I can’t even blame the yarn. It’s a budget merino that actually feels quite soft and pleasant to knit. My heart just isn’t in it, and progress has been very slow. I have finally completed the yoke after making several silly mistakes that had me ripping back and re-knitting more than once. From here on, it should be quick knitting. I am officially making it my goal to finish it this month so I can move on to something - anything - else!

Yesterday, as a break from knitting drudgery, I made a start on the fabric collage that I hinted at previously. It’s been fun to work on. I’ve set myself no rules and I’m letting it develop naturally through a bit of trial and error. My idea is a simple gum leaf design using fabrics from a scrap bundle I bought for EPP.

I’m using it as a practice piece as I’ve volunteered to contribute a square for a community wall-hanging quilt for the local hospital. If this works out well, I think I will create something similar for the quilt. Other ideas are a landscape embroidery or a flower or bird from the Quilting for Embroiderers that I picked up op shopping a couple of weeks ago. The guidelines for the wall-hanging were very vague, so I’m guessing almost anything goes.

And that’s it for today - a short update. I’m still working extra hours throughout June, and I can’t wait for my roster to return to normal so I can spend more time crafting.

Since I have no makes of my own to share, I thought I would pick a few of my favourite vintage patterns from the 1930s to show you all. It’s one of my favourite eras in knitting. In my opinion, the pattern designers of this decade were creative and innovative with their use of stitch patterns, colours, textures and some really original design elements. Looking through them, I always find inspiration and little details I could add to my own knitting.

In my library of patterns I have several Australian Lux knitting booklets. These booklets must have been very popular in their day. They appear to be an annual magazine running from the early 1930s to the 1950s, with knitting and crochet patterns for all the family. By purchasing two packets of Lux soap, customers could receive a copy of a Lux knitting booklet. Each booklet kept the ladies of Australia up to date with the latest trends from London and Paris. I particularly love them because not only are they a snapshot of the fashions of the time, but they also give an idea of the colours that were in fashion each year.

The 1935 edition features the ‘inside information on style’ direct from their special London correspondent, Lady Margaret.

‘Nothing can stop it! Knitting has leapt suddenly from a winter sport of affectionate grandmothers to an “all-the-year-round” pastime for all and sundry. London’s smart young things are even knitting at the hairdressers!’

With the resurgence of knitting and so-called “grandma hobbies”, it’s easy to imagine a modern-day Lady Margaret making exactly the same observation today.

I have two clear favourite patterns from this issue. This one with its turn-over collar and interesting construction that becomes part of the pattern. At first I thought that the ribbed lines were garter stitch or maybe even a small eyelet, but after reading through the pattern it appears to be a yarn over passed over two knitted stitches. Buttons are an important feature in this pattern, as Lady Margaret said…

Another word about your woollies - You wear lots of buttons with ‘em, but they must be wood or leather for smartness - London says so!

My absolute favourite is the cowl neck, and I am determined to make this one day. Just from the photo, you can almost feel how comfortable this garment would be to wear, with its generous cowl neck and raglan sleeves. To me it looks very modern and I can imagine it knitted in something soft and luxurious to enhance the drape of the fabric. I’m going to dare to disagree with Lady Margaret on this one and, if I made it, I would omit the buttons down the back.

The 1937 issue has a similar favourite with gathered dolman sleeves and a folded collar. Part of the appeal of this pattern, and the cowl neck sweater, is how the designers are using their knitted fabric like a dressmaker would. The jumper could easily have been worked in plain stocking stitch, but instead features a more textured fabric using what the pattern describes as a "fascinating" stitch pattern, similar in appearance to double seed stitch. The photography in this issue is very dramatic and glamorous; you could almost be mistaken for thinking this garment was being modelled by a movie star.

Film stars of this era undoubtedly provided a lot of inspiration. Their influence stretched from skin care, as shown on the back of the Lux booklets, to fashion, as shown in magazines like Film Star Weekly from 1934. I absolutely adore that knitting was so much a part of life that a knitting pattern of a garment from a recent film was included in a film magazine. There have been many times that I’ve seen a knitted item in a movie and wished I had a pattern for it.

Wouldn’t it be fantastic if they did this today!

I’ve been unable to find out which film featured Hope Davey wearing this adorable coatee and cap, but you can’t deny it is a cute outfit. It has a very summer in the south of France feel to it.

Also from this era is a Sunbeam knitting booklet, and it was the cover pattern that first caught my eye. Obviously Art Deco inspired, what appears at first glance to be a simple striped design reveals itself as an undulating geometric zig-zag colour pattern. In this photograph it almost creates the illusion of texture. Similar yokes and collars in this style have been a recurring theme in many of my patterns from the 1930s.

Finally I have this pattern from Knitting In Vogue, a book looking back through the treasury of Vogue knitting and reimagining the patterns for modern times. Although this book itself is now vintage and dates from 1984, I love this pattern with its yoke collar and twisted rib, and its simple shirt style appeals to me. I especially like the cuff link detail on the sleeves, something a little different from ordinary rib cuff. Looking through this book you begin to realise just how much of fashion is recycled and also how much ease, positive or negative, can change the look of a garment.

These are just a few of my favourites; there are many more to choose from. Looking through them has reminded me once again just how much I enjoy vintage fashion and the little details that make a good design stand out. I hope you've enjoyed looking at them as much as I have.

I love having a little library of reference books ready to go whenever inspiration hits for a new project. I think it stems from childhood and teaching myself how to knit, crochet and sew. If the world falls apart and the internet disappears, I’ll be fine. I have reference books for all the crafts to get me through it.

I thought I’d share some of my finds from this week’s op shop trip. I was trying to stick to a budget and I did leave a couple behind that I’m now slightly regretting. There was one about manipulating fabric, and another on tying scarves that maybe should have come home with me too. Oh well — too late now.

These are the ones that did make it into my home library.

First up was a book from Inspirations, who always publish beautiful craft books. You can rarely go wrong with them. Quilting for Embroiderers begins with a little history of quilting and patchwork, tracing how the craft evolved through colonial times in both America and Australia, its resurgence during the war and Depression years, and into contemporary quilting today.

Then it moves into the projects. There are six in total, all featuring embroidery motifs. The one that immediately caught my eye was Birdsong, a wall quilt featuring Australian birds — galahs, fairy wrens, rosellas and wagtails amongst gum leaves and blossom. It’s beautiful. I also loved Sweet Hearts and Spring Garden, both filled with embroidered flowers. Sweet Hearts even includes the meanings of each flower so you can stitch a floral message.

A good third of the book is step by step instructions with photos for embroidery stitches and quilting techniques.

