Hi friends! In addition to working diligently on the Elf Coat patterns, I’ve been having fun doing some experimentation in one of my favorite project categories, the upcycled crochet pixie belt.
If you don’t already know, you can get a ton of info on how to create original, freeform pixie pocket belts from my blog series, the Pixie Belt Tutorial. The full tutorial is also available in downloadable, printable, ad-free PDF format through my Ravelry store – and I’m using this post as a springboard for a pattern sale too!
Now through Aug. 12, through Ravelry only, you can get the Pixie Belt Tutorial pattern FREE with the purchase of any other pattern! 🙂 Just put both patterns in your cart and the discount is taken at checkout.
I had fun adding new hardware elements to this latest pixie belt piece – a metal mandala centerpiece I’ve had for years that came off of an old thrifted dress forms a focal point on the back, plus two D-rings on either side of the belt which hold a draped scarf really nicely for extra oomph around the hips. The best part is that the silver scarf is totally removable, so you can change out scarves!
There are also two pixie pockets: one circular pouch and one drawstring, as well as a detachable mushroom pouch ❤ The skirting I’m especially proud of – one whole thrifted shirt made from dusky rose gauzy material, artfully ripped of course.
I’m very happy with how this belt came out, especially since I got pretty experimental with it! This encourages me in my other ideas – I’d love to bring in more diverse fiber elements like fabric and leather 🙂
Also it was fun to dress up this one – what do you think of my new background? I dig it!
It’s finally time! I’ve received many requests over the last few years to design a hood for my Lotus Duster free crochet pattern, and it’s been on my to-do list for long enough – today we debut the hood addition to this design! 😀
The hood is partially made, then inserted into the main pattern rather than added after the entire thing is finished, so if you are working the Lotus Duster you will be adding the hood after Round 22, then continuing with the main pattern from there and working over the hood brim in addition to the rest of the garment. Also, I made the version pictured here sleeveless (because I wanted to wear it this summer) and I made a few adjustments to the sizing as well, which are explained in the instructions 🙂
If you like these patterns and want the portable, printable, ad-free version, good news! The Hood Tutorial is now included as a bonus PDF along with the PDF version of the Lotus Mandala Duster pattern, available in my Etsy Shop and Ravelry Pattern Store! And don’t forget my offer for bundled patterns with my new pattern discount codes:
15% off of 2: MF15OFF
20% off of 3-4: MF20OFF
25% off of 5-6: MF25OFF
30% off of 7+: MF30OFF
The pattern given for the Hood is more of a tutorial and doesn’t include specific stitch counts like the main Lotus Duster pattern does. I also used a random mishmash of yarns, some slightly bigger than I would normally use for this design, which makes a difference in sizing and gauge, etc – so I left the hood instructions open with modifications for individual gauge and preference. I considered using the standard yarn that I use for the main pattern, but I just really wanted to make this crazy thing using all these crazy yarns!
Oh, and those leafy wrap bracelets I am wearing are from another FREE crochet pattern of mine, the Ivy Crown garland.
Lotus Hooded Duster
Materials: 5.50 mm hook
Extra yarn – I would estimate the hood addition requires 300-500 yards of yarn more than the standard pattern. Please refer to the main pattern for more info on materials needed, gauge, etc.
Notes: As mentioned, I made a few tweaks to the sizing of this sleeveless duster to get the look I wanted. I started working the main pattern in size Small, then added length and width by working some of the extra rows suggested in the Large size – but not all of them, so the size came out more like a Medium.
On Rnd 22 I made an adjustment to the amount of double crochet that I worked across the chain loop that creates the armhole opening.
“22. Ch 3 – counts as first dc. 1 dc in the next dc (3 dc in the next ch-1 space, 1 dc in ea of the next 2 dc) 9 times. 3 dc in the next ch-1 sp, 1 dc in the next dc. 1 dc in ea of the next 30, 33 ch sts. 1 dc in the next dc (1 dc in the next ch sp, 1 dc in ea of the next 2 dc) 9, 13 times**. 1 dc in the next ch sp, 1 dc in the next dc. 1 dc in ea of the next 30, 33 ch sts. 1 dc in the next dc (3 dc in the next ch-1 space, 1 dc in ea of the next 2 dc) 63, 65 times. 3 dc in the next ch-1 sp, join with a sl st to the 3rd ch of beg ch-3. – 460, 488 sts”
Instead of working 1 dc in each of the chain stitches made for the armhole loops (making 30 total dc over each armhole) I worked 20 total dc into the armhole loop itself, not the stitches. This means that the stitches can stretch across the loop made by the chains and are not anchored to the stitches themselves – to do this, just insert the hook underneath the chain loop to work your stitches across (do not insert your hook into the actual stitches, just the space underneath the chain).
