Life

Life Update and Zelda Cross Stitch

Well, 2024 so far has been an… adventure. Sure. That’s what we’ll call it.

Things really started getting interesting on December 21st, when I fell off my horse (there was a scary, scary pole on the ground that we had already trotted over a million times.) Unfortunately I really did a number on my ankle, and it is not meaningfully closer to being healed at this point, though a more informed diagnosis and prognosis are still yet to come.

One small curly terrier mix akimbo, waiting for belly rubs, and one Chiweenie looking jealously at her, on author's lap, showing walking boot on left ankle.
The mutts have been keeping me company.

I traveled home to Utah for Christmas, which was fortunately pretty uneventful. We had a very crammed, busy holiday trip, including a jaunt up to Yellowstone, where it was very cold.

View of a valley in winter, with a snow covered conifer leaning out over a river, and a raven in the sky,

On New Year’s Eve, my partner wasn’t feeling well and tried to go to bed early. This escalated to a 3am emergency room visit due to a GI bug he was suffering from. On the 2nd, I saw an orthopedist about my ankle, who put me in a hard cast. A few days later, Tater Tot threw her back out, and had to be carried up and down stairs for a week. This was especially challenging considering I am not, myself, particularly good on stairs at the moment. The cast came off after two weeks, and the walking boot went back on, and the MRI was scheduled. We got snow.

Curly dog and Chiweenie in sweaters looking inside from a snowy deck.
Tater Tot on the left, Cookie Dough on the right.

I have mostly been exhausted this year, between The Events and the fact that it’s January, which is objectively The Worst Month. However, I did finally finish a project I started last year. It’s a Zelda-themed cross-stitch. I was hoping to finish it before the new Zelda game came out last May, but instead I left it with only a little bit of the border remaining to do.

A cross stitch with a figure and a sword that says "It's dangerous to go alone! Take this"

So that’s done. As for what will be finished next? Who knows. I hope the answer is “January.”

Writing

The Longest Night

Something a little different today. As some of my readers know, I also write fantasy and sci-fi. This short story was written as a special favor to my sister, as a “Christmas special” of sorts for my six-year-old niece. It features the main character from one of my (currently unpublished) fantasy novels (tentatively titled Numbers of the Dragon.) I present it here on the off-chance that anyone aside from my niece might enjoy it. If you are familiar with the novel, it is—shall we say—canon-adjacent, rather than strictly canon.

An illustration of the northern lights in a starry sky above a mountain range.
Illustration by me, based on a video tutorial by James Julier on Youtube.

The Longest Night

The snow-coated forest at night was the loneliest place in the world.

Sixteen-year-old Lin, a boy who called home lands far to the south, followed a trail of tamped-down snow in the darkened woods. Evening had only just fallen, and the sky was deep indigo in the east and orange, turning rust-red, where the sun had set in the west. Bright stars twinkled above the horizon, glittering like snow-crystals in the sky. Three moons, silver and bright, hovered in thin crescents in the west, about to the follow the sun in its journey.

Lin shivered, shoving his hands deeper into his coat pockets. The snow on either side of the path came up as high as his shoulders, making him feel like he was walking through a strange white tunnel. His breath fogged out in front of him, a cloud of mist. He wore a good, sturdy coat lined with fur, and shearling boots, and felted mittens thrummed with wool, but the winter cold of the northern forests chilled him to the bone.

Just then, a strange little creature poked its head around the trunk of a tall pine tree.

“Skree?”

It was a little dragon, about cat-sized with his wings tucked tight against his body. He should have been hard to see against the snow, with his smooth white hide, but he shimmered with purple and green and colors Lin could not name—colors of magic. Spines around his head flared to show a webbed crest, and his eyes were a solid, deep blue.

Lin sighed. “Hello, Skree,” he said. “Have you found anything yet?”

Skree chirped, extending his wings so he could hop from the top of the drifted snow down to the path. He looked up at Lin expectantly.

“I’m not sure whether that means yes or no,” Lin told the dragon.

His search was the only reason Lin had come north in the first place, to these frozen mountains and forests. He was looking for places of magic.

His own city, in the desert far to the south, had many places of magic. He had studied the magic there—but it wasn’t enough. He understood what he needed to with that kind of magic. His father had studied it, too, and cared more for the magic in his desert city than he ever had for his own son. His mother had studied magic once, too, but she had passed into God’s light many years ago, when Lin was very young.

His own city was in the desert to the south, but he wasn’t sure if it was really home. Maybe that was why he had come north in the first place: to find a place he belonged.

He was looking for a different kind of magic than the one he’d always known. Not the kind that could be pinned down like a butterfly and studied like a book. The kind he could feel with instinct. With his heart.