Next was Silk Painting by Colleen Weste. Silk painting is something I would really love to try one day. There is something special about the effects you can achieve on silk fabric — it has this incredible ability to mimic nature through colour and shading.

I’ve had it in my head for years to create some kind of textile landscape artwork. This book looks like it covers everything, equipment, colour and techniques, and it’s even signed by the author. So when the day finally comes to attempt silk painting, I think this book will be very helpful.

I also picked up a lead-lighting book called Art Nouveau Lampshades and Mirrors. Lead lighting is another craft I would love to try, although I also thought some of the designs could potentially translate into fabric work… maybe?

To be honest, I didn’t look too closely at it in the shop. I just saw “Art Nouveau” and immediately said yes please. But after getting it home and having a proper look through, I’m less excited about it. That one probably could have stayed on the shelf.

Last of all was Folk Knitting in Estonia by Nancy Bush. It’s an interesting read filled with history, traditions and impressive patterns for gloves, mittens and socks.

I’ll admit though, I look at some of the patterns and feel slightly overwhelmed. They may be a little beyond both my current skill level and current state of mind. Still, perhaps they’re something to aspire to one day.

And that’s it — a bit of a mixed bag, but inspiring in their own way. You really never know what will turn up while op shopping. I haven’t had many particularly good finds lately, so it was nice to finally come home with a few wins.

I had big plans for April and was really excited about a couple of projects I’ve got brewing… but I wanted to finish a few things first. I’m not someone who can handle having too many projects on the go at once.

So, I’m happy to say that the Synne Sweater is finished and I’d rate it pretty highly on my list of makes. I’ve finally got my tension right, which is something I’ve struggled with and have been consciously working on. It’s meant taking the time to properly check gauge, even if I have to knit that tension square multiple times. But I’m finally seeing the results. Synne fits her perfectly, with just a bit of room to grow.

I’ve also finished Poppies on Goodwins Lane, the embroidery kit I’ve been working on. This style of embroidery is new for me - I’ve always admired it but never ventured beyond cross stitch before. I’m not sure if I’ve “done it right,” but I’m really pleased with how it turned out. I’m quite proud of this one. I feel like I was able to make it my own, pushing back against those perfectionist tendencies and using the picture as a guide rather than a rule. Now I just need to work out how to frame it.

I’ve also done a little more work on my Liberty hexagon quilt. I had a few months’ break from it and was starting to feel a bit guilty for not giving it any attention. It’s my long-term project, and it’s growing slowly. If you’d like to read more about how I got started, I’ve written a post about it here. One thing is very clear - I need a good work lamp. Now that the days are shorter and gloomier, it’s not the easiest evening project. Tiny stitches and poor light are not a good mix.

As for my May makes, I have a fabric collage idea I’d like to work on. I’m making that one up entirely myself with no rules and no guide and it feels daunting. I was planning to sketch out a rough idea on calico and go from there, but then realised I don’t have a soluble fabric marker. I’ve been meaning to buy one all month and just haven’t got around to it.

Next weekend will definitely require a craft-buying mission. Along with the marker, I also need yarn for my next knitting project - a jumper for my youngest. I’ll be taking her with me, and we can both squish yarn and admire all the pretty colours.

I’ve also had a request for an oversized patchwork knit cardigan. I’ve had a bit of a look around for a pattern, but a lot of what comes up looks very… AI-generated. I’m hesitant to spend money on something that might not be well-written. I may end up creating my own but if you know of a good, reliable pattern, please let me know.

So that’s it, no big goals for May. Just some easy knitting, and maybe a bit of creative stitching if I have the energy.

But I am feeling very accomplished after April. Two projects finished and that’s a good feeling.

One of my favourite details in these early booklets is that the patterns are called recipes. And really, they are - follow the recipe and you get the result, much like baking.

This particular booklet is filled with recipes for hats, caps, and tams, all designed for use with Baldwins Teazle wool. The Teazle yarn logo features the flower of the teasel plant (Dipsacus fullonum), which was traditionally used in the finishing of woollen cloth. The dried, prickly seed heads were brushed over fabric to raise the nap, creating a soft, fleece-like feel. With industrialisation, the natural teasel plant seed heads were replaced by metal combs.

For Teazle wool J.&J. Baldwins recommended using their special teazle brush to finish knitted garments made with their yarn, inside the booklet they give directions and photo’s on how to use their Teazle brush. Much like the original teasel method, the brush works by lifting fibres up and out of the fabric, creating a soft halo, softening the colours and gently fluffing the surface. By teasing the fibres this way they could create the angora look but in durable more affordable wool. The process could be repeated again and again if it needed fluffing up between wears or after washing.

Naturally, I became curious - had any of these brushes survived the past hundred years? A bit of searching led me to one for sale in the UK, still in its original packaging, complete with instructions. I couldn’t resist adding it to my collection.

Looking more closely, the brush is clearly designed for right-handed use. I suppose at the time everyone was right handed whether they like it or not! It has a strap to keep it secure in the hand, along with grooves for the fingers and thumb, making it very comfortable to hold and protects your fingers from the metal prongs.

If you’re a spinner, it might look familiar - it’s very similar to a flick carder, with tiny wire prongs set closely together and angled just enough to catch and lift fibres.

I’m tempted now to knit one of the hats or tams from the booklet and properly test the teasing process for myself. I’m not entirely sure of the exact composition of Teazle wool, but I imagine it may have been a more loosely spun pure wool, perhaps similar to something like Jamieson’s Spindrift.

The back pages even include the shade range for Teazel wool, it’s nice to see a guide to colours rather than trying to guess what colour ‘Parma’ or ‘Pearl green’ might look like. I’m always surprised to see bright colours in vintage pattern books. Since most of my pattern books are black and white, my mind thinks that everything was muted or dull in colour but in reality things were just as vibrant as today if not more.

Before I found this pattern booklet I had never heard of teasle-ing woollen fabric. I wonder if it’s something we should all bring back. I kind of like the sound of fluffing up my knits and making them extra cosy.

What do you think, should I make a tam and ‘teazle’ it up? Which one would you pick?

I can feel my creative side beginning to bubble with ideas, so I’m not locking myself into any firm goals this month. I’m enjoying this spark of creativity and I’m excited to see where it leads.

I will, without a doubt, be working on the Synne Sweater. I’ve finished one sleeve, which grew very quickly, and I’ll be casting on the second tonight. Not too long to go now, and I’ll be working my way through the colour work yoke - I can’t wait!

