thinking about the size to sew. 

The pattern

I had long admired this pattern and resisted buying it because I felt the design would be easy enough to adapt from the ever faithful V8710. Eventually I succumbed and the pattern was mine to sit quietly with its friends waiting for its turn on the cutting table. This is the second Liesl + Co pattern to join the collection but the first one to be sewn.

Liesl describes this top as a "lined, fitted peplum blouse. The princess seams on this style allow you to customise the fit easily. View B, the peplum top, features your choice of short or long sleeves and an asymmetrical peplum, with an invisible back zipper. The pattern includes cup sizes, a Dior dart, and instructions for customising the pattern to fit your shape."

The pattern card

The pattern alterations

I can't really detail the pattern alterations for this make because I didn't use the original pattern pieces for the bodice. When I looked at the pattern I discovered that the bodice wasn't a true princess seam as the centre front piece had a Dior (bust) dart, which means it has a shaped side front piece and the centre front piece has a short dart. In fairness the pattern description does highlight the Dior dart it just never entered my consciousness until I started working with the pattern to achieve the fit I wanted.

Even though this pattern comes with B, C and D cup pattern pieces I knew that the front pattern pieces would require alteration to fit when what I really wanted was the cut out and sew simplicity of a TNT pattern. Given the reason I bought this pattern was the peplum the easy answer was to add the peplum to Vogue 8710. This should have given me a perfectly fitting top.

The challenges of version one were because instead of using the length of Vogue 8710 minus the peplum length, I used the length of the Rush Hour blouse. It should be noted that the finished back length of the Rush Hour blouse is not stated.

The starting point for me for any pattern is choosing the size based on the finished garment measurements. For the Rush Hour blouse in a knit fabric I chose size 8 (D cup) at the bust grading out to size 16 at the bottom of the bodice pattern pieces (3, 4 and 5). There would be zero ease at the bust (the ease comes from the stretch fabric) and 2½" of positive ease at the waist. For no logical reason I can remember I chose the length of size 8. For a woven fabric I would choose the size 14 at the bust grading to the size 16 at the bottom of the bodice pattern pieces.

In short the bodice pieces of Vogue 8710 were cut at the size 8 length, shaped at the side seams to match the peplum / bodice seam width, and the original Rush Hour peplum added. This was done by:

• laying the TNT centre front and back pattern pieces for Vogue 8710 on top of the Rush Hour Blouse bodice (pieces 3 and 5) matching centre front / back, size 8 at the shoulder neck edge and shortening by chopping the pattern off at the size 8 length
• shortening the Vogue 8710 side front (piece 4) at the hem to match the seam where it joins to the centre front pattern piece
• removing the ½" centre back seam so pattern piece 5 is cut on the fold and the zipper omitted
• shaping the side seams on pattern pieces 4 and 5 so that the bodice seam length where it joins the peplum was the same as the size 16 peplum
• cutting the peplum (pattern pieces 12, 13 and 14) as a size 16 with no alterations.

Other alterations were:

• lowered the back neck edge ⅜"
• lowered the front neck edge 1⅜" and altered the shape to more of an elongated U
• used the sleeve pattern from Silhouette Patterns 195 Sweater Set (my favourite knit sleeve) which is the same sleeve used in my TNT Vogue 8710.

As I said at the beginning of this post this resulted in a top that was too short for anything but quiet contemplation and a few more alterations were made, as follows:

• bodice lengthened 1½". As I had used my Vogue 8710 TNT pattern pieces I just cut them off 1½" longer than version one. If I had been using the original Rush Hour blouse pattern pieces I think I would simply have added the extra length at the bottom rather than the lengthen shorten line. For reference my lengthened pattern pieces are ⅞" longer than the size 16
• back bodice side seam increased ½" at peplum seam line tapering back to nothing at the armhole.
• front peplum (pattern pieces 12 and 13) lengthened ½" at the side seam hem blending back to the original size 16 at centre front
• back peplum lengthened ½" at the hem and widened ½" at the side seam. I also wanted the back peplum to have more swing so I slashed the pattern piece at the hem up to the bodice seam line and curved out the hem edge until it was 1½" times larger than the bodice seam length
• ¼" dart made in the curve of the U as the front neckline gaped slightly.

If the original Rush Hour blouse comes in B, C and D cup sizing why would it require fit alterations?

• the bust dart tip is just over 4" from centre front (size 8 4⅛" and size 16 4½"). For most women this would result in the dart tip being at the bust apex, as generally the distance between the most prominent part of each breast is 8". From a pattern drafting perspective it is not incorrect as the dart can end anywhere within the bust circle. However as Ann Hathaway in that pink Prada dress will attest this is not the most flattering look. For me having a larger bust the dart tip is generally about 2" away from the bust point, as the more the bust is rounded the further away the tip of the dart will be from the bust point, with the dart stopping short of the flat part of the front of the bust
• the bust point is not marked but measuring down from the shoulder / neck edge point, based on where the dart tip is, it is about 10" (size 8 9⅞" and size 14 10⅜"). I need the bust point to be 11½"
• other alterations may be required but the reality is I can't ever see me making the Rush Hour blouse with the bodice pattern pieces. I have a good knit version now using my TNT Vogue 8710 and am most likely to make a woven version by adding the peplum to my TNT Silhouette Patterns 400 Traditional blouse.

The sewing

There is nothing interesting about the sewing and I didn't use the pattern sewing instructions. Apart from the hems it was sewn on the overlocker with four threads and a ⅜" seam allowance. The pattern uses ½" seam allowances so I increased the circumference of the peplum by ½" and at the bodice peplum seam line. 

The peplum hem was stay stitched at ⅜" and turned up. The open side of the right front peplum hem was mitred, using the same method as detailed here. The sleeve hem was turned up ½". All hems were sewn with a straight stitch (length 3.0).

