It has long been contended that linen, with its typically light color and warm-weather appearance, belongs on your body only between Memorial Day and Labor Day. In fact, this idea has so permeated our culture that many consider it a fast-and-hard rule of fashion. But in the words of every respectable rebel who has ever lived, some rules were meant to be broken.

Of course, the intent of our linen-limiting fashion forefathers may have been pure. Assuredly, they desired nothing more than to ensure the proper fabrics were worn at the proper time of the year. Or so we are led to believe.

Regardless of their intent, here are three reasons you should kiss your obedient days goodbye and prepare to be a linen-law-breaking rebel.

#1: Trends Are Still Being Set

For many people, it is thought that trendsetting is done in some other place by some other person. Not for you. You have the fashion sense of all your favorite designers and aren’t afraid to use it. So why are you still stuck on some archaic law that says “No linen for now”? Grab your fashion destiny by the collar and bring linen into your daily wardrobe immediately. Don’t worry about what season it is, whether you’ll be the only person wearing a linen skirt or suit, or if that incessantly slow holiday has arrived yet. Because when you show up to a meeting in a sleek linen outfit, the entire office will look at you in envy. And you can laugh every time one of them asks, “Why didn’t I think of that?”

#2: Linen Fits All Seasons

Contrary to popular belief, linen isn’t just built to keep you cool in the summer. It is also helpful in keeping your body warm in the winter. So instead of bulking up on layer after layer of cotton or scratchy wool, substitute a layer with a linen item. There may be some people who look at you in disbelief, but you’ll be so warm and cozy you won’t mind a bit. Think you’d like to beef up your winter wardrobe with some linen-tastic additions? Pick up a couple yards of your favorite linen and turn it into a gorgeous, lightweight scarf! Your neck will thank you.

#3: It Comes in Different Colors

One of the main reason linen has been deemed a post-Memorial Day fabric is because it is traditionally worn in various shades of white. However, as you know, linen comes in a rainbow of colors these days. As a result, there is no excuse for you to not have as many colors of linen as there are days in the week or year. Don’t think you can get into wearing linen of all different shades? Feel these different colors strip linen of its purity? Then stick with white and cream linen clothing, but don’t stick them in your closet until Memorial Day arrives. After all, you are a fashion trendsetter, and your wardrobe looks good all year round.

This project can be personalized any way you’d like—linen is ideal for hand embroidering or monogramming, and you can find a wide range of colors, so you can find just the fabric you need to match your décor.

Supplies

Linen Fabric: Using linen instead of the standard cotton elevates these pillowcases from a utilitarian item to a luxury one. Linen becomes soft and comfortable after the initial washing, and will add a touch of elegance to any bedroom.

You will need about one yard of fabric for each pillowcase you want to make.

Other supplies

• Sewing machine and accessories (this project can be sewn by hand, but it will take longer to finish),
• Yardstick and fabric marker or rotary cutter, ruler and mat
• Scissors
• Pins
• Iron and pressing surface
• Hand sewing needle and thread

Directions:

Note: This project uses a 1/2” seam allowance. You will cut the fabrics, then assemble the pillowcase.

1. Cut out the fabric: Start out by measuring and cutting a piece of linen that is 43 inches wide x 30 inches long. It will look a little big at first but this will eventually make its way into a standard size pillowcase.
Tip: Use a rotary cutter and ruler to get the perfect cut every time. If you don’t have one, you can use a ruler and yardstick to measure your fabric, then cut with scissors.

2. Prepare to sew: Fold your fabric lengthwise so that the right sides are touching. (This means that the sides you want to “show” will be inside out.) Pin around three of the sides to ensure a straight sewing edge and help prevent the fabric from slipping.

3. Stitch the pillowcase: Sew together the three pinned sides of the pillowcase. The fastest way to do this is with a straight stitch on the sewing machine but this can also be done by hand if you have the patience.

4. Turn the pillowcase: Turn the pillowcase “right side out” and press.

5. Hem the edges: Fold the hem of your case under ½ an inch and press. This will help keep the hem in place as you continue to the next step.

6. Finishing: Fold your hem once more, this time 4 inches under and press. Pin this hem in place, and sew by hand or machine to finish.