While I’ve been knitting, I’ve also been thinking about my next project… My youngest daughter has seen me knitting Synne for her older sister and, not wanting to be left out, has chosen the jumper she’d like me to make for her. She’s picked the Running Circles Sweater by Drops Design.

She’s still trying to decide on colours and has been looking through the Bendigo Woollen Mills shade cards, picking out her favourites. At the moment, she’s leaning towards deep purples and blues.

I’ve also been thinking about knitting something for myself - something a bit retro. A big, comfy oversized jumper with a late 1980s–early 1990s feel. Something a bit bolder than my usual makes. I’m thinking bold stripes, colour work, and maybe even some fluffy mohair.

I’ve had a look through my patterns and found a couple of contenders. The first is from the cover of Patons no. 840. It comes with two options - a cowl collar or a round neck. I’m really liking the idea of a cosy mohair knit, and the diamond pattern is different without being too bold.

The second is another Patons pattern, described as wedge-shaped with raglan sleeves. Maybe in a less bumblebee-inspired colour range? I’m still not too sure about the zigzag stripes…

I also really like a pattern from Thorobred which, with a different choice of colours, could be the one. I love the mix of stocking stitch, garter stitch, and slip stitch bands - it would keep the knitting interesting without being too complicated.

Another option is a Jenny Kee knit. They’re bold, colourful, and very retro. I’m not sure if I’m quite that “out there,” but the more muted colours of Didgeridoo would be more my style.

While on my hunt, I also came across a pattern from Jean Moss, Newmarket that I really like. It’s not the oversized look, but I love the shawl collar, and I’ll be adding it to my queue.

I’m still deciding which one to cast on - do you have a favourite? I’d love to hear which one you’d choose.

I also have an idea for a little slow stitch fabric collage that I’d like to make. I’ve chosen some fabric from a bag of Tilda scraps I bought a while back for EPP, and I picked up a few DMC hanks while shopping yesterday. This project has a soft, earthy feel - pinks and greens, with a little bit of purple thrown in.

I forgot to take the fabric with me when I chose the threads and was working from memory, but happily they all look great together. We’ll see what it turns into.

I’m looking forward to a month of creative projects and new ideas. Who knows what else might bubble up along the way.

This month the focus has mostly been on knitting. I’ve been steadily working on the Synne Sweater and I’m making good progress. So far I’ve worked the body up to the armholes and I’m now onto knitting the sleeves. Once they’re both complete, the body and sleeves will be joined to knit in the round, and then it’s on to the fun bit - the yoke. I don’t believe I’ve ever worked a jumper bottom-up in the round before, so this is all quite interesting.

One thing I hadn’t really considered is knitting the sleeves in the round from the cuffs. This means using DPNs… and I don’t enjoy knitting on DPNs. I struggle with tension and tend to get ladders between the needles. It’s also quite awkward dealing with so many needles with slippery stitches on top of that. And then, of course, there’s trying not to twist everything when joining!

Because I don’t enjoy knitting on DPNs, I don’t own many. After a bit of a rummage, I found three and made do with an interchangeable needle as the fourth. Casting on and getting started took me a couple of tries. Each time I thought I was on my way, a needle would slip and I’d drop stitches that couldn’t be found again. Back to the start I’d go - thankfully there were only 32 stitches to begin with.

I persevered and got there in the end, only to realise that as soon as I got past the awkward ribbing, I was jumping straight into colourwork. Not ideal after my battle with the DPNs - but worth it. The colours knitted together look really good! When I was buying the yarn, it was a toss-up between a dark brown and a lighter rust. Now that I’m seeing it knitted up, the rust really shines against the dark green.

Now that the sleeve is progressing and I’ve worked a couple of increases, I’ve switched to magic loop and it’s a lot easier. So far I haven’t had any really visible ladders. The cast-on join isn’t perfect, but I can live with it.

In between knitting, I’ve worked a little on my embroidery project - Poppies on Goodwin’s Lane. I’ve lost a bit of steam with that one. I was hoping to finish it this month, but it’s not quite there yet. I’ve filled in the wheat fields, but I think it needs more… I’m just not sure what. Do I keep stitching over what I’ve already done? I seem to have plenty of thread left. Looking at it with fresh eyes, I’m going to move on to a new section. I can always come back and add more later.

I also made an EPP pincushion as a bit of an experiment, and it turned out to be a really good test of my stitching. I used some spare Liberty hexagons - Tana Lawn is so fine, and with EPP I’m only picking up a couple of threads of fabric each time. I’ve always worried that might not be enough, and I’ve had visions of a finished quilt top falling apart from weak seams!

Stuffing a hand-sewn pincushion as firmly as possible turned out to be an excellent test of my stitching. I’m pleased to report everything held perfectly, with no issues at all. I actually love how it turned out, it looks really effective. One day I’ll get around to buying some emery sand so I can make a little sharpening pincushion to go with it.

As you may have seen, I also made a few Dorset buttons for fun. They were very quick and satisfying makes, and I can definitely see myself making more of those.

Finally, this month I’ve probably spent a bit too much on vintage knitting patterns. I’ve added a couple of early Patons and Baldwins to my collection. I may have got slightly carried away and bought two that I already owned—because I didn’t recognise the cover… only to realise afterwards it was the back cover that had been photographed!

I can also confess to buying a slightly rare book on vintage knitting gauges that I absolutely had to have (for reasons I still can’t quite explain). It was, to be fair, a very interesting read and through it I discovered there’s actually a Needlework Tool Collectors Society here in Australia.

And that’s a wrap on March. Autumn is fast approaching, and we’ve already had a couple of cold nights which means cosy knitting time ahead.

See you next month!

Dorset buttons are both practical and beautiful. They blur the line between fabric and fixture, becoming little works of art in their own right. A simple button is no longer an afterthought, but a continuation of slow making.

The craft of Dorset button making began as a cottage industry in the 1600s and peaked in the 18th century. It largely employed women and children, who worked from home producing buttons for clothing manufacturers. The industry was hit hard during the Industrial Revolution, with the invention of button-making machines, and the craft was almost lost.

Thankfully, a revival in the early 1900s meant that the skills of early button makers were recorded, and today Dorset buttons exist as a preserved heritage craft. If you’d like to learn more about the history of Dorset buttons, you can read more here.

Traditionally, they were made using rings of horn or metal, bound with fabric or thread. The process involves encasing a ring with a blanket stitch, then creating spokes across the centre and weaving thread around them to fill the shape. The most well-known design is the cartwheel, though the technique can be adapted into many different patterns.

I chose to make a traditional cartwheel design using ecru No.16 DMC Coton à Broder, plastic rings, and a tapestry needle. I followed instructions I found online and worked slowly, learning as I went.

