If I Had My Own Blue Box:

Have you even had a pin go dull or have little bumps or barbs “grow” on your needles? 

This was very common in the nineteenth century. To keep pins and needles sharp and barb free, nearly every workbox or sewing basket had an emery. Emery is a special mineral sand that removes bumps from needles and helps keep them sharp. Think about modern things like sand paper and emery boards. They have this emery sand on paper or card, that files away residue, wood, finger nails, etc.. A similar process happens each time you slide your needles or pins into an emery. Keeping needles sharp and barb free is particularly important if you are using g antique or vintage needles. Barbs and dull needles will snag fine fabrics like silks and sheers, causing damage not just at the needle site, but several inches away.

Strawberries were a popular shape for an emery through the nineteenth century into the twentieth century. We still see them today accompanying the popular tomato pin cushion, which also saw popularity in the nineteenth century just with different materials than what we now see.

We find directions for making strawberry emeries in multiple nineteenth century publications. The Girl’s Own Book, 1833, gives simple directions for an emery bag in the form of a strawberry. Eliza Leslie stuffed her linen strawberry, in The American Girl’s Book, 1857, with bran.  Godey‘s Lady’s Book and Peterson’s Magazine offer this knit strawberry emery with big leaves in 1859.

Original strawberries are found in silk, velvet, wool and linen, filled with emery as well as wool and bran. While most are a shade of red, not all are.  Some are capped with green fabric leaves, while some are topped with metal caps that occasionally reflect the look of leaves.

You can find accurate strawberry emeries and pin cushions in my Etsy shop’s special Strawberry Patch.

Whether called  work-boxes, sewing cases or work chests, these beloved boxes  house both essential practicality and heart-felt love.

Lucy took the heavy parcel in her own hands, and began to open the folds of brown paper, and at last she exclaimed, ‘Oh, how nice! how pretty! How glad I am to have a real large work-box of my own! Thank you, dear mamma. Such a beautiful red box, and a lock and key to it! and Lucy proceeded to examine the contents

There were rows of reels of cotton, scissors, thimble, bodkin, a yard measure that would wind and unwind in a pretty ivory case, needle-case, and pin-cushion.” (“Lucy’s Winter Birth-day” by Mrs. Russell Gray from An Irish Story,  Archie Mason ed. Edinburgh, 1869.)

Bodkin

Bodkins are found in many materials including wood, bone and metals. These are used to run ribbons or cords through channels of garments. They resemble a blunt needle with a large eye or eyes in the end. The end must be dull, not sharp, to protect the fabric and not snag.

You will require several bodkins of different sizes. The smoother they are, the better they run through the cases. Always get them with a knob at the end. Steel bodkins are more serviceable than those of gold or silver; but in buying steel ones, take care that they are not pewter; this you may ascertain by trying if they will bend. (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

Stiletto (and Awl)

Stilettos are used pierce holes in fabric for eyelets and needlework such as white work. Stilettos can be bone or of several metals.  Early century dictionaries define stilettos as a small, unedged dagger with a sharp point.

Awls seem to be more task oriented also for piercing holes in textiles as well as leather, some with wooden handles.

Scissors

Most of us know what scissors are. I find I prefer to have a small and medium size pair of scissors at events and an assortment of large scissors at home.

You will find it necessary to have three pair of scissors; a large pair for cutting out things that are thick and heavy; a smaller pair for common use, and a very small pair for work that is nice and delicate. They should all be sharp-pointed. When your scissors begin to grow dull, have them ground at once. The cost will not exceed six cents for each pair, (even if ground at a surgical instrument shop.) and haggling with dull scissors is very uncomfortable work. (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

Thimble

Thimbles protect your finger(s) while you sew. Different thimbles aid in different ways depending on how you use them. Seamstresses tended to use the full cup thimbles most of us know, while tailors tended to use open end thimbles.

It is well to have always two thimbles, in case one chancing to be mislaid. When you find that a hole is worn in your thimble, give up the use of it; as it will catch the eyes of your needles and snap them off. (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

Needles

You will want an assortment of needles in your sewing box suited to your work. I prefer having several sharps, several fine quilting needles that are good for silk, a couple embroidery needles and some strong just in case needles on hand in my box.