Next steps:

• Finish off your pillowcase with a few fancy additions. Try adding a monogram, or use ribbons, lace and vintage buttons. Whatever you choose – just make it your own . . . your bedroom is the one place that should belong to you and only you so have fun with it!
• A pair of luxury pillowcases makes a lovely gift—for an added touch, embroider with the recipient’s initials or monogram before assembling.

Don't fight with the pillow, but lay down your head
And kick every worriment out of the bed.

~Edmund Vance Cooke

Roman women had three main fashion staples, the tunica, the stola and the palla. Married Roman women were required to wear the stola over the tunica. The stola was much like the Greek women’s chiton. It was an ankle length robe with or without sleeves and it was often made out of linen with a colored border around the neck. It was usually fastened with clasps and girdles were worn just below the bust and around the hips. Women wore the stola in a number of different colors and sometimes the cloth was embroidered with gold thread.

The other staple of the Roman woman’s wardrobe was the palla. The palla, which was worn over the stola, was a long rectangular piece of cloth. It was usually linen or wool and was worn draped over the head and one shoulder. Noble women also wore a linen outer garment with half sleeves called a sapparum. Although female clothing was originally free from any decoration, it became very richly decorated during the Imperial period.

Roman men’s fashion consisted of two basic pieces, the tunica and the toga. The tunica was also very similar to the Greek chiton and was worn by men of all ranks. The tunica could be short or long and could be worn sleeveless or with short sleeves. The tunica was most often made of linen and decorated with two vertical stripes or tapestry panels. The tunica talaris was later adopted and worn by men and women. Made of linen, it was ankle length with long fitted sleeves and was brightly decorated. A special type of tunica called a tunica laticlavia was worn by senators. It was short sleeved with two vertical tapestry stripes from shoulder to hem, front and back that were colored with a dye made from shellfish called murex.

The other main staple of the Roman male wardrobe was the toga. The toga was a large semicircular piece of cloth worn draped over the tunica. However, to wear the toga, men had to be actual Roman citizens. There were several different types of togas and they were used to show ones status in society. For example, the plain white toga virilis could be worn by any adult man. In contrast, the toga praetexta had a purple boarder and was worn by boys under sixteen or by Senators and Magistrates.

The Romans had a wide variety of uses for linen. It was used as sailcloth on Roman ships and was often dyed with bright colors. Additionally, brightly dyed linen was often used as awnings to provide both beauty and shade to the Roman people from the hot summer sun. Linen was also used as the wicks in the olive oil lamps that were so popular during the Roman period. More uses for linen include the linen napkins that were always used during the ever important Roman banquets. It is said that the poet Catallus once received some high quality linen napkins as a gift. One of them was later stolen from him by a dinner guest. Catallus was so enraged over the loss of his linen napkin that he wrote a poem about it!

Although no examples survive today, the Romans also created the Libri Lintei, which literally means books written on linen. These books were lists of magistrates that were stored in the temple of Juno Moneta. Historians such as Livy consulted these books and it is unfortunate that none of them survived.

The Roman Empire was vast and became an amalgamation of the many cultures that had been conquered. Because linen was so popular in the regions that were conquered by the Romans, it is no surprise that linen was so fully adopted by the Roman people. Linen became a highly popular and prized fabric throughout the Roman Empire.

If you long for simpler days yet still want to look up to date on the latest trends, why not create your own styles? It’s the perfect way to fill your closet without emptying your bank account. If you’re in the mood for a new piece for your wardrobe but are low on cash read on to find one of our favorite classic pieces – the wrap skirt.

Here’s a foolproof plan for making a skirt that fits both your wardrobe and your pocketbook . . .

Supplies

Linen Fabric: There’s a reason top designers include linen in their spring and summer collections. It is lightweight, easy to care for, and comfortable to wear. Linen also has a beautiful hand and drape, making it an ideal choice for a warm weather skirt.

You will need about 2 yards of linen for each skirt you make. This skirt has a drawstring, so it is fully adjustable and will fit most sizes.