Sourcing the rings proved more difficult than I expected. There were plenty of split rings available, but smaller soldered rings were harder to come by. Eventually, I found some 1-inch plastic “bone rings,” which gave me a nice, flat, disc shape.

Mine are by no means perfect, but I’ve really enjoyed the process. Lining up the spokes and getting them to cross neatly in the centre can be tricky, but I found that once I began weaving, I could gently pull things into place. At times, I felt a little like a spider, working the thread round and round each spoke.

It gave me a real appreciation for the skill of the button makers of 200 years ago. A skilled buttoner could make up to six dozen in a single day.

I think they are beautiful, I love how lightweight and tactile they are. They have more character than a mass produced plastic or a heavy, cold, metal button. Each one has its own personality, they are more like siblings than carbon copies of one another. I think that is part of the appeal.

Have you ever tried making a Dorset button? I’d love to see your handcrafted creations.

If you enjoyed this post, you’re very welcome to share it with someone who might appreciate it too.

Thank you for being here.

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But the idea of it, sewing slowly, piece by piece, appealed to me. I think it was partly the beautiful fabrics, but also the challenge of learning something new.

As it turns out, EPP was much easier than I imagined. The stiff paper templates help keep the seams straight and neat, and whip stitching is a simple easy stitch. Really, the main thing is spacing, and that soon settles into a natural rhythm.

Hand stitching has a way of slowing you down. You become more intentional with every stitch. There’s no race to the finish or the final quilt — it’s just one stitch, one seam, and in my case, one hexagon flower at a time.

If you’re curious about EPP, don’t let it scare you. There’s a quiet kind of magic in hand stitching. Start like I did and you might just find yourself hooked.

My Top Tips for Starting EPP

Needles

Milliners needles are favoured by many EPPers. They’re long and thin with a small round eye that’s the same width as the shaft of the needle. The longer length can make stitching more comfortable because you don’t need to grip it quite as tightly.

Appliqué needles are another good option. They’re shorter and a little sturdier, with a slightly longer eye that makes threading easier.

Thread

For my hexagons I’ve been using Aurifil 50wt cotton thread. I have noticed it can sometimes knot and tangle, so I might experiment with something different next time. In the meantime, here are a few things that help reduce tangles:

• Thread actually has a right and wrong end. The end you cut from the spool is the end you should knot.

• Run your fingers along the thread — one direction will feel smooth and the other slightly rough. If it feels rough, you’re sewing from the wrong end which can lead to more tangling.

• Coating your thread with beeswax or a thread conditioner can help.

• Every now and then, pause and let your needle hang so the thread can untwist.

Knots

Learning to tie a neat knot makes those first stitches much easier. For a long time mine were a bit hit-and-miss until I learned this simple method.

Thread your needle, then wrap the thread around the needle a few times. Hold the wraps between your fingers and slide them down to the end of the thread. You’ll end up with a tidy, secure knot.

To anchor your stitches, sew two stitches in the same spot. On the second stitch, before pulling the thread tight, leave a small loop and pass your needle through it before pulling snug. Repeat this at the end of your seam to secure your work.

Thimbles

At first I didn’t use a thimble because I thought it would feel awkward and distracting. But after stitching a few hexagons I realised how much I was pushing the needle through the fabric with the end of my middle finger and it was getting a little tender.

I tried a few thimbles and my favourite is the Clover silicone one. It’s lightweight, flexible and comfortable. I can still feel what I’m doing, and it doesn’t slip or catch.

Stitching

There’s really no strict rule about the number of stitches — it’s whatever feels comfortable for you. Some people say too many stitches can weaken the fabric, but time will tell.

I’ve seen people recommend around five stitches per inch, but I probably do closer to triple that!

I like using a whip stitch for joining my hexagons. I actually enjoy seeing my stitches, but if you prefer a more invisible finish you can keep your needle at a right angle to the fabric rather than sewing on a diagonal. That helps keep the stitches smaller and less visible.

Paper Templates

Don’t be afraid to fold your papers as you work. It helps the fabric sit comfortably in your hands and makes your project easier to handle.

If you use good quality card you can also reuse your templates many times.

Stitching Order

When stitching a hexagon flower I start by joining the centre hexagon to the first outer hexagon. Once those two are stitched together I travel my thread along the edge of the outer hexagon rather than cutting it.

I then stitch the second outer hexagon to the first, working back toward the centre, before sewing along the centre seam in an L-shape. I continue around the flower like this until all the hexagons are joined.

Recommended Books on EPP

Finding books specifically about English Paper Piecing can be a little tricky amongst all the quilting and patchwork books that focus on machine sewing. But these two have been really helpful in my own EPP journey.

All Points Patchwork by Diane Gilleland is packed with useful information — tools, fabrics, shapes, and even designing your own patterns. The final pages also include templates you can photocopy and use.

Another favourite is Flossie Teacakes’ Guide to English Paper Piecing by Florence Knapp. This one includes some history of EPP as well as examples from contemporary EPP artists. It also has some great tips, particularly around fussy cutting.

So there you have it — my top tips for starting EPP.

I’m really enjoying this style of stitching. Like knitting, EPP is a wonderfully portable form of slow stitching. It’s perfect for using up fabric scraps and those tiny pieces you love too much to throw away.

I never expected to enjoy hand stitching as much as I do — but now I completely understand how people become a little addicted to it.

I first came across EPP through a Facebook advertisement from an Australian business called The Strawberry Thief in 2022. It was a subscription for Liberty fabric hexies. Each month you would receive a package of pre-cut fabrics and papers to stitch together, gradually building a quilt over time.

Sometimes a project simply catches your eye and refuses to leave your mind. I instantly knew it was something I wanted to do, but at the time it wasn’t a project I could justify spending money on.

Fast forward six months, and my youngest child was now in full-time school and I returned to work after more than a decade at home looking after my children. As a reward for getting myself back into working life, I decided to sign up for the subscription.

There were two options available: 2-inch or 1-inch hexagons. I chose the larger size, as they were suggested to be better for beginners like myself. In the sign-up pack I received my first papers, pre-cut fabric, a glue pen, Jen Kingwell milliner needles, Aurifil 50 weight thread in light antique blush, an acrylic template, and instructions.

Learning to stitch

I started by glue basting my hexagons, which is quick and easy. All that’s needed is a small amount of glue, but it’s important not to glue too close to the edge. You need a little give when sewing so it’s easy to pick up just a few threads of the fabric. In future projects I intend to try tacking my hexagons instead. I’ve had a bit of trouble with my papers popping out, and I think tacking would be a little more secure.