Skree chirped again. The little dragon spread his wings and leapt into the air. Hovering in place for a moment, he craned his long neck to look for Lin, then set off down the path with powerful strokes of his wings.

“You found something?” Lin asked, but the dragon didn’t stop to reply. Lin hurried after him.

After a little while, the path forked. One way led to the village of the northerners who had taken Lin in. He would have to return that way before long, and he hesitated at the fork for a long moment. If he returned there, he would find houses, protected against the cold, with fires in the fireplaces and food at the tables.

But it wasn’t what he was looking for. He was an outsider here, and despite his best efforts, this wasn’t home either.

True, one of the families here had taken him in during his travels: the warrior Khawu and her wife Pobi. And they had taken in his teacher Andane, too, who had traveled north along with him—the teacher who had watched over him, cared for him, more like a parent than the ones he’d really had.

But perhaps that acceptance, from all of them, was only because they felt sorry for him. He didn’t really belong. He didn’t need to burden them by turning up where he wasn’t wanted.

He was afraid that if he didn’t find the magic he was looking for, he wouldn’t find a place to belong, either. Something deep inside him told him that if he found one, he would find the other. It had to be somewhere out there. Would it be here, or somewhere even more distant and strange?

Lin looked down the second pathway. It wasn’t kept as well; he would have to climb over a snowdrift almost as high as his head to reach it. And it was dark down that way, with no glittering lights from the village. But Lin knew it would lead to a valley rumored to be full of magic, in a clearing that made a blanket of the stars overhead.

Skree glided back to Lin, as silently as the snowy owls that sometimes flew above, and immediately broke the silence by chittering at Lin insistently. The little dragon seemed to be urging him down the darkened path to the left, the one leading into the valley.

Sighing, Lin turned that way, resigning himself to a cold, dark, journey. It was Midwinter Night, the longest night of the year, and soon the three moons would set, leaving only starlight to guide him. Already the rust and orange had disappeared from the sky, leaving only deep, midnight blue. With heavy heart, Lin began to climb over the snowdrift.

The path was difficult. The snow was light and powdery, and a cold breeze picked up, blowing it across his field of vision until he could hardly see where he was going. He shivered from the cold, shoving his hands back into his pockets to keep them warmer. Was he hearing the howl of wind in the distance? Or the howl of wolves? Lin swallowed hard and kept his head down. It didn’t matter. He had to do this.

An enormous fir tree had fallen across the less-maintained path, forcing Lin to look up as he contemplated how to go around it. As he did, he saw something strange in the air above the tree’s broken trunk. Was it a shimmer of light? A hint of the magic he was looking for? A place where strange other worlds touched his own?

He hurried forward, scrambling to climb over the tree trunk to reach it. That flicker of light, that hint of magic—that was what he needed. The tree’s branches seemed to try to grab him, and scratched his face as he clambered through, but he ignored them and jumped to the ground on the other side.

When he looked up again, the shimmer of magic was gone.

That was it, then. There was no magic after all. Lin didn’t know whether it had ever been there in the first place, or whether it had been there, but disappeared as he drew close.

He would have nothing to bring back to his teacher, Andane, nor to anyone else, if he ever did return home. He had done his best, and yet he’d still failed. He had come all this way, and for nothing. He was never going to find the magic. It would all be a waste of time.

He sagged against the tree trunk behind him, suddenly exhausted and willing to go no further. Even Skree had disappeared, and left him. It had all been for nothing. Darkness seemed deep around him, and the moons had disappeared below the tree line, leaving only stars overhead. It was cold, and dark, and Lin was alone.

“Skree?”

Lin raised his head, though hope still seemed lost. But there was the little dragon, bounding through the snow. A spray of powder puffed up every time he landed.

Lin shook his head. “It doesn’t matter, Skree,” he said. “We’ll never find it. We should just go back.”

“Skrrrr.” The dragon flared his crest, then seemed to urge Lin forward again. “Skreee.”

Lin sighed. “What’s the point? There isn’t anything that way.”

The dragon leapt into the air and landed on the tree trunk next to him, then poked Lin in the side with his nose. “Skreeee.”

“Fine. Fine. I’m going, okay?” Lin raised his hands in submission, then got back to his feet. “But we can’t go much further.” He was so cold.

The little dragon seemed to cheer up immediately, chirping and launching himself further down the path. Lin sighed again, and began to trudge after him.

Was there… light ahead? Again? Lin shook his head and looked down. No reason to get his hopes up. But the light seemed to grow stronger as he walked further, rather than fading away. Instead of a purple-green shimmer, it was golden-orange, and while it flickered into shadow every so often, it did not disappear.