Other supplies

* Sewing machine and accessories (this project can be sewn by hand, but it will take longer to finish)
* Fabric marker
* Yardstick and fabric marker or rotary cutter, ruler and mat
* Scissors
* Pins
* Iron and pressing surface
* Hand sewing needle and thread
* Safety pin
* 2” wide satin ribbon to match linen, 2 yards

Directions:

Note: This project uses a 1/2” seam allowance. You will measure the fabric and pin, and then sew your skirt. This project is great for a beginner—there are no pattern pieces to worry about, and making it to your own measurements allows you to make a custom fit.

1. Wrap the fabric around your waist: Wash and dry the linen fabric, then wrap the fabric around your hips or the hips of the person you are making the skirt for. You will want to be sure that the skirt is large enough to slip off easily but not so large that it will bunch up.

2. Mark the fabric: Use a fabric marker to mark your desired width, making sure the skirt is comfortable at the widest part of your hips.

3. Cut the fabric: Remove the fabric, and lay it on a flat work surface. Use a yardstick and marker to extend your line from the top to the bottom of the fabric. Cut along the line.

Tip: You can use a rotary cutter and ruler to get the perfect cut every time. If you don’t have one, you can use a ruler and yardstick to measure your fabric, then cut with scissors.

4. Prepare the skirt for sewing: Lay out the fabric onto a smooth surface with the right sides facing inward. Then pin the side of the skirt to ensure straight stitching later on.

5. Sew the side seam: Using a small stitch, begin to sew a simple ½ inch seam down the skirt’s side and then turn the skirt right side out. This will give you a large tube of fabric. Press the seam.

6. Make the waistband: Flip the skirt’s waistband under ½ of an inch and iron – this will offer a sturdy seam without the stabilization of pins. Turn the seam over once more and sew in place.

7. Add the drawstring: From the middle of the waistband cut a tiny slit into the enclosure thread the satin ribbon through. This is done by scrunching the waistband up and then pulling the drawstring through with a safety pin.

Try on the skirt to decide how long you want it to be. If you need to, trim off any excess fabric by marking and cutting with scissors. Be sure to leave an extra inch for hemming.

8. Finishing: Press a ¼ inch seam into the hem. Flip the hem under another inch and sew using a straight stitch. Pin this hem in place, and sew by hand or machine to finish.

Next steps:

* Use ribbons, buttons, or contrasting fabric to embellish the top or bottom of your skirt.
* The wider your fabric tube is, the fuller your skirt will be. You can create very different looks by simply altering the width and length of the skirt.

When it comes to fashion, looking good doesn’t have to break the bank. With a little creativity, a few stitches and a little practice you can look your best for less.

The primary clothing staple for Greek men and women was the chiton, which eventually evolved into two different styles. The first and simplest was the Doric chiton. A Doric chiton was basically a tunic made from one or two lengths of cloth that were folded, pinned and belted to fit the wearer. The Doric chiton was also known as the peplos when worn by women. Women preferred linen peplos. It was made by folding a piece of cloth to form a double layer at the top. A girdle was worn to cinch the garment at the waist while fibula pins were worn to fasten the linen at the shoulders.

The Ionic chiton became fashionable later than the Doric chiton but did not replace it. Both styles were worn by men and women. However, the Ionic chiton required more than simple draping and pinning. The Ionic chiton was a rectangle of linen, folded in half and then sewn down the long, open side. It was then pinned at the shoulders with fibulae. Women’s Ionic chitons were pleated to accentuate their femininity. Additionally, women sometimes put oval weights into the hem so that the chiton would drape and cling to the body better. Many women also wore a light linen shawl called a pharos which served a dual purpose. It provided warmth in the winter by draping it over the head and as a beautiful accessory during the warmer months when worn draped across the body as a scarf.

Linen was so popular in Classical Greece that women also used it in their hair! Dressing their hair beautifully was very important to Greek women. A very common and elegant hairstyle choice was the chignon, especially when worn with a headdress. One of the most frequently seen combinations was a chignon worn with a crescent shaped tiara called a stephane. The stephane was often joined to a linen bag that supported the chignon.