I forgot to get an actual picture at this stage, so this one is from a little later in the pattern. Still, check out how the stitches are arranged across the armhole loop space – this accomplishes a slight tightening at the bust and shoulder area and makes room for the extra draping material that will be added by the presence of the hood. If these step seems confusing or you are having trouble with sizing, it’s 100% okay to skip this step – it’s not a crucial adjustment. I just made this change because it helps keep all that pretty lacey material tucked around the shoulders for a better fit.
So with that in mind, finish Round 22 as written with or without the armhole adjustments. Once Rnd 22 is complete, set the main body of the duster aside to begin the hood.
Using the 5.50 mm hook and your yarn of choice, Chain 35.
The length you chain depends on your gauge – if you hold the chain starting at the nape of the neck, it should be long enough to reach the back of your head. If 35 is too short, chain more.
Row 1: Dc in the 4th ch from hook, ch 1, sk next st. (Dc, ch 1, sk next st) 14 times, or however many times you need to reach the second to last stitch of the chain. Dc, ch 1 in next st. In the last st of the chain, work (Dc, ch 1) 3 times. Rotate the piece so that you are working into the bottom of the chain stitches, creating a chain with stitches on both sides. Dc, ch 1 in the next st, sk next st. (Dc, ch 1, sk next st) 14 times. Dc in next st. Dc in the final st.
Row 2: Ch 4 (counts as first dc + ch 1), turn. (Dc in next ch -1 space, ch 1) 16 times. (Dc, ch 1) twice in ea of the next 2 ch-1 spaces. (Dc in the next ch-1 space, ch 1) 16 times. Dc in the final dc of the previous row.
The instructions in bold create two increase spaces at the tip of one end of the piece. Through the next part, you will work the same kind of increase in each of these two increase spaces on every row – so it’s helpful to mark them!
Row 3: Ch 3 (counts as first dc), turn. (Dc in the next ch-1 space, ch 1) 17 times. (Dc, ch 1) twice in the next space. Dc, ch 1 in the next space. (Dc, ch 1) twice in the next space. (Dc in the next space, ch 1) 16 times. 1 dc in the final ch-1 space, 1 dc in the final dc of the previous row.
Row 4: Ch 4 (counts as first dc + ch 1). (Dc in the next ch-1 space, ch 1) 18 times. (Dc, ch 1) twice in the next space. Dc, ch 1 in each of the next 2 spaces. (Dc, ch 1) twice in the next space. (Dc in the next space, ch 1) 18 times. Dc in the final dc of the previous row.
Keep working in this same manner, placing increases at the two increase points on every row, until your hood has 11 total rows (or until the hood is tall enough to reach the top of your head).
The next few rows skip the increases to add depth to the hood without adding more height. You can repeat the next two rows as many times as you like to get the depth of hood that you want/need, but remember that since there are still 15 rounds left in the main pattern that will add height and depth to the hood, so you really don’t need this part to be a fully functioning hood yet.
Row 12: Ch 4 (counts as first dc + ch 1). (Dc in the next ch-1 space, ch 1) in each space across. Dc in the final dc of the previous row.
Row 13: Ch 3 (counts as first dc). (Dc in the next ch-1 space, ch 1) across. 1 dc in the final ch space, 1 dc in the final dc of the previous row.
Once your hood addition is completed, cut your yarn and tie off. Now we are going to attach the hood to the work-in-progress main body of the duster.
My hood addition when finished by itself is about 20″ across the bottom, and 12″ at the highest point.
Attaching the Hood
On the main duster, use a stitch marker to mark the central dc between the armholes. I do this by counting how many v-stitches are in the row below, then finding the central v-stitch or space between v-stitches – the double crochet above will be the central point. Align the hood’s flat edge with this point, matching the end of the foundation chain to the middle point marked on the duster.