“In providing needles, short ones will generally be found most convenient, and their eyes should be rather large. Many of the needles that are put up in sorted quarters of a hundred are so small as to be of now possible use to anyone. Therefore, in buying needles, it is best to select for yourself. Have always some that are very large, for coarse strong purposes. When a needle breaks of bends, put it at once into the fire; for if thrown on the floor or out of the window, it may chance to run into the foot of someone.” (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

The Illustrated Girl’s Own Treasury.

Spools

“It is well to get at least a dozen cotton spools at a time, that you may have always at hand the different gradations of coarse to fine. The fine spools of coloured cottons are far better for many purposes than bad sewing silk; but coloured sewing cottons should only be used for things that are never to be washed, as it always fades after being in water. Mourning chintz should on no account be sewed with black cotton as it will run when wet, and stain the seams. …. Keep always brown thread in the house; also hanks of gray, white, and black worsted, for darning winter stockings; and slack twisted cotton, and strong floss silk, for repairing other stockings.” (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

Thread winders

Thread winders are small, flat objects used for carrying smaller amounts of thread. They came/come in mother of pearl, wood, bone, silver, pasteboard, horn and other materials. The most common are circles with notches or plus signs, but they have come in a very wide variety of shapes including fish and animals.

Pincushions

Pincushions came in a very wide variety suited to the user’s needs and preference. I’ll be talking more about pincushions in a few days.

Measures & Flat rule

Two measures you will find most helpful in your sewing box will be a short measuring stick and a tape measure. When I am doing millinery, I have an 8 1/2″ rule. While I am working on smaller sewing, a shorter rule is nice.

Tapes can be simple hand inked tapes or more decorative pieces that roll into wooden or horn holders.

Wax

A piece of white wax, for rubbing on a needleful of sewing silk to strengthen it, is a most useful little article;  (Miss Leslie’s Lady’s House-book; A Manual of Domestic Economy, Eliza Leslie. Philadelphia, 1850.)

Other tools:

Pencil & Small Notebook – A simple pencil for marking or taking notes is always helpful.

Chalk “a small box of prepared chalk, to dip the fingers in when the weather is warm and the hands damp” (Miss Leslie’s Lady’s House-book.)

Emory bag – “Those that are made for sale have generally so little emery in them, that they are soon found to be useless. It is best to make your own emery-bags; buying the emery yourself at a druggist’s, or at an hardware store.” (Miss Leslie’s Lady’s House-book.)

Sewing Brick – “We highly recommend a brick pincushion, as an important article of convenience when sewing long seams, running breadths, or hemming ruffles. It is too heavy to overset, and far superior to a screw pincushion.” (Miss Leslie’s Lady’s House-book.)

Weights – Also a weighted pincushion. “A smaller pincushion [than the above sewing brick] may be made in a similar manner, substituting a square block of wood.”(Miss Leslie’s Lady’s House-book.)

Find all the quotes from Miss Leslie above and more in this printable pdf booklet.

For further information:

The Lady’s Dictionary of Needlework, 1856

Treasures in Needlework, 1855

The Ladies’ Complete Guide…., 1854

The Hand-book of Needlework, 1842

“A Period Workbox” by Christian de Holacombe and Michaela de Neuville

“What is in Your Sewing Box?”

Looking for your own copy of Fanciful Utility? 

Click HERE to go ESC Publishing.

You likely have heard me rave about the Shaker style boxes by a local artist. He uses beautiful woods: maple, walnut, pine, cherry, curly maple and even exotic woods. His work is not only beautiful, it is perfect as sewing boxes. They are also great for gifts. I neglected to take photos of the presentation Shaker box I lined for Lily. The long narrow shape made it ideal for her knitting needles as well as sewing notions. 

This weekend, I finally finished lining a few of them I picked up this past summer. Each one is lined with 100% silk over pasteboard,  using Fanciful Utility techniques. These linings are not permanently attached so not to damage the beautiful wood. 

I tried a couple different techniques for sewn connections for the two pieces each box needed for the walls. Initially, I did not want to use the overlap method as I wanted a smooth wall. It turns out, this gives the strongest connection. It was great for the tray. The smoothest connection was the diagonal. At least while it was in the pasteboard only stage. I am hoping the pasteboard will relax back against the wood as it was prior to being covered on silk. 

I selected a dark shot brown silk taffeta for this box to bring out the stripes in the exotic zebra stripe wood in the lid. The lining has two pockets in the sides. It will be finished with matching silk pin cushion and needle-book as original Shaker sewing boxes had. 

