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A Bustle & Sew Publication

Copyright © Bustle & Sew Limited 2012

The right of Helen Dickson to be identified as theauthor of this work has been asserted inaccordance with the Copyright, Designs andPatents Act 1988.

All rights reserved. No part of this publicationmay be reproduced, stored in a retrieval system ortransmitted in any form, or by any means, withoutthe prior written permission of the author, nor beotherwise circulated in any form of binding orcover other than that in which it is published andwithout a similar condition being imposed on thesubsequent purchaser.

Every effort has been made to ensure that all theinformation in this book is accurate. However,due to differing conditions, tools and individualskills, the publisher cannot be responsible for anyinjuries, losses and other damages that may resultfrom the use of the information in this book.

First published 2013 by:Bustle & SewCoombe LeighChillingtonKingsbridgeDevon TQ7 2LEUK

www.bustleandsew.com

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Hello,

And welcome to the May 2013 issue of the Bustle & Sew Magazine.

I love this time of year, when the hedgerows are full of spring flowers,with all the lovely old-fashioned names like Ragged Robin, Toadflax and- a particular favourite - Rosebay Willowherb!

This month’s issue is full of loveliness too - with six Bustle & Sew patterns, including one of myfavourites - the Curlywurly Cottontails - a silly idea that came to me - if only we had tiny rabbitsinstead of snails in our gardens!

I’m delighted too to bring to you an interview with the phenomenally talented Lucy Levenson,whilst Becky from Patchwork Posse has contributed a lovely little Spring Chic pattern. And Maywouldn’t be May without Cherry Blossom time - there’s a Simple Stitchery Cherry Blossom patternfor you as well as an article on cherry blossoms in Japan.

Coming next month you’ll discover a “Work in Progress” bag so you can take your projects out andabout with you in the summer months, as well as much more stitchy goodness.

Meanwhile, have a wonderful May.

Helen xx

Notes from a Devon Village Page 4

Fuzzypeg and his Carrot Page 6

Elderflower Cordial Page 11

Terrific Tulip Messenger Bag Page 13

Fusible Interfacing Page 18

Dandelion Button Transfer Page 21

The Tradition of Sakura Page 22

Cherry Blossom Time Page 24

A Little Vintage Loveliness Page 29

An interview with Lucy Levenson Page 30

Bird Patchwork Posse Page 35

A Green Lady Stitches Applique Page 40

Feedsacks - a little American History Page 46

Curlywurly Cottontails Embroidery Page 48

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Notes from a Devon Village

The lanes here are at their in May I think. They'resmothered with bluebells and pink campion, withcow parsley frothing in wild abandon. Some of thewider and sunnier verges are even studded with wildorchids. I have been told that they're a very commonkind, but then that doesn't make them any lessattractive.

I often think that the summer visitors miss ourcountryside at its best, since by late July and Augustthe wild flowers are mostly over and everywhere isbeginning to look tired and dusty. At this time of yearI often think of the poem "Lanes in Summer" byMalcolm Hemphrey which I learned as a child…

I love the little winding lanes,In the sweet days when summer reigns;The eglantine and hawkweed's plume;The dog-rose and the bramble bloom,Like stars from heaven gone astray;

The fragrant scent of new-mown hay;The poppies in the green-aisled wheat;

The bees that find the clover sweet;The last song of the wren and thrushBreaking through the drowsy hush -

If kindly peace be anywhere'Tis surely there, 'tis surely there.

And while we’re thinking ofbees, have you heard theold country saying “Aswarm of bees in Mayis worth a load of hay. Aswarm of bees in Juneis worth a silver

spoon. A swarm of bees in July is not worth a fly.”Or in other words, by late summer the value of aswarm of bees is minimal. I love to hear the soundof bees buzzing around my garden and although Iknow bees are suffering heavy losses elsewherein the country, here in south Devon wehave been very lucky as our bees haveremained both healthy and numerous.

At this time of year, everything is freshand green, and it’s such fun to re-discover all our favourite walks -especially this year after such a long,cold and grey winter. Although thenewfies swim all year round (Ben hasbeen known to pretend to be an ice-breaker ship and forge through really

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Fuzzypeg and his CarrotFuzzypeg is definitely a bunny with attitude - his paws are wrapped very firmly abouthis prize carrot and he’s not about to give it away to anybody! Easy softie to make, all

hand sewn.