Attach yarn, insert hook through both the vest and the hood at the central point. Work a sc in ea dc through the hood, working 2 attaching stitches for the side of every DC at the end of a row. This was 25 stitches for me to get to the end of the hood.
Count out the amount of sts needed for the other side. Cut yarn and reattach at this point, then work toward the central point using the same strategy to attach.
Of course, you can always just whip stitch the hood onto the main duster if using a crocheted method of attaching seems like too much bother. I prefer a stitched seam here because the hood is going to be resisting against the weight of the rest of the duster (which is not light) and I want the seam to be strong and not stretch too much.
Once your hood is attached in whichever fashion you prefer, cut your yarn and tie off. It’s time to pick back up where we left off on the main body of the duster at Round 23. Only now, we will be working all the rest of the rounds across the brim of the hood as well as around the main body.
“23. Ch 3 – counts as first dc. (Sk next three sts, 1 dc in the next st. Ch 3, 1 dc in the same st) 114, 121 times. Sk next three sts, dc in the next st, ch 1. Hdc in the 3rd ch of beg ch-3 to join.”
Round 23 creates V-stitches all around the garment – to work the first round that includes the hood, work a V-stitch over the arm opening stitches as instructed…
Then work a V-stitch in every other ch-1 space around the brim of the hood addition.
Continue the round across the entire brim of the hood, and then around the main body as well, using the instructions given. Remember that because of the hood addition, your stitch counts will not be the same as given in the main pattern.
Once Round 23 is complete, all remaining rounds can be worked as written in the main Lotus Duster pattern, just working around the entire body including the hood! One more consideration is the half-rounds at Rnd 35 and 36 – because you have added a hood, you’ll have to recalculate what amount of stitches constitutes the top half of the garment and then work the half-rounds across that amount of stitches, not the amount given in the main pattern.
To calculate this number, count the total number of stitches in Rnd 34, then divide that number by half. Beginning with the Rnd 34 join at the side of the duster, count out your V-stitches that equal half of the total. Mark the final stitch of this set, then work Row 35 and 36 only on that portion following the instructions given. For my duster vest, half of the total equalled 224 V-stitches.
Once the garment in completed, I cut the yarn and wove in the ends. I added the slip stitching necessary to anchor the ties as shown in the main pattern, then added two braided ties on each side.
Since I left this version sleeveless, I finished the armholes with a row of dc around the inside.
I really love this particular version of the Lotus Duster – the lack of sleeves makes it a good garment for warmer weather, but the hood and the length make it mysterious and costume-y enough to be a stunning festival piece! In my tradition of naming these after female singer songwriters, I’m calling this baby “Florence.” ❤
The polymer clay horns and woodland tree spirit pendant I am wearing in this shoot came from my amazing friend Wendy Davies from Dark Pony Art – please check out her art and give her a like on her Facebook Page!
If you like my designs, you can head over to my Facebook Page too and hit that follow button!
As always, I’m filled with gratitude for everyone who likes, comments, shares, and creates my designs! I can’t help but remember a time when where I am at now seemed beyond my wildest imaginings ❤ And it’s all possible because of you magical beings out there who support me, thank you so much ❤ I am honored to create with you!
Hi there! It’s not necessarily been crickets around here, but I do feel its time for some project updates of things I’ve recently completed. I haven’t had a whole lot of new things to show in the crochet category since many of the things I’ve had on the hook have been larger, longer projects that I’ve toiled at slowly in my spare time over the course of last semester. After the New Year I made it a priority to finish some of these things up so that I could MOVE. ON. FINALLY.
And so today I present two new project variations on two of my personal favorite original patterns, plus a skirt that I’d been hacking away at (literally). Prepare for photogenic twirling. There will be twirling.
I bought the yarn for this pattern, Yarn Bee Soft and Sleek in six different multi colorways, with some legwarmer project vaguely in mind. Well, that project was just not exciting enough to me, and so I started a chaotically rainbow version of my Spiral Sweater pattern.