I was very nervous to start sewing. This was my first time stitching like this by hand, and I was scared of making a mess of something beautiful — and a little expensive! My first stitches were very small and close together, but I soon settled into a rhythm and found it was easier than I expected.

I was so proud of my first hexagon flower. I remember looking at the seams and thinking, wow. Everything lined up and the stitches were neat. I hadn’t realised I could get such good results by hand without using a machine.

As I grew more confident, I also developed my own rhythm for stitching the flowers together, working around the hexagons in a particular order so the seams stay neat and the thread travels efficiently. It’s a simple method, but one that makes the process feel very calm and methodical. I’ll explain exactly how I do it in my next post when I share a few of my EPP tips.

Happy mail

Each month I looked forward to a random selection of new fabrics and papers. It was my happy mail. It was also my first time seeing and using Liberty fabrics, so each new design was a thrill.

Unfortunately The Strawberry Thief closed down in late 2024, but before they finished I bought extra packs and continued my subscription until the final days. I now have plenty of hexagons — maybe not enough to complete another quilt, but definitely enough for some pillowcases.

The quilt so far

The original plan was to stitch eight hexagon flowers each month using the hexies that arrived, but I quickly fell behind. I am now two years in and have stitched over 100 flowers, and I’m in the slow process of piecing them together.

When stitching the flowers together I often paired similar colours. In hindsight that probably wasn’t the best idea, as now I need to be careful not to pool too much of one colour in the same area. To keep things balanced I’ve been taking photos and converting them to greyscale, which helps show if there’s a concentration of light or dark areas.

So far it’s been exciting watching it come together and rediscovering favourite fabrics and combinations. I sometimes feel like I’m completing a mystery jigsaw puzzle, turning different flowers around and comparing combinations until the next piece feels right.

Taking my time

I’m in no rush to complete this project. The original appeal was always in the slowness of it. I often look back and admire the skill of the men and women who stitched before us, and projects like this make me feel connected to that long tradition of handwork.

In the end it’s very simple —
just me, fabric, needle and thread.

I tend to work on it in bursts, stitching several flowers and then taking a break for a month or two. I think it will continue like this for quite a while yet. As it grows it’s no longer a very portable project, and it will be interesting to see how I manage such a large piece of fabric.

Even once the quilt top is finished, there will still be the logistics of hand quilting ahead of me.

But along the way I’ve learnt quite a bit about English Paper Piecing — some things through trial and error, and some small techniques that make the stitching easier and more enjoyable. In my next post I’ll share a few of the tips that have helped me along the way.

A new month has begun, and with it, a few simple goals. This March, I’m choosing to be gentle with myself. No grand plans just steady progress.

After last month and a bit of a slump in the last few weeks, I’m happy to ease myself back into it. I’m letting my mood and energy be my guide - starting when I feel like it, and because I enjoy it.

This month I’m going to be casting on for the Synne Sweater. Although I hate knitting swatches, ugh! they’re boring and I want to cast on right now! I’ve been knitting them properly and checking my needles size to make sure I’ve got it right. No excuses! In the past it’s been a step I’ve either done half heartedly or not at all. And then surprise, surprise my fit is out and it is usually too small. I’m learning not to rush the small steps.

If the swatches are anything to go by, it’s going to be such a soft, cosy, squishy knit. It’s the sort of knitting that makes you want to hibernate and watch a movie with, perfect for autumn. I’m most looking forward to the colourwork at the yoke. I don’t think I’ll want to put it down once I get started on that. It’s always a huge incentive to keep going for just one more row when a pattern is emerging.

If I’m not knitting, there is always my embroidery project and my long-term EPP. I think there’s a good chance of finishing the embroidery this month. I’ve been meaning to try embroidery for years, and part of me still can’t quite believe I’ve actually started this one. Now that I have added embroidery into rotation, I think it might stay.

During my craft room clean up, I found other embroidery projects waiting for their turn to be chosen. There’s a beautiful watercolour style cross stitch kit that looks a little intimidating - mostly because of the original price tag of $100 still attached. I’m scared I will make a mess of it, but… it was an op shop find for $9 so what do I really have to lose? Isn’t it funny how we’re more afraid of ruining something expensive than of never starting it at all.

Then there are the DMC Flower Fairies, that I thought were little kits but are actually charts for a larger project printed on heavy paper. I do have a soft spot for Cicely Mary Barker’s Flower Fairies, I loved them as a child and so did my girls. They feel timeless.

Starting this Substack has been so good for me. I’m trying new things and beginning projects that I’ve put off for years. It feels like I’ve been given permission I didn’t know I needed - to dabble, to experiment, to simply start, and it feels freeing. These days, when I find inspiration, instead of thinking “maybe one day,” I find myself asking, “why not now?”

It’s the end of February and it’s time for a round-up of my crafting adventures this month. I was feeling optimistic and confident that I could reach my goals. I wanted to finish a knit, start an embroidery project, and continue on with my EPP project. Nothing too crazy and definitely doable.

February started off strong, crafting-wise. The momentum I had built up in late January carried through and I was able to finish my Rustic Princess sweater. It is everything I hoped it would be, a super comfortable, relaxed-fit sweater that will go with everything. I love the seed stitch pattern and the little pops of colour from the rainbow flecks in the yarn. I’m really happy with the sleeves and how they balloon just a little after the cuffs. If I could change anything, I’d make it a smidge longer in the body — it’s just that little bit shorter than I would like. Despite that, I have a feeling I’ll be wearing it a lot this autumn. You know it’s a good knit when you finish and immediately start thinking about what other colours you could make it in!

After finishing my knit earlier than I expected, I needed a new project to keep my fingers busy, so I made a start on the Poppies on Goodwins Lane embroidery kit. I’ll be honest, I have absolutely no idea if I’m stitching it correctly or not. Up close, the stitches look messy, but if I hold it back a bit and look at it from a distance, it starts to look pretty good.

I’m especially proud of the French knots they are so much easier than I thought they would be. This style of embroidery is new ground for me, as I’ve never attempted anything beyond cross stitch. I’m finding not having the guide of Aida fabric tricky. I’m constantly questioning myself — is this the right place to bring up the needle? Am I at the right angle with this stitch?

Not going to lie, I’ve been fighting with my inner perfectionist and the feeling that if it doesn’t look exactly like the picture, then it must be wrong. Now, every time I start to doubt my work, I remind myself that it doesn’t have to be perfect and that I can put my own spin on it. The picture on the pattern is only a guide, after all.