“Skreee!” The dragon reappeared in front of Lin, looking pleased with himself. Just then, the path opened out into a wide clearing. Lin stepped away from the trees and paused, his eyes widening.

He was in a wide valley, looking up into the jagged, snow-coated mountains. In the dark sky, shimmering lights danced among the stars: green waves of ethereal glow, like a river made of magic itself. For a moment he could only stand and stare, entranced by the aurora. Maybe this was the magic he’d been looking for.

There was another light ahead of him, too, of a much more ordinary type. An enormous bonfire burned in the clearing directly ahead of him. The flames seemed to reach toward the heavens, and he could see the moons on the horizon again. Even from as far away as Lin was, he could feel the warmth from the fire. But that warmth was nothing compared to the warmth that suddenly appeared in his heart.

There, around the fire, were his friends. His teacher, Andane, sat nearest to the path, and stood, smiling, when Lin began to clamber through the snow to reach the fire. There, too, were his northern friends: Khawu the warrior, a woman who carried a bow on her back at all times and wore a hood of wolf-fur, and her wife, Pobi, who had round cheeks and a smile so warm it could melt icicles. Other villagers, too, surrounded the fire on benches of fallen logs, and looked happy to see him there.

“We thought you’d never make it,” Andane said when Lin finally reached the fire. He hugged Lin tightly, and the warmth inside Lin suddenly seemed like enough to melt all the snow around them. “Come sit by the fire with us.”

“Together we’ll keep the fire roaring,” Khawu said.

“And in the morning, the sun will rise, and the longest night will be over,” Pobi said, handing Lin a mug of warm, steaming tea.

Lin took the tea and looked around. The cold of the winter around him seemed to have faded to a distant memory.

Suddenly he realized something: he had found the magic after all. It wasn’t the kind of magic he’d thought he was looking for. It wasn’t the kind he could study, or understand just from reading about him in books. This magic was more real than that. It was community, and family. It was love.

Lin looked up at the dark Midwinter sky. It no longer seemed so cold and distant. The sparkling stars seemed close enough to touch. And soon, he knew, the sun would come up, and spring would be on its way.

“Thank you,” he told the others. “I understand now.”

And together they kept the fire burning bright until the end of night.

Costuming · Sewing

A Regency Gentleman: Linen Shirt and Fall-Front Breeches

The topics of this post were a long time in the making—over a year, in the case of the linen shirt. This is my first foray into men’s historical clothing, which I decided to tackle for the Regency period (I find the men’s clothing more appealing than the women’s for that era, and I can’t wait to acquire my own top hat one day.)

Author wearing a white linen shirt with ruffles down the front, and black knee breeches with gold buttons.

As with any embarkation on a historical clothing project, I started with the base layer, which in this case was the shirt. I used the Kannik’s Korner pattern, which was okay but not perfect. For one thing, the sizing they insisted on left me with a shirt that was both way too wide and way too long for me. For another, the instructions were mostly good but had some frustrating omissions—for example there was very little about how to attach the ruffles, and I had to go to Youtube to figure that step out.

I sewed the entire shirt by hand using linen thread. This made the project take forever, of course, less because of the speed at which I hand sew and more because the shirt had to compete with other “couch projects” such as my knitting and Nintendo Switch. (Studio projects are worked on one at a time; couch projects exist in multitudes.) Honestly I found the hand-sewing to be relaxing and pleasant in a tactile way. I’m going to make another shirt like this and I’m going to do that one by hand, too.

Close up of cuff of white linen shirt, showing hand-worked buttonholes.
Yep, even did buttonholes by hand.

I had finished the shirt entirely before I realized it was way too big on me. I waffled about what to do about that for a while, but ended up removing the sleeves and cutting it down along the side seams and hem, then reattaching the sleeves and redoing the aforementioned side seams and hem. This was definitely quicker than just starting over. Unfortunately I made a mistake and cut off the extra width twice on one side instead of once on each side—so then I had to remove that same amount from the other side, meaning my shirt ended up narrower than I intended. It still fits, but the next time I make this I’ll get the width correct the first time.

Author wearing really oversized linen shirt, looking mildly disgruntled (mirror selfie).
It was really big.

The fall-front breeches were similarly, A Project. I started working on these at Sewing Camp 2023 and I called them Weird Pants the whole time. They’re made very differently than modern pants. For one, they don’t have a fly front; they have a fall front, which is a flap that unbuttons in the front, and an underflap that stays buttoned when the fall is down. Also, the pockets are somewhat odd and have a separate flap that also buttons. The construction of these was definitely a brain-twister, and that’s before you even get into the fit.

