Ever wonder what to do with all those little bits & pieces of leftover ribbon, trim, buttons, etc. that are just too nice to throw away? Here's a project from Susan Beck, Executive Editor at BERNINA of America, Inc., featuring four different notecard designs that you can stitch on your sewing machine. BERNINA's updated Button Sew-On Foot #18 with its "sticky" rubber sole grips buttons and keeps them from slipping as they're stitched to your project.

I learn something from nearly every sewing project, and this one was no exception. Why is the interfacing for the handles cut 1/4" narrower than the batting? I didn't figure it out until I did the edgestitching. The edges of the straps - where there's no stiff stabilizer - are soft and flexible, with the batting adding enough bulk to "fill" the edge. The center of the handle - with stabilizer - is stiff and sturdier than even additional layers of batting would have been. Stability without bulk :)

By now you probably recognize the foot in the photo - my favorite Edgestitch Foot #10, with the guide in the center. Here I've moved my needle about 1/8" to the left, just about even with the inside of the left toe. I'm using a stiletto to hold the edges together as they move under the foot. I could have pinned them together instead, but using the stiletto is faster and easier. This one has been my favorite for a few years - it's Nifty Notions' Brass Stiletto from Brewer Quilting & Sewing Supplies. The handle comes off to make a cover (or the cover comes off to extend the handle) so I can put it in my pocket without danger of stabbing myself, and there's a little ring on the end for attaching it to a chatelaine or a string around my neck.

After holding the tab up to the bag I decided it needed a little "oomph," so I pulled out some gorgeous hand-dyed gimpe I got a few weeks ago at a thread seminar by Jane Garrison, the "Thread Lady" from YLI. They have a new line of hand-dyed cords and threads and postcards and artists trading cards in scrumptious colorways, each named for a different artist. Take a peek by going to YLI's website, clicking on New Products, then selecting any of the first five items on the list. The mostly-brown variegated gimpe I used is named for Paul Klee, one of my favorite Expressionist painters. I cut three strands about 6" longer than I needed to go around the tab, then tied them together at one end to make them easier to load into Cording Foot #22. In the photo you can see a little black latch (over the rust-colored cord). After all three cords are in place in the grooves, the latch swings over them and holds them in place. This keeps them aligned and parallel, "combing" them as they move under the foot. This is a really fuzzy photo - sorry about that - but you can still see how it works. The cords are nearly the same size and color as the mini-piping between sections, and I like how the corded "box" echoes the shape of the bag :) Tip: Check to see how much bobbin thread you have left before you start couching. Not that I stitched three inches and then ran out or anything like that...

After that, all that was left was to attach the handles and tab to the bag. Just in case I change my mind about the handles I've also made the little tabs for attaching a store-bought set of handles, and I'm keeping a watch on the bags that come through my local Goodwill for a set of wooden handles to recycle.

Finished! My new Miranda bag makes her debut this evening at a get-together with some of my knitting friends, then flies to the Midwest and New England with me next week :)

After stitching the outside covers of my Miranda bag, the next step was to make the pockets for the inside. The instructions call for just one fabric, but since I have lots of little batik pieces that kind-of-sort-of coordinate, I pieced them together and used them instead. I followed the instructions for the main pocket stitching at the corners of the bag, but then also stitched-in-the-ditch at the patchwork seamlines using Edgestitch Foot #10. This will make it easy to tell which pocket is which...as long as I remember to always put my phone in the brown pocket, my inhaler in the blue one, my PDA in the purple one... I stitched a few extra pen/pencil pockets - they're just the right size for knitting needles - Miranda's going with me on my next trip, and knitting's a great way to pass the time while waiting for planes to arrive.

Edgestitch Foot #10 (left) is also great for attaching hook-and-loop tape; just align the edge of the tape with the guide and move the needle position a few steps to the left.  

I also like Piping Foot #38 (the same one I used for the mini-piping in the first Midanda post), especially for thick loop tape; there's lots of room for the bulky tape to move under the foot.

After stitching the lining to the covers, it's starting to look like a bag! To finish the faux-binding at the top edge (actually the lining peeking out over the top) I pulled out Edgestitch Foot #10 again, placing the guide in the well of the seam and sewing with the needle in the center position. 

Have you noticed that Edgestitch Foot #10 and Piping Foot #38 are two of my favorites?

Only the handles and tab left to go!

I recently wore these aprons to an event, and they caused quite a stir, so I wanted to share them! The idea came from a new Indygo Junction book called Denim Redesign, which includes all kinds of projects for using repurposed denim. Ask for the book at your local Bernina store, they are able to order it from Brewer Quilting & Sewing Supply. I used one pair of old bib overalls to make both of these very handy aprons.

The front of the bib overalls became this apron, and I used Benartex City Girl fabric for the ties and extras. The embroidery design on the pocket is an OESD design from the Go Retro! collection. I love all the pockets on this apron, small scissors, seam rippers, and seam guages fit perfectly in the nooks and crannies of the top pockets - all the tools I could ever need while working on a project!

The back of the bib overalls made this apron, and I used an Alexander Henry's Tatsu fabric for the ties, the trim, and the dragon applique.

I used a piece of plain red fabric underneath the dragon applique, and used the Bernina Stitch Regulator to stitch all around the shape. Then, I cut away more of the dragon fabric to leave some of the red to show all the way around, and left the edges raw. I used the Button Sew On Stitch on my artista 730 to attach the decorative buttons at the top of the apron and pockets.

These projects were a lot of fun to finish, especially since I salvaged the bib overalls from going into the trash!

No, not the last quilt I'll ever make, but the last quilt I finished. I have at least four quilts-in-progress - all of them full- or queen-size - that need blocks joined and borders added before I can quilt them. Plus sets of blocks I've purchased at flea markets - I'm not the only one that doesn't get quilts finished!

Foundation piecing, based on a quilt in Valori Well's Stitch 'n Flip Quilts book. (I think the border is a Valori Wells batik from years ago, but I'm not sure.) I started it about 4 years ago in a class at my local quilt shop, made all the blocks, then finished a year or so later it at a weekend retreat with my quilt guild. What a great way to sew! 50 women, 50 tables, 50 machines, nearly two full days of sewing, no distractions, dozens of opinons...

I had fun playing with the free-motion quilting on this one. The BERNINA Stitch Regulator hadn't been introduced yet, so all of the quilting was done using Freehand Quilting Foot #29. I like the wide, clear sole of this foot for quilting - I can see where I'm going, and use the edges of the foot to judge how far I am from previous lines of stitching. I couldn't decide which threads to use, so I used them all - variegated threads from YLI, Superior Threads, Mettler, Sulky - all of the pink/orange/yellow and green spools in my stash. This kind of quilt is great for practicing free-motion techniques - since none of the blocks match, the quilting doesn't have to look the same either. No worries about staying inside the lines, having equally-sized loops, putting squiggles in the same places - just move the fabric and "draw" shapes.

I finished another quilt the same weekend - a group quilt made with seven children ages 7-13. It's one of my favorites, but I'll share it with you another time.