I worked it in size Small, but decreased every other stitch across the armholes to tighten up the front collar of the sweater (and also conserve yarn, which turns out was very necessary). I also skipped the Linked Double Crochet reinforcement across the back of the collar. Because I forgot. 😛
Because I started with a central circle of solid navy leftovers that I had from a different Spiral Sweater, the middle part of the back started to look like the pupil of an eye, so I ran with that. After finishing everything on the sweater, I took some more spare yarn and slip stitched some crazy squiggles into the “iris” of the eye.
I’ve always loved the nazar, a Middle Eastern charm symbol representing an eye, which used to ward off the evil eye. This sweater is watching your back! Har har har.
You can find the project page, which also links to my original pattern in the righthand sidebar, here on Ravelry. That bitchin’ tree man necklace I am wearing is from my friend Wendy’s polymer clay art shop, Dark Pony Arts – check her out, she is amazing!
Though the Ida Shawl was originally designed to be multicolored, I’ve found that I really love doing them in monochromatic yarns, especially neutrals. This one is done with a DK weight acrylic yarn, Premier Everyday Baby in White, which used up all of three skeins once the fringe was finished. I really had fun plotting an outfit to go with this one.
That’s really the only reason I do this. Excuse to dress up! Just kidding. Kind of.
The Ida Shawl, as finicky as it was to get right during the designing process, is all the more worth it for the struggle. I still love that central design, which represents the seeds that form a star when you cut an apple in half horizontally.
This is the 5th skirt I’ve produced using Wendy Kay’s No-Gathers Gypsy Skirt pattern that I bought from her shop on Etsy, and this pattern has been WELL worth my money. Just chop out blocks and sew them together, no measuring (well, not much measuring) and you’ve got a beautiful dancing skirt to twirl in. Easy.. and fun!!
I made this one from mostly upcycled fabrics, including some curtains from Goodwill and several yards of fabric I had had tucked away for YEARS that I got from a thrift market outside of the Portland Indiana Tractor and Engine show. It’s funny sometimes, when your craft supplies remind you of the places you’ve been and the other lives that you’ve lived.
I think sometimes that’s part of the appeal, for people who handmake things. It certainly is for me.
The other skirts I’ve made I’ve given away or sold, but I think I’m keeping this one for myself. The jewel tones and floral print match nearly everything in my closet 😀
I don’t put ALL of my sewing and refashion projects here on Morale Fiber blog, since I want the main focus here to be on crochet techniques, patterns and designs – but I do run a more personal side blog on Tumblr which I use for sewing and fashion stuff. Check me out there: Howling Mouse on Tumblr.
I do have more projects from over the winter that remain unfinished, plus some exciting new things budding! So I’m gonna go hustle that. As always, thank you for visiting!
P.S – I’ve gotten a lot of photo submissions of people’s projects that they have made from my designs lately – please keep that up! I love that so much! ❤ ❤ ❤ I hope you all have loved it too!
Let me explain: I love taking things that would otherwise end up in the garbage and using them for something. The feeling of making something useful and valuable out of what would normally be considered disposable brings me great satisfaction.
So when I was told I could bring home the rotten avocados that had to be pulled from the shelf in the produce department at the co-op where I work, I was giddy. Hooray! Garbage to play with!
I removed the pits and skins from these castoffs, as well as from the avos that I ate, over the course of a couple months. I knew from doing some research into natural dyeing that avocado pits and skins could be made into a dye that yields an earthy pink color, when managed correctly. There’s plenty of links to good blog posts about this process on my Pinterest Dyeing board.
Anyway, I ended up with around 2,600 g of avocado materials. A pretty healthy amount, which I needed considering the dyestuff to fiber ratio needs to be around 6:1 to get a deep color, according to the accounts I had read.
My materials were an assortment of things, because experimentation! I had about 428 g of materials to dye – some handspun alpaca yarn, wool roving and a Habotai silk scarf from Dharma Trading Company, an old silk shirt I wanted to upcycle, and some fugly cotton yarn just because I hated it. But before I dealt with any of these things, I had to extract the dye.
I piled up all of my avocado leavings, which had been stored in bags in the freezer until I built up enough, into a pot with about a gallon of filtered water and a cup of baking soda. The baking soda was to make the water alkaline, because (according to the blogs I read) acidity changes the dye and turns things brown rather than pink. I boiled this witchy brew for about 2 1/2 hours.
I was very excited to see that deep mauve color appearing in the bubbles as it boiled. I was less excited about the smell.