Showing the six-button waistband beneath the lowered front flap.

Canonically, these breeches are meant to have a saggy butt. Ostensibly this was to give a gentleman the range of motion to sit a horse. After two or three mockups of the pattern, though, I can tell you I did not have any decent range of motion with the saggy-butt breeches. A lot of my modifications to the pattern ended up making them much more like modern pants in fit and actually ended up improving my range of motion. I still don’t have as much as I’d really like in the final version, but that’s in large part because the legs are pretty tight and I need more ease. I also changed the waistband to have a significant curve, which fits my actual waist better.

Rear view, showing non-saggy butt.

Once I had my fit sorted, the construction of the breeches was still tricky. The instructions are written for hand-sewing, and though there is a blog post describing how to sew them by machine, it wasn’t always easy to sort out how best to switch between the sets of instructions. I did sew them by machine, but I’m not super happy with some of the sections (though I’m still not sure how to do those bits properly.)

I decided not to faff with fabric-covered buttons for these, as the instructions would have had me do, and went with gold buttons. I still need to add some buttons for a pair of suspenders, but as I’m in the middle of making my own suspenders, I will do that later.

Next up will be a waistcoat. I must say I can be very susceptible to wanting to obey the “rules” of fashion—I don’t feel comfortable wearing just these two pieces out and about, because a gentleman would not have been properly dressed without a waistcoat (and coat, and hat, but at a minimum, a waistcoat). So I’ll be tackling that one pretty soon. Also, a cravat or two.

Linen shirt:

Pattern: Kannik’s Korner

Fabric: IL020 linen from Fabrics-Store.com

Notions: linen thread from Burnley and Trowbridge; mother-of-pearl buttons from stash

Fall-front breeches

Pattern: Black Snail Patterns

Fabric: worsted wool from Burnley and Trowbridge; cotton sateen from Renaissance Fabrics

Notions: gold buttons from Renaissance Fabrics; twill tape from Burnley and Trowbridge

Yarncraft

The Unicorn Cathedral Sweater

Short post today. I recently finished knitting a sweater that was over a year in the making (mainly because I stopped knitting it for long stretches of time.) I’ve been calling it my Unicorn Cathedral sweater, because the colorway name of the bright contrast yarn is “Unicorn Birthday Party” (from my favorite yarn dyer, Republica Unicornia) and the colorwork pattern looks like stained glass. The pattern is Gaudi by Julie Knits.

Author, with teal and purple hair, wearing a black sweater with what looks like stained glass as colorwork for the yoke. The sleeves and hem have bands of color.

I made a few adjustments to the pattern. I started the colorwork pattern on row 9 instead of row 1, in order to lower the neckline. It’s really high in the samples, and I knew I wouldn’t enjoy wearing that as much. I do wish I had lowered it more, as it’s still higher than I would prefer. It distorts the yoke and armscye when I pull it down to where I’d prefer the neckline to be.

This is the neckline when I’m not pulling it down. It’s kind of wonky.

I also added waist decreases/hip increases and decreased on the sleeve as it got closer to the cuff. The pattern is written with no waist or sleeve shaping. I extended the colorwork section at the hip and cuffs to about double the written width.

Overall I’m happy with the sweater, though it does have a few imperfections. The neckline is a little annoying, but the black yarn is soft, so it’s not too bad. I’ve already stretched the sleeves out by pushing the cuffs up to my elbows, but I’m not sure I could have avoided that. The gauge is a little looser than I’d normally knit this yarn, so I’m hoping it doesn’t pill too much. But it will be a fun pop of color for dark winter days. And I’ve already started my next Republica Unicornia sweater.

Pattern: Gaudi by Julie Knits

Yarn: Republica Unicornia Merino Sock Superwash in Unicorn Birthday Party

Valley Yarns Charlemont in black

Costuming · Sewing

Black Snail Patterns #0414 Fan Skirt

Highly delayed, but please enjoy this post on the last major piece of my 1890s Umbreon costume.

Author wearing skirt, vest, shirt, black wig, and black pointy ears.

As with my vest, I found this Black Snail pattern easy to make sense of. The skirt is quite large, but the pattern pieces are conservative when it came to paper use. Instead of printing the entire back skirt piece, you print off the top section and then trace the extension down the remaining length. This also makes it easy to customize the length, if you need to do that.

Black fabric with a partial skirt pattern piece and extension lines traced in chalk.

I used the same black worsted wool as my vest, and underlined it with some inexpensive cotton from Joanns. I wanted to make sure it had a good amount of body and structure. When I started assembling the skirt, I initially used the provided pocket pieces, but I found that the pockets were too low and too small that way. Instead I unpicked the seam and added my own version of the pockets, which are anchored into the waistband.