Evidence of a thriving linen industry in Greece has been found on clay tablets that date back 4,000 years. Though the Greeks loved to use linen fabric for their clothing, they had other uses for it as well. One of the most surprising applications was for armor. Considered Greek by many, it is believed that Alexander the Great and his men wore linen armor. In fact, Plutarch claimed that Alexander wore a breastplate of doubled (or folded) linen. It is unfortunate that no examples of this armor have survived. However, through descriptions, paintings and sculpture, archaeologists believe they have reconstructed something very similar to Alexander’s Kevlar like armor. Called linothorax, the armor was made through laminating several layers of linen with a type of simple glue made from flax seeds or rabbit skins. Linothorax was very strong, a fact that has been proven by archaeologists through rigorous testing. It is through such tests that archaeologists now believe that Linothorax would have held up to the weaponry used in battle during Alexander’s time.

(Mosaic of Alexander the Great found in Pompeii, believed to be wearing linothorax armor)

These are just a few examples of the myriad of ways in which linen was used by the Ancient Greeks. From their elegant and simple use of linen fabric for clothing to the ingenious use of linen as armor, we can see that the Greek peoples found linen to be a beautiful and highly functional fabric.

If you’ve ever been to a Renaissance festival, you’ve probably seen plenty of folks wearing linen as they play their festive Celtic music. But linen isn’t confined to being worn by musicians playing music of old. It has made its way on plenty of other stages through the ages. Whether you’re a musician or a lover of all things music, there are a few you can expect from a musician dressed in linen.

I Am Relaxed

The most obvious and frequent use of linen on stage is to make a statement that you’re comfortable, cool, relaxed. At the same time, the musician who wears a linen shirt, top open and unbuttoned, begs the audience to take on the same relaxed demeanor. Life is hard, so why not let your hair down and chill out, while the music flows through your ears and renews your spirit?

While you may expect linen attitudes to only be donned by Jimmy Buffet or the Beach Boys, this relaxed feel can do any band or singer-songwriter right, as it encourages a more personal connection with the audience. After all, who doesn’t feel comfortable talking with someone who is comfortably wearing linen?

I Am Professional

At the same time a loose linen shirt screams comfort, a linen suit puts musicians a cut above the rest. There is no need to wonder whether a musician in a linen suit understands music. The outfit makes it clear that he or she not only understands music, but that he or she takes it very seriously and will do everything possible to ensure the listeners’ enjoyment. Ensuring appreciation may require all-night recording sessions, non-stop touring, or never-ending practice, but it’s okay, because a linen suit makes a hectic schedule fashionable and comfortable.

Who could show up onstage with a linen suit? Basically anyone who has attained musical greatness or has plans to do so. From Thelonious Monk to Jimi Hendrix to the prodigy living down the street, a linen suit gives prestige and dignity to any musical performance, making the musician seem larger than life.

I Am Sexy

If you ever see a pop star or starlet playing music wearing linen, you will understand this sentiment. With linen’s natural sleekness, allowing the fabric to fall comfortably on the wearer’s body, it is the perfect way for a musician or singer to set him or herself apart in the realm of gorgeousness.

Since linen lends itself to fashion designs that other fabrics aren’t sufficient to handle, linen also gives musicians a fashion edge that matches their musical edge. As the music world often demands individuality from its artists, linen is a natural choice for any musician wanting to stand out and look incredible.

The next time you see a musician wearing linen, ask yourself what image he or she is trying to portray. It may be one of comfort, seriousness, or sex appeal. More than likely, it is all three—and the message comes across loud and clear.

In stark contrast to the elaborate Egyptian costumes worn by Elizabeth Taylor in Cleopatra, Egyptian fashion was actually amazingly simple. It changed very little through 3,000 years of rule. The few new styles that were introduced were simply worn alongside existing dress. The same basic styles were worn by most Egyptians. The quality of the fabric reflected social position; the finest linen, woven with gold threads was worn by the Pharaoh. It is said that Cleopatra VII, who possessed a legendary wardrobe, wore linen dresses that were woven with gold. Slaves and commoners, on the other hand, wore loincloths made from coarse linen or leather.

Until the Eighteenth Dynasty (New Kingdom), most Egyptian women wore the kalasiris, a simple linen sheath that usually fell from below the breasts to just above the ankles. It could be held up by shoulder straps or sleeves.