The embroidery has been a challenge, but I am missing some mindless knitting. So yarn has been bought for my new project. I’ve gone with Inca Spun Worsted, a 50/50 wool and alpaca mix. It’s soft and squishy and I think my teen will love it. She’s chosen a yoke sweater - Synne from Viking Knits by Lasse L. Matberg. We’ve kept fairly true to the original colours — a dark mossy green, cream, and terracotta tweed fleck. I couldn’t quite get the rust colour that was in the book, but I think the tweed is a good substitute.

I’ve started knitting a tension square and it looks like I’ll be using a 6mm or 6.5mm needle. It feels so chunky after knitting with fingering yarn. I have a feeling this knit will be fast and fun. It will be nice to slip back into knitting in between embroidery and back into the feeling that I know exactly what I’m doing.

My only other goal for this month was some more EPP stitching. That didn’t happen, sadly, but there is always next month. A couple of busy weeks at work and I just wasn’t feeling it.

I know it doesn’t sound like it, but I’ve actually been in a bit of a crafting slump. There have been a few nights when I haven’t wanted to pick up a project at all. Maybe it’s end-of-project blues — sort of like the feeling after reading a really good book and not quite being ready to leave that world behind.

For now, I’m letting it be. A rest and a reset feel like part of the rhythm. I’ll be back at it soon, ready to take on a new adventure.

Onwards and upwards to March!

Inside, it is filled with illustrations of new and current paper patterns available to purchase in the summer of 1937. Think of it as a look book of the latest Paris styles, adapted into paper patterns to be made at home. There are men’s, women’s and children’s patterns, and even home décor advertised.

The ladies’ fashions are full of florals, stripes and plaid. My favourite is pattern 9089, a sun frock in an up-to-date style. Out was the bare back - this one came with two narrow slits at the back to “let a little sunshine in”. Not just a dress pattern, it also included a suit-style jacket to be made in contrast. I can easily imagine ladies wearing this dress pattern in hot Australian summers.

Then there are the evening gowns. Pattern 9105 is lace over a taffeta slip - “its skirt is terribly full, being over three and one half yards at the hemline”. I also love the neckline on pattern 9124, designed to be made in printed satin, with a high waist and princess lines.

If dresses and skirts aren’t your thing, there are culottes to be made in jersey, tweed or cotton crash, paired with blouse 9116 and its shirred yoke, back and front.

With this booklet, you could easily mix and match patterns and build yourself a complete capsule wardrobe. The majority of patterns were priced at two shillings and one pence in Australia, roughly the equivalent of $25 today. A pattern would have been an investment, used time and time again. With different fabrics, textures and colours, a single design could be refreshed and reimagined.

Even now, nearly 90 years later, the fashions inside still feel wearable. There’s something timeless about these designs, and it’s a reminder that a well-made pattern, chosen thoughtfully, can last for decades.

Finishing

I really picked up momentum on my Rustic Princess sweater last month. I crammed a lot of knitting into the final week of January to finish the first sleeve, and that momentum has carried into the first few days of February. I’m well on my way with the second sleeve now, around about halfway, I think.

I’m really looking forward to finishing this sweater and finally wearing it. Of course, my mind is already planning my next knit, which brings me to beginnings…

Beginning

I recently borrowed Viking Knits by Lasse L. Matberg from my local library, and one of my teens has chosen a sweater she’d like me to make. My children don’t often ask me to make things for them these days, so I’m absolutely seizing the day on this one.

It should be a fairly quick knit, in worsted weight yarn and will be a nice change after all the finer yarns I’ve been using lately.

I’ve also given myself permission to start an embroidery project. In my last post here you may have seen that I rediscovered an embroidery kit I’d completely forgotten about. I’m really looking forward to challenging myself by learning some new embroidery stitches. The only embroidery I’ve ever done is cross stitch, and that was years ago! I’ve loved the slowness of EPP and hand stitching, and this feels like a natural progression.

Continuing

I’m hoping to continue working on my ambitious EPP king-size quilt. I currently have about eight hexagon flowers stitched together, and it feels like a completely different project now that I’ve started joining everything into one piece.

It’s getting a bit bulky and awkward and I’m finding I still have to fold papers in new directions. While it’s still technically a lap project, it’s much easier to work on at a table or on the bed where I can lay it out properly. There’s no rush with this one, though. It’s the kind of project I return to when the mood strikes.

As it gets bigger, I’m starting to think I may need a dedicated space to hang it between stitching sessions. It’s beautiful enough to be on display.

So those are my February plans to keep me busy: one project to finish, a couple to begin, and a long-term one to continue in between. I’d love to hear about your February goals - what are you working on?

While rearranging things in there I found a couple of things. One is this Simplicity paper pattern and fabric that I picked up at an op shop for $2, the pattern was complete and someone had carefully traced and cut out the pattern for style D before donating it. Everything was there and ready to go.

I’m not the most confident seamstress, but it felt like the perfect low-pressure project: no stress, no real risk. If it went badly, I hadn’t lost much. The sew itself was fairly straightforward, with a couple of bust and waist darts. The garment is fully lined, with an inner and outer shell, so no seams are visible. All I needed was thread and four buttons. I didn’t quite have the right colour thread and made do with orange instead of white. I have a large collection of buttons left over from a market stall that I used to run. My best match with this fabric were mandala style wooden ones

.

It’s actually one of the better garments I’ve sewn. I’m a little unhappy with the buttonholes - the first two were perfect, but for some reason my machine made the last two a bit small. Still, overall it was a fun and satisfying make. Unfortunately, it doesn’t fit either of my teens, so I think I’ll send the finished top back to the op shop and let it find its next home.

My other find, was an embroidery kit for a landscape scene. I’d recently borrowed a book from the library on landscape embroidery for some inspiration, as it’s been rolling around in my head as something I would like to do… and then what do you know this kit turned up in my tidy up, I’d completely forgotten that I had it.

It must have been another op shop find, I have no idea what I paid for it but I doubt it was more than a couple of dollars. It looks like a quality kit from the UK, with a mixture of Stranded cotton, Shetland wool, Appletons wool and hand-dyed Botany wool. I was very keen to get started on it but I haven’t been able to find a suitable hoop or frame so it may have to wait a few days.

January certainly flew by, but I managed to complete three out of four of my January goals. I finished the sleeve of my jumper, cramming a lot of knitting into the final week to get there, but I made it. I recalculated the sleeve cap shaping using The Ultimate Sweater Book and Vogue Knitting, and ended up with similar results from both. I’m not sure where I went wrong last time, but this time it worked. I decided to combine the two to get shaping I’m really happy with, and it looks like it will sew in nicely.