This shallow walnut box wanted a simple lining with some dividers. 

The diagonal divider is flexible. It can arc in making a smaller space or arc out for a larger space. 

This deeper painted box made the most sense with a tray. The bottom is line halfway up with an open space for larger tools or a project. The removable tray has three compartments. The silkribbons make it easy to lift out. I wanted the tray to be lose rather than snug so it was easy to get in and out. It does tip along the length. If I could get the bottom back out, I would add two small compared to minimize tipping. But, that link find really in there. 

A couple of these will be available in my Etsy shop. Others already have homes or were gifts. I think I have one more that may be available, a light pine one the size of the yellow one. 

Walnut lined with blue silk.
Mustard gold lined with red and brown check silk. 

I thought it would be nice to say a few things about the millinery for this coming year. This is going to be one of those developing posts that will evolve as the year progresses. 

.
My Millinery 

I focus on two types of millinery: straw plait millinery and quilted/wadded winter millinery. All of my straw pieces are hand sewn using historic techniques. I use both original bonnet and hat blocks, as well as hand carved blocks for blocking my pieces. I use two different millinery sizings.  While I primarily offer straw forms, I occasionally offer fully decorated pieces. When I do, I use appropriate techniques and as accurate trimmings as possible. Given the likelihood that antique silk ribbons will shatter or fracture, I strongly prefer not to use them in pieces to be worn. I want you to be able to wear your millinery for years. 

.
Eras

I am slowly expanding the time periods I am creating pieces from. As of January, this is a rough outline: 

• 1400-1600s – Researching 
• Late 1700 – Starting to look at
• Regency era – Developing hard to find shapes. 
• 1820s-1830s – Dabbling. (Large brims are a challenge by hand)
• 1840s – Working off an original block. 
• 1850s through 1864 – Making a variety of bonnets and hats
• Bustle era – Make an assignment hats. These are sporadic. 
• Modern – Yes, modern is on this list as I plan to make a few fascinators.

Sizing 

I tend to make more average to small bonnets and hats because I have an average to small head. Sizing can be as challenging as it is for clothes. Keep in mind that measurements is as much a factor as how a piece was worn for a particular era. In the American Civil War era hats sat higher on the head that they do now; bonnets sat further back on the head in the latter 50s than they did in the 40s or earlier 50s, etc. 

As a starting guideline, measure around your head just above your eyebrows. I am 22″ there today. Yep, I said today. I tend to vary a half inch either side depending on my hydration and hair. You may as well. When I say Smal, average and large, this is generally what I mean:

• Small is 20″- 21″
• Average is from 21.5″-22.5″
• Large is 23″-23.5″, maybe 24″

As of right now, January, the 1840s pieces blocked on the original block and the Regency capotes fit me. This means the tend to fit the average to smaller heads nicely. I hope to carve a larger capote block. But, that one is hard. I have to recarve most of the foam hat blocks as they take a beating each season. So, there will be a variety of those. 

Pricing

I will do my best to keep millinery pieces as affordable as possible. Please, keep in mind each piece is entirely hand crafted, that I hand sew each row of straw, and I hand select each trim used. With the current cost of straw, necessary materials and shipping, undecorated straw forms will start at $100 for bonnets and larger hats, $85 for smaller hats. Variations in straw will influence the price. 

Custom Requests 

 My year follows the public schools schedule here in New York. While school is in session, I will not be taking requests. I will offer “off the shelf” hats and bonnets.  School is in session with exams through nearly the end of June. I will take limited requests during the summer recess. (*I have about a dozen pieces following over from last season.) 

I fully admit I am much more of an artist than a business person. I get rather scatter brained. I had so many requests this last summer and inquiries into the fall, I still have several to complete. I am going to try a new process for keeping track. While my board with flags worked for a few years, I ran out of pins and flags last year. 

Work-Baskets and Bags (American Agriculturalist, 1867)

Prize Essay by Miss Eva M. Collins, Rochester, N.Y.