The construction of the skirt was very simple. It has two side front seams and a center back seam, which has the opening placket inserted into it. The waistband has a waist tape attached to it, which helps take the strain off the waistband. I cheated a little and used my serger to finish the seams.

One thing I didn’t like was the instructions for the hem. I used buckram to stiffen the hem, per the pattern instructions. The instructions have you attach the hem stiffener first, then sandwich it between the flatlining and the fashion fabric, then continue assembling the skirt. This had two problems for me. One, there’s a lot of bias in the back section of the skirt, so the skirt should really be hung for a few days before hemming it so the bias will stretch out fully. Second, there’s not really a good way to secure the top of the buckram inside the skirt, so I had to tack mine down in several places, and it still falls weirdly sometimes. If I make this pattern again, I would attach the buckram as a facing after the skirt had been hanging for a while, then hand stitch it down to the underlining.

Author wearing skirt, vest, shirt, black wig, and black pointy ears.

Because of the hem weirdness, I used bias tape made of the underlining cotton to bind the hem, stitching it down by hand on the inside. Then I sewed on a folded length of wool tape, to help protect the hem against fraying.

Closeup of a hand stitching down the waistband to a yellow cotton interior.
I apparently took very few photos of the actual construction, so here’s a picture of me sewing down the waistband.

So that’s the skirt constructed. The pattern comes with an extra pattern for 1890s-accurate hip padding, but I didn’t have time to make it. I still really like the shape it gives me, though.

Now, in order to make this properly Umbreon themed, I needed to add applique. My original sketch had the ovals of a more literal interpretation of the Pokemon, but I never really loved that idea. I was inspired by this image from Embellishments: Constructing Victorian Detail by Astrida Schaeffer.

Photo from a book showing a brown coat with an elaborate applique stitched down to the back.

So I decided to sketch out my own jacquard design instead. It was challenging to make a design that was both pretty and simple.

Jacquard design sketch with circles and crescent moon shapes.

I didn’t really want to stitch all of that down. Whether by machine or by hand, it just seemed like a pain. I was also originally going to do 4 applique designs, but ended up doing 12 so they would go around the entire circumference of the skirt. So instead, I ordered felt (so it wouldn’t fray) and then used Heat ‘n’ Bond to permanently fuse the design. Is it period-accurate? No. Did it save my sanity? Yes.

And so, with only a couple of days to spare, I finished all of the clothes for (the initial version of) 1890s Umbreon. I do intend to make a matching jacket for it in the future, which will make it very seasonally versatile!

Author wearing the Umbreon outfit looking out over a town and water.
Photo by Steele-Stewart Photography, aka my sister Cassidy.

Pattern: Black Snail Patterns #0414 Fan Skirt

Fabric: Worsted wool “stuff” from Burnley and Trowbridge; cotton from Joann Fabrics; felt from Over the River Felt

Notions: Buckram for hem stiffener; grosgrain ribbon for waist stay; hooks and eyes; Heat ‘n’ Bond; all from Joann Fabrics

Author wearing costume and black lipstick looking at the camera.

Author in the Umbreon outfit sans ears standing in front of an old cathedral door.
Photo by Steele-Stewart Photography.
Sewing

The Plaid Flannel Shirt

Autumn has arrived, and what’s better for crisp, cool mornings and rainy afternoons than a flannel shirt?

Author wearing shirt buttoned

I’m actually not much of a fan of autumn. I’ve been trying to change that about myself for years. I am a creature of summer, and autumn to me is the herald of The Season Of Cold And Darkness. (I really, really don’t like winter.) However, Virginia summers can be… gross, and autumn is a nice break from the oppressive heat and humidity. So, despite the fading light, I try to find things to like about the season.

Interestingly, I’ve never been much of a plaid-flannel person. This is only the second one I’ve made for myself since I started making clothes fifteen years ago, and I never ended up wearing the first one much. It wasn’t my color scheme and didn’t feel “me.” When I saw this flannel at StyleMakerFabrics, though, it really caught my eye.

In the last couple of years I’ve made my partner two plaid flannel shirts, so I decided to use the same pattern for myself since I knew how it would fit. (I reserve the right to borrow anything I’ve made for him at any time.)

The base of this pattern started with the Wardrobe by Me Overshirt, but honestly I ended up redrafting almost every single piece of that pattern the first time I made it, and ignoring all the instructions. (For example, it was drafted for a ⅜” seam allowance, which means you can’t flat-fell the seams or do any nice finishes at all. That’s poor drafting, in my opinion.) I don’t recommend that pattern unless you want to redo a lot of it.