The neck binding was a 2" wide strip of fabric folded in half and sewn to the neck edge with a four thread overlock stitch and ⅜" seam allowance to give a finished ½" band (⅛" is taken up by turn of cloth).

Sewing construction was: sew centre and side fronts together; sew front to back at right shoulder seam; attach the neck binding; sew left shoulder seam; sew the sleeve in flat; attach the back peplum to the bodice back; turn up the hems on the two front peplum pieces before attaching to the bodice front; sew up the side seams; hem the bodice and sleeves.

Take two

I wrote a lot of notes about what didn't work in the first version and decided it was unlikely to be worn as I don't want to expose skin when I reach forward or raise my arms. Luckily I had made this top from a relatively recent fabric purchase that was still available at The Fabric Store. Before I rushed off to buy more I got out the left-over fabric to see how much more fabric I would need to purchase. An amazing thing happened and the shapes of the left-over fabric were perfect to cut out a whole new top without the need for a fabric purchase. Think the cup of tea helped.

Outfit of the day

Whilst I was very happy with version two of the Rush Hour blouse it took until April to be worn in real life (for a whole day as opposed to the few minutes it takes for blog photos!)  It was worn for work and the outfit was recreated for these photos as I don't have the photographer with me during the week.

I do think I need to learn how to take timed pictures with my phone as I would like to record my outfits everyday as it gives a lot of useful insight both into what in the wardrobe gets worn as well as the different styling choices.

The Rush Hour Lagos Laurel blouse was worn with the Untouched World Weekend jacket in colourway Kowhai; Megan Nielsen Flint mustard check trousers and Ernest Wyler Keesha Sunflower ankle boots.

I preferred it styled with these mustard check Flint trousers rather than the peggy yellow ones. Both of these trousers were sewn for the never entered Pattern Review Endless Combinations 2020 competition.

The photographer found these photographs challenging to take as he kept capturing the moment I had my eyes closed. He also captured the moment I was futzing with the outfit.

Sew Different Sheer Fly Birdie Fly Top

It has taken me weeks to write this post. Most of it was written whilst at work in Wellington but I didn't have access to the pictures. Now the world has gone mad and it seems really strange to be posting pictures of us out and about enjoying our Sunday, showing off my recent make and mingling in a public place with strangers.

I have been home nine days now and so far haven't left the house. My beloved is being our designated grocery shopper whilst I am chained to my laptop and phone. It seems frivolous to be blogging but I need the light relief and really hope to become reacquainted with my sewing machine over the weekend.

The finished garment

This top is just long enough to be worn on its own even though I made it to wear as a topper over a plain dress (the Twirling Rebecca Taylor dress). Here it is worn on a sunny Sunday for a trip to the Oxford farmers market with a pair of Kate Sylvester Admiral flared trousers and Camper Twins red orange sandals.

It may be a simple top but I really love it and it has been worn often over the last couple of months since making it.

Just to give you an idea of the shape!

On a less sunny Sunday but also at the Oxford farmers market here is the top being worn over the aforementioned Twirling Rebecca Taylor dress. It might not have been sunny but I still didn't manage to keep my eyes open for the photograph - must be the half asleep before coffee look.

The fabric

This fabric was a pre-Christmas purchase from Gorgeous Fabrics. Ann describes this fabric as "a perfect addition to your spring wardrobe! It's an open weave in a beautiful drapey fabrication, with little birds flying all over it, and it is simply GORGEOUS! This will work wonderfully for a chic topper."

And surprise surprise I used it for a chic topper! The simple design of the pattern used really allows this fabric to shine and it does truly deserve the spotlight.

The pattern

The Sheer Top and Vest is from Sew Different a UK based pattern company. At this stage I have only made the Sheer top, but do have both the top and vest cut out in a linen fabric. The designer was inspired to create this pattern in 2015 by the sheer clothing seen in RTW so once again I am right up there on the cutting edge of fashion.

This is a free PDF pattern and much as I hate sticking PDF patterns together I worked through my dislike for this free pattern. This is not a user friendly PDF pattern to construct.  There are tiny crop marks in the corner of some pages which I drew a line between in order to have a straight line to cut along. As I couldn't be bothered to do this for all seventeen pages I cut multiple pages at a time, which sacrificed a bit of accuracy. For a free pattern I shouldn't complain about this minor irritation but if I had paid for the pattern I would have been extremely disappointed.

The pattern is a single size UK 12 with no seam allowance. There is enough white space between the pattern pieces to add seam allowance.

The pattern alterations

For the Sheer top the alterations were minimal. The size 12 was fine size wise so I made a forward shoulder adjustment and used my French curve to provide more side seam shaping curving back to the original side seam at the hem. The fabric I used was a non-stretch woven so I tapered the sleeve more gently from the top of the sleeve to the wrist to give a wider sleeve hem. The top of the sleeve is fine in a non-stretch fabric without alteration.  As the sleeves were too long on the finished top I removed 1½" and also made this change to the pattern piece.

Once I had sewn the top and worn it for a day the front neck edge was lowered by 1". I have also now made separate front and back top pattern pieces to include the forward shoulder adjustment and the neck edge changes. In the new pattern pieces the neck edge is brought in 1" at the shoulder as well as being lowered 1" at centre front.

The sewing

The sewing instructions are printed on the pattern pieces but because of the shaping alterations I made to the side seam some of them were chopped off. This is such a simple top that instructions aren't really needed. This top came together quickly on the overlocker, with the sewing machine only used for the hems. Even the neck edge was just turned over ⅜" and stitched down.

Outfit of the day

On the way back from Oxford we took some photos in Darfield. There was no-one else around as I played. What I really wanted was a swing but there isn't one at the Tussock Square playground.