Fuzzypeg measures 12” tall from his fuzzy tail to the tips of his ears.

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Every year, as May turns to June and thedays grow longer, the scent of elderflowerhangs heavy in the warm air, I unearth mypreserving pan - unused since the finalchutney-making marathon in the autumn -and put it to good use making this mostdelicious of summer cordials - perfectlyrefreshing on a hot afternoon.

We have our own in the garden. I don'tpick them all - leaving some to becomeberries for the birds in the autumn, but I dogather a good few handfuls. If you don’thave any elder bushes in your garden, then

head off out with your basket - they arevery common in the hedgerows and easilyidentified by their clusters of creamy-whiteflowers and distinctive scent. (If in doubtuse a book to identify them, or take aknowledgeable friend along).

Cool and refreshing on asummer’s afternoon -inexpensive to make - and bestof all - you know exactly what’sgone into it.

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Terrific Tulip Messenger BagA useful little messenger bag, turned into something a bit special with the addition ofsome simple retro-style embroidery. Tulips, sunflowers and daisies jostle for space,

with no regard for the seasons whatsoever!

Finished bag measures 12” high x 10” wide x 2” deep (approx)

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The Terrific Tulip Messenger Bag project uses a fusible interfacing to give weight,strength and definition to the quilting weight fabric I chose for the lining. Fusibleinterfacings are quick and easy to apply providing you follow the manufacturer's

instructions carefully. But it may not be something that you do every day - so here'sa quick reminder of the steps to follow - including test-fusing your interfacing to a

sample of your fabric to ensure you obtain perfect results every time.

As I'm sure you know, interfacing is Bondaweb - which I use a lot in appliqueavailable in fusible (iron-on) and non- - is simply another form of fusiblefusible (sew-in) varieties. Fusible interfacing. This time it's a double-sidedinterfacing is coated with an adhesive variety - used to adhere two fabricssubstance that melts and adheres to your together. Bondaweb has a paper backingfabric when you press it with a hot iron. and is applied in two stages - first adheringIt's suitable to use with a wide variety of the Bondaweb to one fabric, then cuttingfabrics, but shouldn't be considered when the shape, peeling off the backing andyou're using fabrics that are damaged by adhering it to the second - usually theheat, pressure or moisture - seersucker, background - fabric.silks that waterspot and some manmadefabrics, for example. You can also use Test-fusing your Samplenarrow strips of fusible interfacing to stop

Prepare your interfacing:your stitches puckering on a lightweightfabric - underneath topstitching forexample.

You should always choose an interfacingthat is lighter in weight than your fabric,bearing in mind that the adhesive on theinterfacing will change the texture and feelof the fabric slightly. You should alwaystest-fuse a sample to your fabric beforegoing ahead, to check its suitability, and Cut a 4” square of fabric. Cut interfacingto determine the exact heat, pressure, to cover half of this square. Place yourmoisture and time duration needed to fabric wrong side up on a clean, flatcreate a good bond between the interfacing surface, then place your interfacing on oneand your fabric. half of your square, adhesive (shiny) side

down.

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Dandelion Button TransferA very early Bustle & Sew design - but worth revisiting…

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The Tradition of Sakura

Hanami is the traditional Japanesetraditional custom of enjoying the beauty offlowers, "flower" in this case almost alwaysmeaning cherry blossoms ("sakura") or lessoften plum blossoms.

This custom is said to have begun in the late8th century, during the Nara Period (710 to794). This seasonal event was used towelcome in the new year's harvest whilemarking the beginning of the rice plantingseason.

In the Heian Period , Emperor Saga wouldwelcome this time with celebratory feasts andparties under the sakura trees in Kyoto'sImperial Court. While originally limited toJapanese royalty and the elite upper class,everyone was enjoying taking part in hanamiby the Edo Period in the early 1600's.

Woodblock print of Mount Fuji andcherry blossom from 36 Views of Mount

Fuji by Hiroshige.

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Cherry Blossom Time..A simple stitchery from Bustle & Sew bringing spring and cherry blossom time in

Japan into your hoop!

Really easy stitching - a great design for beginners. Shown framed in an 8” hoop.