The kalasiris is traditionally depicted in paintings as a very tight, form fitting garment, but some dispute has been raised about how accurate those depictions are. According to some archaeologists, in reality, the kalasiris was probably more loose and flowing.

This not only would have allowed for greater ease of movement but would have kept Egyptian women cooler in the hot climate. Others say that there is no reason to assume the paintings are inaccurate and that the kalasiris was probably as tight fitting and quite possibly as sheer as the tomb paintings illustrate. Surviving pieces show the kalasiris was essentially a length of linen sewn down one side to create a tube. A shawl could be worn to protect the skin from the sun or on cooler winter nights for warmth. During the Eighteenth Dynasty, the wives of the nobility and the pharaoh, such as Nefertiti, the wife of Akhenaton, are depicted in new, more elaborate fashions. The new garments were long, flowing robes of linen so fine that it was almost transparent and covered in dainty accordion pleats. The kalasiris was sometimes worn underneath these robes, but sometimes the robe was worn by itself.

The basic staple of men’s clothing was a linen kilt called a schenti. Much like the women’s kalasiris, the schenti kept the same basic shape for 3,000 years. The schenti was a rectangle of knee length linen cloth that wrapped around the waist and fastened in the front by overlapping and tucking the ends. Like women’s garments, paintings depict more elaborate men’s dress during the New Kingdom. This new costume consisted of a pleated schenti and a long, sheer, pleated robe. Another option was made up of the schenti, a transparent overskirt and a collarless shirt with wide, pleated sleeves.

Most Egyptians wore white linen clothing for functional as well as symbolic reasons. For the Egyptians, white symbolized happiness, so they were content to wear clothing of this color. Though the Egyptians did develop methods of dying linen different colors, it was a difficult process because linen did not readily absorb the natural dyes. For this reason, most clothing was made from bleached linen.

Linen is so durable and the Egyptian climate is so wonderful for preservation that quite a lot of clothing from Ancient Egypt has been discovered. Sir William Flinders Petrie discovered the oldest surviving dress in the world in a First Dynasty tomb at Tarkhan. It is 5,000 years old! It is made of intricately pleated linen and gives some example of the fine workmanship of Egyptian weavers. The dress is now on display at the Petrie Museum in London.

The Ancient Egyptians were masters at creating beautiful garments that have literally stood the test of time. When you start choosing items to add to your summer wardrobe, consider adding a few more linen pieces. After all, with proper care (and just the right conditions) those pieces could last 5,000 years!

A work 12 years in process, Marek Tobolewski’s ongoing Continuum series is a dizzying array of lines drawn, erased, redrawn, removed a second time, and finally settled upon. While the British native has a thing for correcting and re-correcting, the final product can leave viewers with one of two immediate responses: unsatisfied or overwhelmed.

Unsatisfied because of the seeming simplicity of the works. Overwhelmed by the sheer magnitude of a single Tobolewski piece. But upon further study, most are grasped by a sense of wonder. Because suddenly they realize that Tobolewski didn’t randomly scribble on top of a 50-square-foot piece of paper. There was immense, intense purpose. Each line, as random and unconsidered as it may seem on first glance, has its twin elsewhere in the piece. The entire work is a study in symmetry, as one half is amazingly mirrored in the other.

Of course, it isn’t always clear what makes the image symmetrical. Look long enough and the symmetry begins to show its face. And the symmetry sings most beautifully on those pieces painted on linen canvas. One of these, “3 Line Continuum – Magen,” contains the faintest oil lines streaming across, up, and down the canvas, with gentle oil shading in facing corners.

It is as if Tobolewski accented the perceived delicacy of linen, while juxtaposing its actual tenacity and allowing the canvas to breathe and speak for itself. And his technique finds great success. In the painting, the large rectangular canvas does the job Tobolewski declines: that of the storyteller. Stretched nine feet high, the taut linen tells of echoes and reflections, of uncertain certainties and the harmony that only balance can achieve.

Some of Tobolewski’s Continuum pieces that he created on linen were commissioned to reflect the environment in which they were to be displayed. “3 Line Continuum” was designed in response to a private owner in New York, and a diptych that resonates with the symmetry of the gallery in which it was installed was commissioned for Continuum in Balance. Whether Tobolewski was aware of the fact or not, this use of linen is rather appropriate. While he could have used other canvases (paper, cardboard, wood, etc.), linen is especially able to reflect its environment.