Plaid fabric on the floor with a pattern piece and a little gray cat

For my own version of this, I made the yoke and front body width narrower by 1” on each side, because I have very narrow shoulders. I also shortened the sleeves a bit. I left the width of the back the same, because it didn’t originally have a pleat and I wanted one. It was a good thing I did; even with the extra width in the back, it barely fits around my hips at the hem.

I love the challenge of matching plaids, so I decided to match a bunch of them on this. With plaid-matching, you have to be careful and think ahead when cutting out the pattern, and then you also have to be careful when sewing so nothing shifts. I used a walking foot on my machine and also basted most seams before stitching them.

One tip for matching plaids: draw a reference line on your pattern on the cross grain (going across the body, in this case). Match it up with a specific line of your plaid. Make sure your reference lines are in the same place on each pattern piece (eg, 2” down from the armscye on both front and back) and your pieces should match up. Sleeves can be kind of tricky—in the past, I’ve had my reference line below the armscye, but I don’t find that the lines visually match up very well with the body this way. This time I matched at the front sleeve notch, and I think that worked better.

Matching stripes on the sleeve plackets
Challenge level: max—I matched the plaid on the sleeve plackets.

I cut two pieces on the bias: the outer yoke and the pocket. This plaid is square, so I could do the outer yoke in one piece. For plaids that aren’t symmetrical on the bias, I will cut the yoke in two pieces and make sure the chevron matches up perfectly.

Back of shirt

Overall I’m pleased with the result! I think it’ll be a cozy piece that already fits well into my wardrobe (and my various hair colors.) I still may end up stealing my partner’s flannels (he has one in wool) but I like mine even better.

Fabric: Cotton flannel from StyleMakerFabrics

Notions: Cotton organdy (interfacing) from Vogue Fabrics; buttons from StyleMakerFabrics

Author wearing shirt unbuttoned in the woods
Sewing

The Two-Day Cat Quilt

Today I’m sharing one of my quickest project of recent months, my two-day quilt (also known as the Cat Quilt.) So named because I made it in two days. And I really like the result!

Front of quilt covered in woodland animals wearing sweaters and drinking tea.

The backstory here is that I made a Christmas quilt last year and, while all the pets seemed to like it, my little black kitty Nadja really fell in love with it. Where it sits on the back of the couch is her special place. The quilt itself is covered in her black-and-white fur. (While she looks like a pure black cat, she’s actually a “smoke” black cat, and the base of every one of her hairs is white. It’s very odd to be petting a black cat and see all these whit-looking hairs come off onto my black clothing!)

However, the problem with this was that, because the quilt sits on the back of my couch, I was sort of planning to put it away when the Christmas or winter season was over. Faced with the problem of taking away Nadja’s favorite blanket, though, I couldn’t force myself to do it.

So I made her a new one.

Back of quilt covered in various teacups.

I found the perfect fabric at my local sewing shop, and bought it when I went to pick up my new machine.

A Janome 4120QDC sewing machine on a wooden table in front of colorful thread racks.
I sewed it all on my new Janome 4120QDC. Her name is Zelda and she doesn’t have her stickers put on yet. (All of my machines get stickers.)

I thought the animals were super cute, and it would make an adorable quilt even if I skipped doing any piecing on the front or the back. So all I did was buy two yards of each, and then sandwiched them together with some batting.

A gray cat on top of the unfinished quilt top.
Brie helped me assemble it.

Then I quilted straight lines along the edges of the animal blocks. It’s not the neatest job. This is a quilt for a cat, it doesn’t need to be.

The binding was made from a stack of 13” long offcuts from the Christmas quilt itself. I saved them after I made it and I’m glad I did, because I really like how the color ties the whole thing together. The one higher-effort thing I did with this quilt was hand-stitch the binding down to the back. I didn’t need to, but in my mind that is the “correct” way of doing it, and I don’t mind hand stitching.

The quilt with a long strip of binding laid on top to check for length.
Hand stitching the binding down to the teacup-design backing fabric.

So all in all, this took me two days: one day for the assembly and quilting and one day for the binding. It turns out quilting can be really easy if you skip the stuff that’s hard.

And yes, the cat loves it. And so does everyone else.

Collage photo of three cats and two dogs all separately sitting on the quilt.
Life

Seasons, Chapters, Self-Contained Units of Time

Life has thrown some curveballs at me lately.

Author with bright pink hair taking a selfie with a gray horse with brown patches on his face.

What to explain in detail, what to sum up? There have been a lot of things. I’ve been struggling with some health issues this summer. Some aspects of that seem to be resolved (though still unsolved), some not so much. My work situation is stable and yet also in flux as I hunt for a spot to make good on my new “you’ve been deemed Allowed To Be Promoted” status. I spent a good while racing to finish costuming projects before my big summer convention.