Every lady, whether a woman or a little girl, should have a convenient receptacle for the implements which are necessary for her use in sewing. A household work-box, basket, or bag, is a household nuisance. Each person should have her own thimble, wax, thread, needles, scissors, etc., and a place to keep them; and the manner in which she keeps the latter is a pretty sure index to her habits of neatness and order in other respects. So great a variety in the style of these articles lies within reach of each of us, that our individuality can in no way be better discerned than in the choice we make. Our minister tells us that copying is a suicidal act, and that the spirit of the aphorism is applicable to the commonest incidents of daily life. Why not, then, to our selection of an article which presents so great a variety of forms? – not that he can mean, in this case, that we should each have a work-box unlike those we see about us, in order to express our individuality, for it would be but another form of the same act, and equally suicidal in its nature;  rather than each should sufficiently understand her own needs and preferences, as to have a choice even in so small an item as this. Grandmother things there is nothing quite so convenient as her work-bag, fig. 1, the magical properties of which are universally acknowledged; though none of us would think of constructing such another with the hope of it wonderful properties being inherent in bags of that description, as everything that belongs to Grandmother partakes of the same nature. It consists of a round piece box-board, covered, and surrounded with pockets. Turned wrong  side out, (fig. 2.) and emptied of its contents, it is easy to see how it is made. The pockets, fig. 3, are eight in number. These, and the inside bottom board are of gray merino. The upper edge of the pocket is scalloped with dark blue saddler’s silk, which is the outside color. A rubber cord holds the gray pockets so tightly drawn up that the bag stands of its own accord, outside from opposite directions, are loosened.

Mother’s work-basket is made on the same principle. It is a basket lined with pockets, fig. 5, instead of a bag. The inside is made separately, and afterwards fastened firmly into the basket at the bottom of the pockets. The tope could be simply made fast with coarse thread to the basket, though that would not look so neatly finished as it would wound with ribbon over the top of the basket, and through the material of the lining, with bows tied over between the pockets, where the strain upon the lining is the greatest, in the way mother’s basket is finished off. The pockets, fig. 6, are made in a straight piece just long enough to fit the bottom of the basket. The bottom of the row of pockets, fig 7, is slightly gathered to fit a circle of the same material which fits the bottom of the basket.

Katie has a standing work-basket of willow, with three compartments. She has various nice little contrivances to hold her work, among which are “crabs.” A crab ** like this is composed of three pieces of stiff pasteboard of an oval shape, two inches in width by three inches in length, neatly covered with silk, and sewed together at two of the edges. By a slight pressure at the ends it opens, and reveals a cozy little room large enough for small work, and convenient to carry  in a dress pocket. IN this crab, which is brown on the outside and blue within, I see Katie has a bunch of tape trimming, and a spool of thread, No. 50. In another gray and pink one there is some ruffling, narrow lace and 100 thread; while stowed away in the drab crab I discover her tatting shuttle, fig., 8. It is one Grandfather made from the centers of two old fine-tooth combs, placing a couple strips of ivory between this outside places, and riveting the whole firmly together. Katie says it is entirely owing to her supply of crabs that she always has a variety of light work ready for any emergency. Her needle-book, figure 9, although large is appropriate to her basket, which is large and roomy. It is of bronze morocco, bound and lined with blue, with leaves for needles at one end, and a place for the thimble in the other side of the broad flat cushion at the other end of the case, fig. 10,. There is a morocco pocket between the silk pocket and cushion.

My needle-case, fig. 11, is smaller, and therefore better suited to my work-box, fig. 12, where every inch of space is precious, and accordingly economized. It rolls up into quite a small compass and lies under the tray, or sometimes in the tray, beside my button-box. Between these and the cushion, is a narrow depressed division for knife, pencil, stiletto, buttons, tape, needle-book, etc. The scissors, tape-measure, emery, thimble, shuttle and pin-case belong in the division opposite the thread; while under the tray is a ball of welting cord, box of hooks and eyes, case of skeins of silk, fig., 13, scissors sharpener, sticks and roll of tape, papers of floss and French cotton, Afghan needles, a crab or two, and a dozen little bundles of work in various stages of development, besides a thousand and one other articles, which do not legitimately belong to the box, yet are most conveniently kept here.

Jennies’s work-box, fig. 14, which is a tidy little affair, is a hexagon of stiff pasteboard covered with silk—gray on the outside, and scarlet within. On three of the side pieces are fastened pockets of the same material with which the basket is lined. On one side a covered strip of thin paste board, fig. 15, is fastened for a thimble case over which hangs an emery, fig. 16, made from two round pieces of strong linen, stuffed with emery and wool, covered with scarlet silk. The tomato shape is produced by drawing double thread of green silk six times thought the center of the emery—each time passing over the surface at an angle of sixty degrees from the last thread. A tuft of green is fastened with the string to the center of one side of the emery to increase its resemblance to a tomato. Jennie made several such boxes for her little friends a few months ago, some of which were very delicate in color—light blue and salmon— sea green and gray—and were prettier than her’s though scarcely as well adapted as hers for daily use.

