Tag: Little Jacket
The basic technique I’m using for the Little Jacket is the same as I used for the Coat of Many Flowers, so the block colour comes from pieces of felt cut to shape. Most of them are the light and lofty felts I use with my embellisher, but this dark brown is slightly denser and more variable in colour. The variations aren’t as clear in photos as they are in real life, and I have a faint hope that if I wear it enough some of the lighter colours will fade a little more than the dark ones, and pull out the contrast a bit more.
This is the first of the motifs I worked on. A long-legged variation on chain stitch on the central petal is set off by neat paired blanket stitch edgings on the outer petals. I’ve decided that the yellow is to be an accent colour, and I’ve ensured that I have small bits of it it scattered across the whole jacket. In this case I’ve not used contrast colours to stitch it down. I’m not sure about the whipped blanket stitch on the lower half, but I needed something to contrast with the single twisted chain stitches on the uper half, and I don’t think I will continue unhappy with it once the whole jacket is finished.
By contrast, I’m not at all happy with this one, and I don’t know what to do with it.
I like the crested chain edging on the brown petals, and I like the odd combination of rosette chain and blanket stitch in the yellow-green pearl cotton, but not how I’ve placed it or the effect it is creating. The stitch running in a spine down the lower brown petal is called “Wing Stitch” in the book I found it in, and again, I like it, but not what it is doing here.
I can see some unpicking in my future!
However, episode 66 of SlowTV Stitchery is now live, in which we consider the state of progress on Tynemouth Priory and plans for the sea, learn from Granny Weatherwax, and start planning more Watermill Stitcheries.
This little edge-to-edge woollen jacket was inherited from a great aunt. She was much smaller than me (I’m not tall, but my great aunts were all tiny!) so, among other things, she’d turned up the sleeves to create cuffs, which has resulted in rather unattractive, and potential life-limiting (for the garment) wear patterns. Naturally, I’m not in favour of that. Nor do I especially cherish the look of me in unadorned beige, especially since the arrival of my “corona wings”, which otherwise I rather like. So the jacket is going to be jazzed up.
In fact, it probably won’t know what’s hit it, by the time I’ve finished!
I am returning to the motifs from Grandmama’s tablecloth, which I also used on the Coat of Many Colours and the Jacobean Firescreen, so at least some of what you see over the next few posts will be familiar, but whereas the design for the Coat of Many Colours stretched across the skirt of the coat, the design here trails over the shoulders and down the arms.
And whereas the design for the Coat of Many Flowers was planned in advance, with some care, the design for this one was put together in a series of adventures. First, my mother put the jacket on and I drew trailing stems around and over the jacket. Then I tacked them in with a single strand of Appletons Crewel Wool (then I won’t need to take them out!) and pinned cut out paper patterns of the motifs in their place.
Then the paper cutouts were replaced with felt cut outs. You can see from this picture of the back that I missed out some necessary stems here..
I wonder whether it’s luxuriant enough?
Meanwhile, in other news – Episode 64 of Slow TV Stitchery is now live, in which we discuss Impressionism in stitches and an Announcement is made..