The thing that’s had the biggest effect on my life this summer, though, has been my horse-related decisions. First: I decided to sell my mare Fifi. Second, in close succession: I decided to buy my new gelding, Chuck.

It was a bittersweet transition for a lot of reasons. Fi really is a lovely horse, but after almost two years it wasn’t working out between us. I wanted to make sure she got the soft landing she deserved. Selling a horse, both times I’ve done it, has been heartrending. If you’re not a professional selling horses day in and day out, it’s like a breakup. No one wants it to happen, and it sucks, and sometimes it has to happen for everyone’s best interest. And, unlike a breakup, you also have to do everything in your power to make sure your ex doesn’t end up as dog food.

I poured a lot of time and money into my efforts to find her the right home. She went into full training (essentially doubling her board costs). She went onto every classifieds listing I could find (including the fees for spotlighted ads.) I talked to a lot of people about her, and ultimately had to talk a lot of people out of buying her, because they were looking for something she was not. (Half my kingdom for people who can read the damn ad, especially the language “experienced riders only.”)

And I bought Chuck within a few weeks of deciding to sell Fi, well before she actually sold. I don’t regret it, because I think he’s a great match for me, and I’m 100% positive he would have been snatched up by someone else if I’d waited. (Someone who came to trial-ride Fi had actually looked at him shortly before, and considered buying him.) But that was a lot more money and time commitment, too.

Gray mare walking down a road with a person at her side.

A week ago Fi went to her new home. And while I’m sure her new person will take great care of her, I also worry about her still. She was mine for a season in her life. Sometimes we had some great successes; other times, some failures. We had our ups and downs, but I always had to be in her corner, looking out for her best interests. And now she’s not my girl anymore, she’s someone else’s.

Despite that worry, it feels as though a huge weight has come off my shoulders. I am not cut out for owning two horses, but especially while trying to sell one. Now that it’s done, I am hoping to move forward into another chapter, another season.

Gray and brown speckled horse looking out over a pond.

(For those curious: Chuck is a 15 year old Thoroughbred/Welsh Pony cross, show name Charm School. He is as charming as his name makes him out to be. And if you’re wondering what’s going on with his color, he’s just gray!)

Costuming · Sewing

1860s Zelda: Underskirt

Hello all,

I have been pretty busy lately and when I haven’t been busy I have been dealing with some health issues. Please enjoy this post that I dug out of my drafts folder and meant to post about 2 months ago. Also, have a preview of some photos my sister and I collaborated on recently. I’ll be back to posting more regularly… some time in the future!

-Carrie

Blonde woman facing away wearing teal-and-gold 1860s hoop skirt dress, standing in a forest looking at a mountain.

It’s been a few months since my last retrospective look at the 1860s Zelda outfit, so let’s get back to it.

The skirt genuinely intimidated me, not just at the beginning but throughout the process, for a couple of reasons:

  1. It’s huge.
  2. It used several techniques I had limited or zero familiarity with.
  3. It’s absolutely enormous.

This project used an obscene amount of fabric, and the skirt is the main culprit. I did not have an unlimited budget, so instead of silk taffeta, which would have been super fancy and also super expensive, I bought polyester taffeta from Mood Fabrics. For the ballgown (including the bodice) I ended up using about 16 yards, although I bought extra, partially so I could make other pieces later. At ~$30 per yard for silk, that was just never going to happen—particularly since this was my first-ever historical costuming project. I paid about $10 a yard for the poly taffeta, and even that made this project fairly expensive. I did my best to counter the effect of the polyester by using natural fibers as much as possible elsewhere, like in the lining and underpinnings, which helps prevent me from overheating too badly.

Four colors (white, dark gold, yellow, teal) of fabric stacked

For the overskirt (which I will make into a separate post), I used the pattern pieces from Simplicity 5724. I decided against it for the underskirt, because I didn’t like the gored, A-line shape and wanted something a little more straight-of-grain and bell-shaped. This ended up being a decision that contributed to me being intimidated by this skirt, because I was on my own in figuring out how they would fit together. But for the initial assembly, it made the skirt pretty simple to put together.

The dress is an interpretation of Zelda’s formal gown seen in Breath of the Wild. I kept the white center panels for both the underskirt and bodice, then used the teal taffeta the rest of the way around.