Once it had boiled for a good long time and the color of the water was opaque (almost black!) I strained all of it through cheesecloth into jars and let the dye cool. Since extracting the dye was an all-afternoon affair, I decided to store the dye in the fridge until the next phase.
Note that I could have dyed the materials in with the skins and pits all at once, but I didn’t do this for a couple of reasons: first, I was working with wool and it would felt if I had exposed it to such high temperatures, and second, I wanted a little more control over the process and the opportunity to dye the materials with different ratios of dye extract.
So I popped the jars of dye into the fridge after they had cooled off, until the next free afternoon I had available. To get the dye to take the fibers, I had to mordant my materials. I used alum and cream of tartar dissolved in distilled water, and soaked my materials in the mordant solution for a couple hours – next time, I’ll probably soak overnight.
One source said I needed 7 g cream of tartar and 8 g of Alum per 100 g of fabric/fiber, so I used a total of 31.5 g cream of tartar and 36 g of alum (both of these were obtained from Dharma Trading).
Once soaked in the mordant solution, I pulled everything out and began portioning the fibers out into quart canning jars. Each jar got an extra 1/8 cup baking soda just to be sure to keep the alkalinity of the water. Each jar also got a mixture of mordant solution and dye extract, and I purposefully squished the fabrics into the jars and poured dye over the top, to create an uneven reach for the dye. I wanted a nice earthy textured color effect. Which I got, sort of.
Next, the jars went into the canner on a rack, with some water at the bottom for steaming, and set on a low setting on the stove. Lid goes on, then waiting while the temp starts to slowly rise. The jar balanced precariously on the side is the one with the wool, raised further out of the bottom to avoid the danger of overheating and felting.
More waiting. And occasional poking with a stick.
Once my jars had been steaming for a couple hours, I turned the temperature off and left it overnight to cool.
The next morning, I removed the soggy mess from inside each jar and gently squeezed them into the sink, enjoying the fact that since I was using natural dyestuff, I didn’t have to worry too much about psychedelicizing my apartment kitchen by way of accidental splashing.
But, since I was using natural dyestuff, I also didn’t have to worry about psychedelicizing my fiber either. Since an alarming amount of dye seemed to be washing out – and the remaining color was a sad brown. With an intensely sinking feeling, I washed all of my materials in textile detergent and rinsed them, taking stock of my situation.
One alpaca skein seemed to have taken the dye well, the other was much paler, and the wool had some definite patches of well-dyed fiber. The habotai silk took some dye, with a couple dark patches, and the silk shirt not much at all. The cotton yarn, ugly to begin with, was now both ugly, brown, and tangled. In fact, I was kind of frustrated at this point and just pitched the cotton yarn straight into the trash. The rest I hung up to air dry.
One nugget of wisdom I’ve learned over the years so far is never to judge a dye batch before it’s fully dry. And though I already knew this, I spent the next few days calling the experiment a failure as it hung on my curtain rod, being shunned.
And then when it was fully dry I took it down and got a good look. I was surprised that the rosy pinks HAD come out after all, though it was still browner than I wanted in places. Overall, the earthy pink and hazel shades were really pleasing and I immediately forgave them all of their supposed misbehavior.
Not perfect, no. But since I gained a little success, and I have dye extract left over, there will definitely be a Batch 2! The rest of this post is just a bunch of pictures of the dye materials, because I do love them after all. Except for that stupid cotton yarn. 😛
Left to right – Alpaca, wool roving, wool roving, alpaca again, then silk
The silk shirt just barely got a tinge, except for a few patches that were very dark. Still figuring out how that happened.
The wool roving turned out nicer than expected, especially since for a moment I had thought I felted it!
Definitely halfway spun already as I type this 😀
So, moral of the story, it’s difficult and sometimes frustrating to try to learn new things with your art (or anything). But that’s because you have to push yourself to be better in order to grow – and if you love what you do, the risk of failure is nothing compared to the reward of learning.
This post is part of a series of tutorials on how to create your own unique crochet pixie pocket belt – to read more about this series visit the Intro page.
Maybe it’s just because I worked on the tutorial for this so much, but this newest pixie pocket belt may be my favorite ever. To be fair though, I do say that almost every time I make a new one of these.