 

 

** Also known as a Button Keep or Balloon Bag.

 

As 2016 closes and 2017 begins, we all have new projects rolling around in our heads.

 

Projects Anew

The much neglected dress length stash, adventures in millinery,

I have a shy dress length of black tropical weight wool. While a reform dress or “bloomers” ensemble is very tempting, I keep envisioning wearing something like this done up in black wool and this pretty pink silk that was gifted me.

I was gifted a dress length of brown tropical wool from my Husband for Christmas. The insane temptation is something like this, with the black wool trim and soutash. There are far simpler options, such as this sacque/petti combination that would push the length of the wool, or….

I rediscovered a dress length of blue semi-sheer silk with paisley motif in November. I have to decide what to make with this. I do think it will be an earlier nineteenth century dress.

My own personal headwear often gets neglected. On my list for a couple years has been a replacement corded sunbonnet. I also want a couple caps that are suitable for when I am doing demonstrations in the village.

I am working on a pictorial wool rug using an early 19th century sewn technique. I plan to have this done by fall. It makes use of the needlework frame rescued from the end of the driveway this summer.

I know some are wondering about Sew Alongs. I am pondering a couple for the slower parts of the year. Among the ponderings… an apron?, a pocket?, a cap?. 

Stemming from one of 2016’s Sew Alongs, I want to make a pence jug . I can document one done in crochet, as mine will be. I have an incredible pair of handcrafted rings from a friend for another long purse as well. 

I will transition part of the fabric stash into a box, bin or something for Lily.

Shop Projects

The bolt of black silk has been waiting patiently. I am considering putting together a quilted petticoat kit. (two people have already asked for it if I do.) It could also make a few nice quilted shawls, either in finished or kit form. (SHOP)

I need to decide on whether to make something from the other silk bolts or to sell lengths/yardage. I can see some nice kerchiefs and fichus. 
Projects Continuing
Projects delayed, projects procrastinated, projects of length, projects to dig further into….

At the very top of my continued project list is learning more techniques for straw. I really enjoy making the leaves from split plait. You may have seen that I was trying to learn to make straw stars and ornaments for the Christmas tree. Those fussy little things told me how much there is for me to learn. Hopefully, this will lead to some unique straw millinery this year; unique, yet accurate.

I have a growing stash of silk net, cotton net, silk gauze and silk net laces all waiting to become veils. I will be working from the originals I own and this pin board of originals to create accurately shaped veils for both hats and bonnets. The vast majority of these will be for display and presentation. A few may find new homes. I hope to do further work on the  materials comparison for light control.

I plan to finish lining and accessorizing the Shaker boxes early this winter. This will hopefully fit nicely in between winter and spring millinery. I really had hoped to have these done for Christmas 2016.

I’ll continue to dabble in recreating pin cushions. I was so pleased with how interested museum visitors were with the strawberry emery cushions, I would love to do something similar for the village this next season. Plus, I hope to have a great announcement or two in this area for you this year.

The slippers of last spring…. They will be finished …. at some point. It is silly they are so low on the priority list. Yet, they take up half of a project tote.

 

 

 

Straw and Winter Millinery 

This slideshow requires JavaScript.

One final winter bonnet for the year. 

Find it in my Etsy shop.

 

I have an awful time remembering what projects I do each year. Luckily, I started a list at the beginning of this year. Then, I forgot to keep writing them down.

Projects of 2016:

January

To start the year off, I launched Paisley, Plaid, & Purled: Shawls of the Mid-Nineteenth Century. My many, many year writing baby was finally in print. Well, E-print.

We also started the year with a Sew-Along. The first of the year being a work bag in cotton or silk. I had no idea how popular these would be.

It seems January was pretty busy. This is also when I started my pin cushion experiment. I took the same shape and size pin cushion, made of quilt weight cotton, and stuffed each with a different filling to see how each performed. This will be a continued experiment.

February

Going from February into January, the local historical Sew Along group worked on pin balls. Participants used a wide variety of researched techniques for their pin balls.

