This is the moment Miss Fit and I have been waiting for! We have come to the beginning of the end of the real tiered skirt. Or, maybe I should say it’s the end of the beginning, since weaving is just the beginning of this skirt. My next step is to finish the fabric: find and repair errors, wash, dry, press. And then, on to construction: detail studies, measure, cut, gather, sew seams. And lastly, of course, I will find an occasion to wear the summery subtly-patterned huckaback skirt, even if summer has already slipped into hiding until next year.
Beaming the 24/2 cotton warp on my 100 cm Glimåkra Ideal Countermarch loom.Fabric for the first tier of a three-tiered skirt. 16/1 linen weft.Fabric for the second and third tiers of the skirt. Classic pattern in five-shafthuckaback.Cloth beam fills with skirt fabric as I near the end of the warp.Weave until there is nothing left to weave. That’s my motto.Cutting off as dusk hits the windows.First view off the loom is always a special moment. Love at first sight!Miss Fit is modeling a preliminary muslin of the tiered skirt. I will do some detail studies with small pieces of the handwoven fabric, and then make a final muslin before sewing the “real” tiered skirt.Detail of skirt fabric.
I have woven umpteen rag rugs. But never one like this! Eight-shaft satin on the single-unit drawloom brings its own challenges, from managing draw cords to getting a decent shed. Add rag weaving to the mix and we have a whole new experience!
Finishing has its own set of new challenges. My go-to method of tying knots to secure warpends is unwieldy in this instance because the threads are extremely dense. By quietly doing some detail studies on a sample, I find a way to finish this unusual rug: Secure the ends with the serger. Then, sew two rows of straight stitches on the sewing machine for added security. Sew a narrow bound hem using some of the fabric that was used as weft in the rug. Steam press to finish.
Serger cuts off the ends as it overlocks the edge. I pull out the scrap header little by little just ahead of the serger needles and blade.Two rows of straight stitching.Lightweight woven fusible interfacing backs the fabric used for the narrow bound hem.My Grandma’s thimble helps me hand stitch the back side of the bound hems.Finished and pressed.Dream come true!
Stony Creek Rag Rug
(Design by Kerstin Åsling-Sundberg)
I have another rag rug to weave on this warp. It will still be a challenge. With what I’ve learned, though, I’m anticipating a satisfying weaving and finishing experience.
We know what to do in normal circumstances. It’s in unusual times that we fall into dismay. Private time with Jesus turns confidential fears to confident faith. He treats our challenges like personal detail studies, showing us the way forward. His grace enables us to conquer the next challenge with confident faith.
I warped the drawloom with gray 6/2 Tuna wool several months ago with the goal to make fabric for a reversible vest. The beautiful drawloom fabric turned into dreamy garment-worthy fabric after washing! (See Process Review: Drawloom Jewels)
And then I hit two huge hurdles.
Hurdle 1. Fit.
In order to cut into handwoven drawloom fabric, I need assurance that the end result will fit me. My sewing assistant helped me refine a commercial pattern.
Meet my sewing assistant, Miss Fit.
After umpteen muslins and two or three mock-ups, I finally got the fit I was after. Confidence to cut!
Hurdle 2. Garment Construction Uncertainties.
Do some detail studies, my dear friend Elisabeth said to me. Her advice got me over the insecurity hurdle. A detail study is making a small sample to test a hypothesis or answer a question. I made a list of everything I wanted to know about constructing a vest from this type of handwoven wool fabric. And then, using some of the extra fabric from the sampling at the beginning of the warp, I did a detail study for each point on the list. Twelve detail studies in all.
(If you are interested in seeing my complete list of 12 detail studies for this project, click HERE to send me an email and ask for my “Detail studies”.)
Here are a few examples of my findings:
Zigzag before or after cutting? // Zigzag before cutting, stitch width 3, stitch length 2 1/2
Lapped seams? 3/8”, 1/2”, 5/8”? // Yes, lapped seams, overlap 1/2”, stitch basted line to guide placement
Neck and armhole curves – staystitch with hand running stitches or machine stitching? 1 row or 2? // Hand running stitches, 2 rows
Detail study testing lapped seams.
From the results of the detail studies I was able to compile a step-by-step garment construction plan. Confidence to sew!
Follow my process pictures of the garment construction to see the results:
Cutting lines marked with basting stitches.Tracing paper is used for the pattern, which allows me to clearly see the placement of the pattern on the fabric.Making an X with the basting thread at the corners. This helps clarify exactly where to stitch and cut. (One of Elisabeth’s helpful tips.)Buttonhole twist thread is used for the basted lines. It makes an easy guide for the sewing machine needle to follow. The zigzag stitches are just inside the line.Basting stitch on the front side piece is a guide for positioning the lapped seam.Ready for hand work.Two rows of running stitches around the armholes and neck opening.Blanket stitch is used to embellish and strengthen the armholes, neck, front edges, and lower edge of the vest.Reverse side.