That’s because every one of them turns out to be totally unique – I start out with a pile of scrap materials, and then let it be what it becomes along the way. This one became “Maple” named of course after the tree. I hope you have enjoyed this tutorial series – I certainly did – and I’d love to see what is being made from this guide!
This pattern tutorial series is now listed on Ravelry – hook up your projects so I can see what you made, or look through other projects for inspiration 😉
And now for more pictures and ramblings.
I especially love these to dance in, since the fabric fringe catches movement so well!
Fun side story – the flower headpiece I am wearing in this photo is one I made years ago, a long strand of curlicues (just like the ones talked about earlier in the tutorial series) with scrap yarn flowers that made as I was traveling across the U.S.
Of course, the utility belt function of this project is super handy if you are the festival-going type, since these pixie belts are not only cute and go over anything, but also hold your necessaries!
I’m pretty happy with how the faux-bustle back came out – its not something I’d ever really tried before. That’s another thing I love about these projects – pure experimentation is necessary, not just encouraged.
I’m a little sad to be closing out the pixie belt tutorial actually, so I’ve had a thought – perhaps more pocket patterns in the future? What do you think?
As always, don’t hesitate to ask any questions or leave any comments! I love hearing from you ❤
This post is part of a series of tutorials on how to create your own unique crochet pixie pocket belt – to read more about this series visit the Intro page.
Okay, we’re all done with the crochet process now, so it’s time to move on to one of the most *satisfying* portions of the process: the ragtag fabric scrap fringe skirt! Why is it so satisfying? Well, because you get to rip stuff up. Rip rip rip.
Here I have the fabrics I selected during the process of selecting my materials – a couple of thrift store silk shirts and some soft rayon jersey knit that formed the lining of one of the shirts. I use my scissors to separate large chunks of fabric away from the bulky seams, then once I have a piece isolated, I start ripping!
Using my fabric scissors, I cut out small tabs on the edge of the piece of fabric. Then…
….I grab a tab and rip straight across to get a strip of fabric. RIIIIIIP!
That’s all there is to it, really. I keep ripping until I have a nice little pile of strips. Beware, there will be a lot of stray threads involved in the ripping process. This is normal.
So here I have a nice pile from this silk piece. They are different sizes, because I’m using upcycled clothing, so the pieces I’m ripping from are not uniform in size or shape. I’ll sort it out later.
I’ve also decided to use the jersey knit lining from the same upcycled shirt. Since you can’t rip knit, (or stretch velvet, another favorite fabric of mine to use in these projects) I just use a rotary blade to open up the shirt and cut long strips.
Add ’em to the pile!
I also discovered this gold colored silk button-down in my stash at some point and added it to my material pile – I thought it would be good to add depth to the color scheme. Rip rip rip!
Okay, that’s a pretty good sized pile. It’s not all of my material, but I can always cut more if I need to. Time to apply them to the belt. First, though, one side of my belt doesn’t have a tie – so I am going to use the netted ribbon yarn for that. One good long length doubled over, then looped through the end of the belt, makes a nice tie. Additionally, the netted nature of the ribbon yarn can easily hook over any buttons placed on the belt, giving you more options for how to secure it around the waist.
Now, the fringe! I lay out all of my strips – since I am making a bustle-style back for this belt, I want to utilize my longest strips in the back middle, and put the shorter ones toward the front edges. So I organize my strips into piles according to size – long, medium, short. Then, take each strip and double it over.
Using a large-ish hook, draw the loop at the end of the double strip through a chain-loop opening on the edge of the belt. You can also draw these directly through the stitches, or really wherever you want. FrEeForM!!
Draw the ends through the loop and tighten to create the fringe. Do this all across the belt, or anwhere you want your fabric fringe to be. I go through and add this layer of fabric on just the edge loops, going according to size as I mentioned earlier.
Once all of the loops on the very bottom have been fringed, I flip the belt over and work from the back side for a bit, hooking fringe into the middle layer of loops.
Again, there’s really not a wrong way to do this. You can fringe all from the front, or all from the back, or just do one layer, or do so many layers you can’t even see the mesh portion. That last one is what I’m aiming for.
So I attach my strips just about anywhere they will fit.
Then, flip it back over, and attach on the top portion of the mesh on the right side!