An individual wearing a linen shirt, a linen skirt, or a linen suit; and a couple lying down on top of luxurious linen sheets understand the flexibility of linen and appreciate its innate ability to fall in pleasant places. Those same places that lie underneath the linen garment. Likewise, the linen canvas opens the door for Tobolewski’s paintbrush to stay on its seemingly reckless but painfully well-planned course. And once his brush has made its mark, the resilience of the linen canvas ensures the work will not be compromised over time. Because like Tobolewski’s near obsession with symmetry, the linen canvas shall pass the test of time.

“The Market Fair is the most prestigious 18th-century market fair in the entire country,” says Neal Redmond. He and his wife, Margie, operate Druid’s Oak, a full-time business crafting clothing of the French & Indian and Revolutionary War periods. They have participated in the Market Fair since it began 16 years ago.

Redmond says two things that have made the Market Fair a shopping destination for both living history reenactors and the general public: the setting of the Fort and the authenticity and quality of the wares.

The Setting: Fort Frederick

Fort Frederick served as a staging area and supply base for English military operations during the French & Indian War period, operations like the capture of Fort Duquesne (Pittsburgh) in 1758. The fort was excavated and rebuilt as a Community Conservation Corps project in the 1930s. Fort Frederick is now regarded as the country’s premier stone fortification from the French & Indian War and as one of the best-preserved military sites of the mid-1700s in the country.

“It’s magical,” says Neal Redmond, who has participated in living history events at Fort Frederick since the mid-1980s.

The Market Fair began as an annual effort by the Friends of Fort Frederick, a non-profit group preserving the fort’s historical legacy, to bring together today’s merchants (“sutlers”) that are reconstructing the authentic past.

“It started with 10-20 sutlers,” says Redmond, who has participated in the fair since its beginning. “Now there are 150-160.”

The sutlers are all juried, meaning that they are vetted by the fair’s organizers for the authenticity and quality of their wares. Redmond says that reenactors arrive from all over the country—even some from Canada, Europe—come to the fair to shop.

“People save up all year and then come to the Market Fair to spend their money,” he says.

The Maryland Forces, a French & Indian-era reenactment unit, mans the Fort. There’s firing of flintlock rifles, daily demonstrations of period crafts, music, sport, and other activities. “There are a lot of curious public that come just to see it all, even if they’re not there to shop,” says Redmond.

Fort Frederick is situated near the banks of the Potomac River, just one mile south of I-70 near Big Pool, MD (18 miles west of Hagerstown, MD). It is less than two hours drive from both the DC and Baltimore metro areas. It is also less than half a mile from the well-developed Western Maryland Rail Trail.

The Authenticity

If you attend the Market Fair, however, you might not want to wear your Renaissance outfit. Civil War regalia is also out of place, for clothing in the 1750s was quite different from the next century. The Fort Frederick Market Fair is a place to come and do your research—and see the finest reproductions of that period.

That means you will see a lot of linen.

“Linen and wool were the major fabrics of the era,” says Neal Redmond. He uses linen when making men’s shirts and overshirts, as well as women’s petticoats, short gowns and chemises used by reenactors of the period.

One place you’re not likely to see linen, says Redmond, is on the soldier’s breeches.
“Those are mostly wool and buckskin,” he says. “Soldier breeches of the period are tight and the amino acids from all the sweat down there are tough on linen.”

Some sutlers, like Redmond, will have inventory and dressing rooms ready for fitting potential customers. “We get some people who come out of curiosity and end up buying period clothing,” he says. “The whole setting makes you want to get involved.”

While the sutlers and living history buffs of the French & Indian War period will be sure to spot any lack of authenticity in your costume, Neal Redmond says that you shouldn’t be afraid to show up in clothing crafted yourself. “That’s how I got started in my business,” says Redmond, who says he “torture-tested” many of his designs through the rigors of French & Indian War reenacting. “I see a lot of really nice clothing that people have researched and made themselves,” he says.

Just do your homework, for the Market Fair is the place to be for people interested in this particular era of history.