Screenshot of Zelda formal dress from Breath of the Wild

To begin with, I planned out a gigantic rectangle. This skirt has a hem circumference of about 170″, which will enable me to wear larger hoops than my “day” hoops should I ever acquire any. The bottom half of the giant rectangle is the visible half, so it has the taffeta panels. The upper half is entirely covered by the overskirt, and so, in a very historically-common manner, I used a different fabric. This would ordinarily have been done for economical reasons—there’s no reason to pay for expensive yardage that will never be seen, so a cheaper fabric would have been used. In my case, it was for a slightly different reason; the upper fabric is linen, which, again, improved the breathability of this otherwise-polyester gown.

Dress form with teal and white taffeta rectangles pinned into skirt shape

Before I assembled the rectangle, I started creating trim to the bottom of the skirt. I used yet another color of polyester taffeta to create tone-on-tone shapes to mimic the designs on Zelda’s skirt. I opted to half-handsew the trim on. Even though it’s at the hem of the skirt and won’t be subject to close inspection, it looked better to use less-visible stitching rather than topstitching the trim down.

Sample strip of trim showing hand-stitched and topstitched versions
It was a lot of work, but I still think the handstitched version looks better.

I cut long, on-grain strips of fabric and folded the edges in, then stitched one side down to a wider strip by machine, right sides together, along one of the fold lines.

Then I flipped the strip into its final position and hand-stitched it in place.

And then I did the whole thing again. And again. And again.

Author sitting at a table hand stitching trim on

I used a similar technique to attach the darker gold strips to the trim band, and trim band to the hem of the teal panel.

Long strip of teal taffeta with white linen at the top and trim band laid on bottom

The white panel doesn’t have any trim, so I waited to stitch up the seams attaching the teal panel and white panel until after the trim was attached.

After that, I used a wide strip of fabric (mostly the light gold, but with a section of white) to create a deep hem facing, which I stitched down by hand on the inside. This is a period-correct method and works far better than the modern standard of “turn up the hem twice and topstitch it down.” Modifications to the length of the skirt are done by adjusting the top at the waistband, not at the bottom. This enables a much easier time hemming and trimming 170″ of skirt hem.

One change I made very recently was to add a wool braid reinforcement to the bottom of the hem. It originally had an on-grain strip of taffeta doing that job, and it started fraying pretty much immediately. A bias strip would have been better, but something heavier and more durable, like the wool braid, is better yet. This is also something commonly seen in the period. I dyed it, aiming for something approximately gold-ish, and it’s not a close match at all but since it’s at ground level it doesn’t really matter.

With the trim and hem in place and the seams sewn up, it was time to move on to the overskirt.

Pattern: none

Fabric: teal, white, and gold polyester taffeta from Mood Fabrics; tan polyester taffeta from Fabric Wholesale Direct; white IL019 linen from Fabric-Store.com

Notions: wool braid from Burnley and Trowbridge

Sewing

True Bias Nikko Tops

Author wearing sleeveless purple/pink top in a garden.

For once I have modern clothing to share with you! Relatedly, this post will be a lot less in-depth.

One of the activities on the last day of sewing camp was brainstorming a capsule wardrobe. Now, the “capsule wardrobe” concept (a limited number of pieces that all go together) isn’t for me in terms of, well, limiting the number of pieces, but I’m a big believer in having everything in my wardrobe fit together cohesively. During this activity I decided I wanted more colorful work clothes. I have a lot of color in casual wear, but not as much in my office wear, which leans very heavily blue. My idea, therefore, was to incorporate more pinks and purples into my office wardrobe.

I took a brief pause from sewing historical projects and cut out this True Bias Nikko top. It’s a top I’ve made several times before and I find the pattern to be very versatile and comfortable. The sleeveless version works in every season because it layers really well with cardigans.

I cut it out of some purplish-pink merino/tencel jersey from The Fabric Store New Zealand. It’s slightly itchy and has a moderate amount of stretch. After cutting it out, I still have a lot left over that I need to figure out what to do with.

I cut out the sleeved version of the body pieces but didn’t cut out any sleeves. The armscyes are a little too low and wide for me on the sleeveless version. Due to the amount of stretch in the fabric, the neckband is pretty tight to put on, but once it’s on it’s fine. I used my coverstitch machine to sew down the sleeve bindings and hem.

While I was at it, I also took the chance to alter a Nikko top I had made previously but never wore because the armscyes were too tight. I don’t remember if I modified them somehow or what. All I did was pick out the coverstitching on the sleeve bindings, cut them off, and cut the armscye ½” lower, then attached new sleeve bindings.

And that’s it! Now I have two more tops to wear to work. One of them even perfectly matches a cardigan I made years ago.

This picture is from 2018.

Pattern: True Bias Nikko top

Fabric: merino/tencel jersey from The Fabric Store; floral French terry from CaliFabrics