March

Come March and April, I was focused on preparing sewing boxes for a discussion during the 140th’s Civilian Seminar in the Greene  Gallery at GCV.

I lined two boxes, one for original tools and one for reproduction tools.I used hand marbled paper for the original sewing box. I used fabric for the box I was constructing a tray for.

April

The next Sew Along: A Purse began in March, but became a many month project for me. I made a crochet long purse, known as a miser purse.

I first made one for Cali. Then made the one for me. Both are silk with cut steel beads.

May

As the weather warmed, estate and yard sales began. Several local friends were looking for appropriate chairs. Inevitably, as I was photographing chairs, some came home with me. In a couple ways this is good because my well used chairs are getting loose and now, we almost have enough seats for Christmas.

Galaxy arrived some time in May or June. It is kind of a blur. Clara joined the family in February.

June

June was pretty packed.This is when I fell behind on the purse project and way behind on the slipper project (see below.)

I decided I needed a dress appropriate for demonstrating sewing straw in. Something very much a work dress that could handle getting wet and I could be comfortable in.

The dress got a test run at GCV’s War of 1812/Jane Austen event in June. I had a delightful day demonstrating the cottage industry, sewing straw plait into bonnet and hat forms.

July

After the Regency era of June, was a switch to mid-Nineteenth century for July. I got to transform the museum’s Law Office into a Millinery for the Civil War weekend. This meant making the building obviously say Millinery – dressing the space with bonnet boxes, stands topped with bonnets and hats,  bringing in additional color. It was a great weekend.

Somehow, I don’t have photos of just the boxes I worked on. Here is a mini-verion for Cali. I made a couple boxes. Then I recovered a number more in period appropriate papers. For next year, I really want to get to Cooperstown to buy a few of their boxes.

August

August was all about sewing, sewing, and sewing. I did break my “no more folding chairs” rule when I saw this chair in a yard sale listing.

August also saw Lily off. We spent much of the summer trying to visit a museum or site each week.

September

It was back to school in September. These transitions are usually difficult for me. I get in such a rhythm of heavy sewing through the day. Though I did have one project for October I was greatly enjoying….

October

I had so much fun making my basket of vegetables in velvet. Some were cotton velvet, already dyed. Others were silk velvet, needing to be colored in chalk after I made them. I do wish more people were able to see this at the fair.

November

November was back to being busy again. First came the Domestic Skills Symposium at the Genesee Country Village and Museum. I lead a Sunday workshop on Millinery in Miniature with my helpful side-kick, Cali. Each participant made a doll scale hat while learning period appropriate straw sewing techniques.

The following weekend was Preparing for the Holidays, back at the museum. This is when I was just amazed by how interested people were in the strawberry emery cushions I was making. I left completely thrilled and dumbfounded.

December

My big goal for December was launching my new Mid-Nineteenth Century Winter Hood Pattern. Drafted directly from an original hood in my growing collection, this pattern has two sets of directions in the information packed booklet.

Millinery, straw and winter, spanned the year. I had a few goals with straw  for this year. I wanted to explore fancier plaits, learn decorative manipulations for plait and learn to make straw motifs. I also wanted to dig further backward and forward in time. I didn’t get quite as far as I had hoped. But, I did expand quite a bit. Here is a gallery of this year’s millinery:

This slideshow requires JavaScript.

Projects Yet to Complete (Or start in some cases):

This year has more than its share of projects not yet finished. Here is just a few:

I had this whole plan to roll research on veils into making veils. I got as far as doing a good bit of research and even a materials comparison. I have yet to make more than the veils used for the July millinery.

I have a box of Shaker boxes I meant to line and make sewing accessories for. So far, I have made this one and one that is a gift. I will hopefully get the others finished before it is time to buy some more. This really is one of the most convenient sewing boxes to have.

I have an on-going pin cushion project. One part is the filling analysis. The other is making pin cushions from original directions or replicating originals. I thought I might do one a month…  Not so much. Next year.

The slippers that were started last spring have not been touched in months. Some time in the depths of winter, when my feet are cold, I will finish them just to have them done.

I had wanted to learn to make straw decorations and motifs. I got as far as learning to make leaves in the spring. Then I got so busy with bonnets and hats, I didn’t get back to it. This will definitely be explored more next year.

 

Next Year….

I will be doing a looking forward post soon(ish). I have dress lengths that have been long neglected. I also have some presentation/workshop topics churning around in my head.