I also started sewing the hexagons together. I didn’t manage to make a design wall, so instead I locked the cat and dog out of the living room and laid everything out on the floor. It’s going to look amazing when it’s done - but planning it was tricky. Trying to get the colours to flow without pooling, or ending up with too much dark shading in one spot, is harder than it looks. Even after settling on an arrangement I liked, I wasn’t sure how to record it, so I can sew them together in that same order. In the end, I decided to take it one hexagon at a time and let it come together the way it comes together.

The only goal I didn’t complete was gathering supplies for a Waldorf-style doll. I think I’ve lost interest in it for now, and that’s okay. I’ll come back to it another time. For now, I have more than enough to keep me busy for another month… or two.

First is a Colour Book of Semco Super Machine Twist Silkette. I’m familiar with the Semco brand, it still exists in Australia today, although Silkette itself is no longer manufactured. Inside are actual Silkette thread samples in 180 different colours. A quick Google suggests this book likely dates from the 1940s–50s.

Silkette was a mercerised cotton designed to imitate silk: cheaper, stronger, and ideal for use in a sewing machine. Looking into the history of the Semco factory, I found that it was built at Black Rock, then an outer suburb of Melbourne, in the early 1920s. The factory was designed to be a healthy, safe, and spacious workplace, surrounded by gardens, recreational facilities, and fresh air. Many of those employed were women, working under excellent pay rates.

It feels fitting that this colour book carries the underlined call “Support Australian Industry” across the top, as Semco in turn supported fundraising efforts for the Red Cross, Salvation Army, Australian Comfort Fund, and bushfire victims.

Next is another shade card, this one from Lister & Co., Limited of Bradford, England. Once again, it contains real thread sample - 387 of them and I believe these are silk. Lister & Co. were a major British textile manufacturer, well known for their silk, wool, and fine sewing threads. I suspect this shade card dates from the 1930s or earlier. It was produced for the Australian market, as the index notes: “For particulars of other lines stocked in Melbourne please refer to LISTER’S PRICE LIST.”

Shade cards like this and the Semco, would have lived on the counter of every haberdashery store. I can just imagine customers poring over them, matching colours to fabrics for their next sewing project. To find one today feels special, as this is exactly the sort of working object that could easily have been discarded or lost as new products arrived on the scene.

Also included was a price list for Singer sewing machines available for purchase in Australia, with details for their Adelaide and Melbourne offices. This appears to be an early list, as it includes prices for the No. 2, No. 3, and No. 4 machines, which may place it pre-1900. Prices started at £5/11/0, with customers paying cash receiving a 10 per cent discount. There’s also a stern warning to “Beware of German & other Imitations!”

A Singer sewing machine must have been liberating at the turn of the century. Suddenly garment making no longer took days, but could be achieved in hours. These machines were workhorses, capable of sewing through tough fabrics like canvas and leather.

There was also The Little Girl’s Sewing Book, edited by Flora Klickmann, previously owned by Merle Hustie, whose name is signed inside. The book includes cross-stitch patterns, dresses and accessories for dolls, bags, and all the things a little girl might have loved to make. I wonder if Merle treasured this book, looking over it time and time again, planning her next project.

The lot also contained a Semco Art Needlework Instruction Book, third edition, priced at sixpence. Inside are colour photographs and detailed instructions, to inspire home needleworkers.

Finally, there is The Practical Work of Dressmaking and Tailoring by M. Prince Browne, second edition, priced at 2/6. Judging by the fashions illustrated, I suspect this one dates to the early 1900s. I tried to look this up to find more information on the author, and it appears the book is considered significant in sewing history, it has even been reprinted recently, preserving the original text and artwork.

I feel quite lucky to have had these small pieces of sewing history find their way into my possession. They were never considered precious items, just ordinary, everyday tools and references, designed for short-term use. That is what makes them so special now.

I hope you’ve found looking at them as interesting as I have. I do have one question, though: do you think I should try to digitise the shade cards? Would there be interest? They feel like an important record, and digitising them would allow the colours to be studied and enjoyed, while keeping the originals safe.

So at last, my Victory Jumper is finished, and I’m really proud of it. I successfully sized a vintage pattern up a couple of sizes to a 40-inch bust, while keeping it comfortable and maintaining the look of the original.

You may remember I had some difficulty with the neckline with my first attempt being much too high. After a bit of trial and error, I was able to adjust it to something far more wearable while still fitting the style of the original pattern.

Now comes probably the trickiest part: decoding my scribbled notes to create something followable. I’m terrible at keeping notes, always thinking I’ll remember… and then not. However, I really did try this time around, and I made note of all my alterations and changes. Without further ado, below is my version of the Homenotes Victory Jumper.

For my version, I kept the original gauge of 7.5 stitches and 9.5 rows to 1 inch. I used Knit Picks Palette yarn in Navy, Serrano, and Cream, with 3.00 mm and 2.5 mm needles.

Pattern Row: * K. 2 tog., k. 2, wl.fwd., k. 1, wl.fwd., k. 2, slip 1, k. 1, p.s.s.o., rep. from * to end of row.

Gauge: 7.5st, 9.5 rows per inch

Needles: 2.5mm and 3.00mm

Front:

Using 2.5mm needles Cast on 130 sts. Work in K1,P1 rib for 4 inches.

Begin pattern,

Change to 3mm needles

R.S: K2* K. 2 tog., k. 2, wl.fwd., k. 1, wl.fwd., k. 2, slip 1, k. 1, p.s.s.o., rep. from * to last 2 st k2

W.S: Purl

Work 4 rows in pattern

Increase row: K2, m1, * K. 2 tog., k. 2, wl.fwd., k. 1, wl.fwd., k. 2, slip 1, k. 1, p.s.s.o., rep. from * to last 2 its, m1 k2.

Increase 1st at each end of every 4th row until 150 stitches. Continue to work in pattern for a further 74 rows or until piece measures 15.75 inches

Begin armhole shaping.

Cast off 8 sts at the beginning of the next 2 rows.

RS: Decrease row: K2 , SSK, then work in pattern to last 4 stitches, k2tog, k2.

WS: Purl

On next and following alternate rows 11 times. (112 stitches).

Work until piece measures 5.5 inches from armhole edge.

Begin neckline shaping.

Work in pattern for 43sts and place on a holder. Bind off 26 stitches for centre front, Work continues on remaining 43 stitches.

Pattern to end, purl one row, bind off 2sts at neck edge on alternate rows twice, then 1 stitch at neck edge every row 8 times.