Hm, needs just one final touch I think – so I attach just a few strands of a small ball of silky eyelash yarn I have in my materials pile.
That’s the stuff. And now, I’m seriously done! I am so thrilled about the way this turned out, and also being able to share this creative process here on the blog 🙂 But I do have one more post in this series: the Wrap-Up! Check it out and don’t forget to show me what you’ve made!
Meanwhile, here’s more examples of fringe skirts from other belts I’ve done:
“Mulberry” used strips of cut stretch velveteen. It also featured a mushroom pouch on it’s own loop, which can be worn around the neck as well. I didn’t include that type of pocket in this tutorial because I already have a mushroom pouch free pattern available!
“Shepherd’s Purse” used only ripped cotton weave fabrics, like gauze and muslin.
Instead of ripped fabric, the skirt for “Nightshade” is that netted ribbon yarn, all stretched out to make a frilly fringe.
When it comes to hobbies, I push myself to try new things. I’m not sure if this is due to my hyperactive Pinterest-ing disorder, an excess of caffeine, or possibly some sort of mania. Fast forward to the point: something I’ve been experimenting with recently is hairpin lace.
Hairpin lace is a technique that wraps and crochets long loops around a tool and then uses those loops to make decorative stitches and weaves. Traditionally one used a literal hair pin, I’m assuming, but nowadays they make specialty craft tools that look like you could low-key use it to torture somebody.
Nobody expects the Spanish Inquisition!
I took a pretty freeform approach to learning this technique – the first strip of hairpin lace I made was for attaching two pieces of upcycled clothing together, using reclaimed sweater yarn for the strip. A list of things I learned from this:
Do not try to learn this technique with a yarn that splits like crazy.
That trick with threading the spare yarn through a finished strip to keep the loops together? It’s way more trouble than it is worth unless you are storing the strips together for later.
Even with the aforementioned splitting yarn, hairpin lace is WAY LESS complex and intimidating than I thought. After the first few shaky loops, I got comfortable with it very quickly.
I’ve been ogling pretty fiber artsy styles like mori kei and shabby/chic, clothes that maximize texture and variety and emphasize the handmade look. The ragamuffin style is especially attractive to me because it lends itself well to experimentation in short bursts, which is about as much as I have time for during the semester.
The two fabric pieces that went into this forest girl dress were a soft green top that I liked but didn’t wear (too short), and an earthy colored skirt that I picked up thrifting. Both are 100% rayon, and oh man, I really love rayon. It’s so so soft. Hard to believe it is manufactured from wood pulp.
Long story short, I chopped the bottom off of the top and the top off of the skirt, then serged the cut edge on both pieces. Using #10 mercerized cotton crochet thread, I embroidered a blanket stitch over the serged hem.
I then counted the blanket stitches. My hairpin lace strip would need as many loops as the largest amount of stitches (which is on the skirt’s hem). Having done this part late at night months ago, I now have no idea what that number was. Lets say it’s 150. It was actually way more than that, but just pretend. And for the sake of clean math, lets say the smaller number (the amount of blanket stitches on the top hem) was 125.
So I need a hairpin lace strip with at least 150 loops. ONE LOOP of the strip will get crocheted to one blanket stitch on the hem of the skirt. Since the top hem has a smaller number, 25 sts less than the larger number, I would need to double up on some of the stitches on the top hem. 125 / 25 = 5. This means when I was attaching the hairpin lace strip to the hem on the top (in fictional pretty-math world) I attached TWO loops every 5th stitch.
Using that strategy and a small hook, I worked a single crochet around the garment, inserting the hook through the top of the blanket stitch and through the hairpin loops simultaneously to attach the fabric pieces. Don’t forget to weave in the ends through both of the middle seams of the hairpin lace strip where the two ends of the strip meet!
Time for the patchy part. With the same upcycled sweater yarn, I made two big doilies using one of the many graphs on my Pinterest crochet board, as well as another hairpin strip for the collar. I sewed these in place with a sewing machine and threaded the loops in the doily with velvet cord to create an adjustable criss-cross tie in the back.
Velvet leggings, thrifted cowgirl boots, ridiculously large hat? Yes please.
I loved melding pretty fabrics with crochet, and using all reclaimed/upcycled materials was a big bonus. I have a feeling I’ll be doing more of this in the future!