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A Little Vintage Loveliness …I don’t have the transfer referred to I’m afraid, but I think the shapes are simple enough -and it should be quite easy to just enlarge the diagrams at the bottom of the pattern.

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Hi Lucy, can you tell us a little aboutyourself and when you learned tosew?

Hi! I was a magazine photographerfor many years, I stopped when mylittle girl Katy was born in 2004. Shebecame very ill a year later, andsuffered brain damage. Things werevery difficult for years as she sufferedfrom epilepsy. I became her full-timecarer and fitted in my sewing,drawing and painting whenever Icould.

Sometimes you come across someone whose work literally stops you inyour tracks - who has the “wow” factor in bucket-loads and, for me, LucyLevenson is one of these wonderful designer/creators and I’m delighted

she agreed to be interviewed for Bustle & Sew Magazine.

Lucy was chosen by Country LivingMagazine (UK) as one of four womenwith the potential to transform theirsewing hobby into a business. Herapplique work is amazingly vibrantand colourful, with a distinctive, ratherhumorous, folk-art style.

Elephants in Love AppliqueCute little applique elephants sitting in rows, and just two who have fallen for each

other! Easy to create applique.

A great project for beginners or a quick easy make for the more experienced.

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Green Lady AppliqueI love to combine freestyle machine embroidery with hand stitching to create a design

that’s just a little bit different - and I also love this little children’s poem from CharlotteDruitt Cole - you’ll see the first few verses above.

Design shown mounted on A4 (12” x 8” approx) canvas board.

A lovely Green LadyEmbroiders and stitches

Sweet flowers in the meadows,On banks and in ditches.

All day she is sewing,Embroidering all night;

For she works in the darknessAs well as the light.

She makes no mistake inThe silks which she uses,And all her gay coloursShe carefully chooses.

She fills nooks and cornersWith blossoms so small,

Where none but the fairiesWill see them at all.

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Don’t forget to download your FREE e-book from Bustle & Sew.

CLICK HERE for the pdf file.

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Feedsacks - Stitcher’s Delight!Taking a look at vintage feedsacks - and the wonderful designs that were produced last century.

In the USA, from about the late 19th century, stablegoods began to be transported and distributed infabric bags - a much easier and more economicalmeans of packaging than the previously used woodand metal storage containers. These had not been anideal method of storage as tin would rust and thehandmade boxes and barrels leaked and weredamaged easily. They were bulky, heavy anddifficult to transport.

Manufacturers were anxious to find another method,but didn't consider the cloth bags of homespun linenused by farmers to store goods for use at homebecause the hand sewn seams wouldn't be strongenough for heavy use.

All of this changed in 1846 with the invention of thestitching machine, which made it possible to sewdouble locking seams strong enough to hold thecontents of a bag. These bags were often re-usedmany times, although later they were specially wovenfrom white cotton and often bore the logo of the millwhere they had been made.

Feedbacks were initially made from heavy canvas,and were used to transport flour, sugar, meal, grain,salt and feed from the mills. They were reusable, andthe farmer would return his empty sack stamped withhis mark to the mill to be filled. This changed whenweaving inexpensive cotton fabric became possiblein the late 1800's.

Feedsacks, or feedbags as they were known then,were initially printed on plain white cloth and in sizesthat corresponded to barrel sizes. For example, a onebarrel bag held 196 pounds of flour, whilst a 1/8barrel bag only held 24 pounds. The brand name ofthe flour was simply printed on the side of the bag.

The dress-print feed sacks that are so pretty, and solovely to use in all kinds of sewing, from patchworkto applique - and even for softie-making, had arelatively short lifespan.

Most of us will associate these printed sacks with theDepression period of the 1930s. As the economy wasplunged into recession, and people had to economiseand utilise whatever came to hand, fabric and graincompanies began to realise that thrifty housewiveswere using these feed sacks to make clothing andhousehold textiles, and so they began to print themin beautiful patterns to attract such customers.

It was not unknown for wives to send their husbandsto the store to purchase their feed in bags printed witha specific design so they could complete their project

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Curlywurly CottontailsImagine …. If all those pesky snails that lurk in the dark, damp places of your garden

could be transformed into the most delightful miniature rabbits - how wonderfulwould that be?! And my little rabbits have kept their curlywurly snail-like bodies too

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