“We regularly get people here who are making films and media from the period,” says Redmond. “It’s the place to be if you’re interested in this era.”

IF YOU GO:
Fort Frederick Market Fair April 22-25
Big Pool, MD (1 mile south of I-70); 45 minutes west of Frederick, MD / about 1.5 hrs from DC and Baltimore

MAKE IT PLAIN

Materials

Suggested cloth – IL 019

To find the amount of linen you will need measure the length of your table adding on a drop at either end. Then decide how wide you want your runner to be. To both of these measurements add ½” (1.5cm) seam allowances. You will need two strips of cloth.

As an approximate guide a table measuring 58”(148cm) x 44”(112cm) would need 2 pieces of linen each 78” (198cm) x 15”(38cm). This allows for a 10” (26cm) drop at either end. To all measurements add seam allowances.

You will also need

2 tassels

Squared or graph paper.

Steps To Prepare

1. Make a pattern by cutting the entire runner in paper. Decide how deep you want your pointed ends to be, then draw them on each end of your paper pattern and cut it out.

2. Place the pattern on your two strips of linen and cut them out.

Steps To Sew

1. With right sides together pin the two strips together.

2. Now baste the edges together so they won’t slip while you are sewing.

3. Sew around the runner making sure you leave a 10”(26cm) opening along one of the sides (diagram 1).

4. Trim the fabric close to the stitching making sure you include the pointed ends.

5. Turn the runner to the right side through the opening. Carefully press the seam allowance on the opening to the inside and slipstitch the edges together.

6. Press the runner firmly so the surface is smooth and even. Then finish with topstitching. To do this, first set your machine to a slightly longer stitch. Then take a piece of tailors chalk and mark your stitching line ½” (1.5cm) from the finished outer edge.

7. Following the chalk line complete the topstitching. You can choose to do this in a contrasting colour if you like and match it with your tassels.

8. Finish by sewing a tassel to each pointed end.

MAKE IT FANCY

Stitch lengths of ribbon along your runner and finish the ends with a bow for a decorative finish.

Version 1

Follow above instructions for Materials ( omit the tassels) and Steps to Prepare. You will also need lengths of ribbon.

Steps To Sew

1. Collect together lengths of co-ordinating ribbon no wider than ½” (1.5cm),
use an electic combination of spots, ginghams and plains.

2. Take one of the runner pieces and on the right side mark lines with tailors chalk the entire length and an equal distance apart.

3. Take one piece of ribbon and place over a chalk line and pin in place.

4. Set your machine to zig-zag stitch and working slowly, machine along the centre of each piece of ribbon to hold it in place. Continue with remaining ribbon strips (diagram 2).

5. When all the ribbons are in place press. Continue making the runner as shown above.

6. When it comes to the pointed ends use pieces of 1” (3cm) wide ribbon 27” (68cm) long. Stitch the centre of each strip to the ends and finish by making a bow

Version 2

Using appliqué is one of the best ways to add colour contrast to a plain strip of material. Here we’ve used overlapping circles of different coloured linen as a central decoration for the runner. Co-ordinate the circles of colour to the scheme you’ve chosen in your room for visual impact.

Follow instructions given for Materials and Steps to Prepare. You will also need fusible interfacing and small pieces of differently coloured linen.

1. Using a cup or glass cut a circular template using stiff card with a 3 ½”(9cm) diameter.

2. Place the template on your pieces of linen and cut out at least ten shapes.

3. Then, cut out the same amount of circles in fusible interfacing and iron them to the wrong side of your shapes.

4. Take one of the runner pieces and mark the centre. Working 4”(10cm) away from this centre point place your linen pieces in a circle overlapping them as you go. Arrange the appliqué pieces in a design that you like.

5. Now pin the circles in place then follow this by basting each one in position (diag 3).

6. On a scrap of spare material practice your machine appliqué. Set your machine on a zig-zag and stitch round the circle. Once you feel confident stitch all the circles on the runner in place.

7. Finish the runner as described above and sew tassels on each end to finish.

SEWING TIP

To get the end of your runner to produce a perfect point, first turn it to the right side. Then gently pull out the point by using a pin. Never be tempted to use scissors to push points out as you are very likely to make a hole or rip your work.