This gentleman’s robe is made in a robust flannel and is based on Butterick Classics pattern 6968.
I made a few modifications as the pattern I purchased from my local thrift store was a Medium and my beloved would typically wear a size L or XL, depending on cut. He also wanted a shogun-style robe which to him meant belt loops over the hips and no patch pockets. Patch pockets would be a risk – one bad interaction with a door handle and the patch pocket would be but a shadow of its former self.
- added belt loops. You don’t want your belt dropping in unguarded moments.
- the belt has an inner core of calico for strength and to increase longevity.
- pieced front band. The band is not matched. I don’t care and nor does my beloved. This was a design choice.
- no cuffs on the sleeves. Cuffs on a robe just get in the way, in my experience. Unless you have domestic servants. We don’t. We have to do our own dishes and then cuffs definitely get in the way.
- added 1 inch of width from shoulder to hem for increased coverage and comfort.
This year I joined the Handweavers and Spinners Guild of Victoria summer school workshop impressively titled Sheer Delight- Transparent Weave Inlay Techniques.
We warped our looms with a fine linen and learned how to use inlays in different colours and textures to make pictures or room dividers.
I’m generally more of a weaver of household items and I enjoyed being taken to a new place with my weaving. It’s probably not a technique I’ll use again soon but I’m happy to have a new technique in my repertoire.
Here’s a little throwback to the good old days of quality workmanship and pride in your product, in the form of cotton bias binding. I bought it at my local thrift store.
Bias binding is something I look out for in thrift stores as it’s generally a polyester cotton blend when I buy it new and that is not my preference. The older bindings also tend to be better more stable, either due to starch or simply a tighter weave.
Love these stripes
The binding is made by WM. E. Wright Co in Massachusetts. This company stood by their product.
This material is fast colour and perfect in workmanship. Should it be faulty in any way, making the article on which it is applied unusable, we will reimburse you for the reasonable cost of your labor and all materials used in making the article.
The slot on the right will fit a twill hand towel
All rolled up and ready to go to work
This was a quick upcycling project. I got a knife, fork and spoon from my local Salvos Store and made up a cutlery roll to leave in my desk drawer at work.
Cutlery roll 2.0 will include chopsticks.
What defines a novelty yarn? I’m going with:
new to me and having an interesting composition
Here is a photo of a scarf I recently completed using Bendigo 3 ply as warp at 8 dpi and Tirchonaill as weft. The Tirchonaill is pure wool and came in a 100g ball. To me, it meets the definition of being a novelty yarn, and a lovely one. Exactly half the ball of Tirchonaill got consumed for this project, meaning I will be able to make another scarf. I’m happy about that as I love the green colour.
I picked the Tirchonaill up at a guild member’s stash sale. I didn’t sample but I did have a plan in mind. I wove an open structure in plain weave, intending to have a soft drapey fabric at the end of the process. That worked. The selvages looked a bit loopy on the loom but came good after the finishing step.
The contrasting ends are Bendigo 3 ply, doubled. These were a bit of a concern at the hemming stage as this part of the weave didn’t pull together as much as the green during the wet-finishing stage. A bit of steam-pressing evened out the width sufficiently that I could hem the fabric without sacrificing the splash of colour contrast.
My vacation is long since over but I want share a few pictures from Mission San Miguel Arcangel, located in San Luis Obispo county in California. Just off the highway, this mission is in an agriculturally rich area. There must also be an army base nearby, based on uniformed personnel we saw eating at nearby Leo’s Cafe.
The loom below was part of a display of how the mission operated. Sadly it’s not in a usable state.
After completing the linen and lace course with Kay Faulkner I felt confident and eager to get started on a project I had put on the Dorset loom over the Christmas break, an Atwater Bronson table runner in 3/2 cotton.
Working in the coarser 3/2 cotton was a joy because it was easy to spot and correct mistakes. It was also good to be working with a coloured yarn. The finer white linen we used during the course added another little hurdle for a beginner such as myself as errors were tricky to spot. Weaving in my own space, at my own pace further helped to reduce the error rate.
My own design variant
I made two runners, one following faithfully the project instructions in Pattie Graver’s Next Steps in Weaving and the other to my own design.
The projects in the Next Steps book are particularly well described and tell you everything you need to know, such as sett, width in the reed etc in a way where you can find the essential information quickly, without having waste energy scanning the text. I do recommend the book for anyone beginning their weaving journey, as I am.
This runner was done by the book