Work in pattern on remaining 27 sts for a further 1 inch ending on RS row.

Cast off 9 stitches every alternate row 3 times. Repeat neckline shaping in reverse on 43 sts on holder for the other side.

Back:

Work as front until armhole edging.

Begin armhole shaping.

Cast off 8 sts at the beginning of the next 2 rows.

RS: Decrease row: K2 , SSK, then work in pattern to last 4 stitches, k2tog, k2.

WS: Purl

On next and following alternate rows 11 times. (112 stitches).

Work 6.5 inches in pattern before beginning back neckline shaping as follows.

Work 32st in pattern and place on holder, bind off 36 stitches in centre, working in pattern on remaining 32 stitches.

Purl,

Bind off 2 stitches at neck edge on alternate rows twice, then 1 stitch at neck edge once (27 stitches remaining).

Work in pattern for 1 inch ending on RS row.

Begin shoulder shaping,

Cast off 9 stitches at shoulder edge on alternate rows 3 times.

Repeat shaping in reverse for on 32sts on holder for the other side.

Sleeves:

Cast on 82 st on smaller needles and work in K1,P1 rib for 1.75 inches.

Change to larger needles and work in pattern, increase 1st at each end every 6th row until you have 98st.

Work 10 rows in pattern.

Begin armhole shaping.

Cast off 8 stitches at the beginning of the next 2 rows. Then decrease 1st at each end every alternate row 14 times (36st) then 2st at each end on alternate rows 5 times. (16st)

Cast off remaining 16sts.

Repeat for 2nd sleeve.

To make up:

Stitch shoulder seams and side seams, sew in sleeves, taking care to match pattern stripes. Sew sleeve seams.

Pick up stitches around neckline. Starting at left side neck edge pick up 27st, 33 along front, 27sts to right side shoulder seam. 16 back neck edge, 46st along back 15st to left side shoulder seam. 164sts. Work in k1, p1 rib for 1 inch bind off in rib.

Weave in ends and block.

Thank you for reading and for following along with this project. It’s been a long make with its fair share of challenges, but the finished jumper has been worth it. If you decide to make your own version, please let me know — I’d love to see it.

Last month, I tried setting myself a few monthly goals—just putting into words what I wanted to work on and achieve. They weren’t big or out of reach, just a focused list of four projects. I found it really helpful: it kept me on track, and it was fun to tick things off my December list.

In December, I finally finished my Victory Jumper, which had been abandoned for months. I made great progress on my Rustic Princess sweater and stitched a cute EPP star ornament. Having a list of goals kept me motivated to complete them before the month ended. It worked so well that I’ve decided to continue making a monthly list of craft projects. It doesn’t matter if the projects are new or old—only that they spark my interest that month.

So, for January 2026, my goals are:

1. Knit one sleeve of the Rustic Princess sweater.
   I completed the body pieces in December, so finishing a sleeve will move me closer to having a complete sweater before Autumn. I’m really happy with the pattern and the yarn, it’s neutral enough to work with lots of colours and textures but still has pops of colour. I’m aware that we’re heading into peak summer, so knitting might not be my first choice of craft, but one sleeve feels doable. If the weather stays cool, maybe I’ll even start the second sleeve.

2. Gather supplies to make a Waldorf-style or natural fibre doll.
   As a child, I adored my My Child doll, it had a cloth body, button nose, and similar to some of the natural fibre dolls I’ve seen. I’d love to make my own natural fibre doll, some of the ones I’ve seen are just beautiful. I know the child in me would love one. I’m a little nervous about trying, but if I don’t, I’ll never know! Gathering materials and a pattern is my first step—sewing can come later.

3. Start piecing hexagons together.
   I’m feeling hesitant and a touch intimidated about making a start on this. It feels big! Suddenly the enormity of this project has hit me. Should I lay them all out and try to plan it, or do I just jump in and stitch random flowers together? I’ve been thinking about setting up a design wall. I don’t have the funds for spending big on specialist fabric for it but I do have a flannelette king-size top sheet I could use. I could hang it on the blank wall in my craft room and get a feel for how it will look that way. Laying pieces on the floor is out of the question, the cat and most likely the dog, will immediately decide that’s exactly where they need to be!

4. Sort out my craft room space.
   Honestly, I’ve been dumping books and odds and ends everywhere, and now it’s hard to move in there. Too many ideas, projects and books! Getting it back into a workable space is going to have to be a priority. A clear space will make all the other projects easier and more enjoyable.

So that’s my four things for January. What about you—do you have big crafting plans for 2026, or are you, like me, taking it one month at a time?

I received this little postcard kit in a subscription back when I was collecting Liberty print hexagons. That was several years ago, and I’ve been meaning to stitch it up ever since.

With time on my hands on a rare day off, I sat down with a cheesy Christmas movie and stitched it together - and I love it. Now that I’ve made one, I’ll definitely have to make more.

It felt a little fiddly at first. These little diamonds are much smaller than my usual 2” hexagons, but once I got started it turned into a really quick and easy project.

This was my first time stitching something other than hexagons with EPP, and I was nervous about how the points would line up and come together. But they’re perfect. It’s given me the confidence to try other shapes and patterns.

As is standard behaviour for me, I tend to build projects like this up in my head and make them seem much harder than they really are - only to be surprised when they’re not.

Lesson learnt… again!

This week I limited myself to just two books. The first is Celtic Cross Stitch Designs. I’ll admit: if a book has Celtic in the title, I’ll buy it. I’m drawn to the magic of Arthurian legends, fairies, and pixies.

This one looks interesting - even though I doubt I’ll actually stitch any of the designs. It’s packed with projects and Celtic-embellished lettering, so it’ll probably end up being more of an inspiration book for me. I can imagine some of the motifs being tweaked and used in knitting or quilting.

The second book is Embroidered Christening Gowns, published by the team behind Inspirations. Every page is filled with full-colour photos and clear instructions, and scattered throughout are quotes, history, and folklore about pregnancy and christenings from around the world. It’s a beautiful book. I almost left it behind, since I have no real need for a christening gown, but smocking is on my list of skills to learn someday and so it came home with me. It wasn’t until I opened it later that I discovered a Celtic blessing inside the back cover. Perhaps my Celtic ancestors or the fairies wanted me to have it! The blessing resonates deeply with how I feel about handmade garments: they’re meant to be worn and loved, not kept safe but locked away.

May you wear the garment to shreds!

May you wear the garment to tatters!

May you wear the garment

with food and music

In every place as I would wish:

With confidence,

With health,

With friends,

With love,

With the grace of the Threefold Spirit.