I’m writing an article about building a fabric stash for the new Crafteroo magazine and a very much at the ‘composing in my head’ stage.. one of the things I am thinking about is the pitfalls you need to avoid…
One of the mistakes I know I have made a lot, so far, when buying fabric (especially as I’m on a very tight budget!) is to be attracted to the eye-catching prints and designs – the things that really jump out at you and say ‘you must have me now’! All well and good (and who doesn’t love a cupboard – or big plastic box in my case – full up with gorgeous sing-aloud-with-joy fabrics?), but then when you come to put a project together it turns out that you can’t find stuff that will work well together.
Recently, for example, I’ve been really enamoured with Heather Moore’s Cut Out and Keep collection for Cloud 9, especially this gorgeous print – Free as a Bird:
It’s big and bold and just lovely – but since I bought some, back in the spring, it’s been sitting around unused, because I don’t have fabrics that complement it, without detracting from its loveliness.
This lack of bit part fabrics has become a real problem for me, so over the last couple of months I’ve been trying to address it by focussing on buying prints that will become the workhorses of my collection – smaller, more discreet patterns, that look good, and just as importantly really work with the showy fabrics around them.
I’m finding small polka dot prints to be really invaluable – for instance I’ve just bought some more of this navy and white polka dot from Gone to Earth:
Here it is, hard at work in a little pincushion:
Other fabrics that I’m finding that I turn to all the time at are small geometricals. I love Four Square by Denyse Schmidt (Hope Valley) – it’s solid but not dull, strong, but not overpowering:
This is the lovely shade called Berry.
At the Festival of Quilts I picked up half a metre (amongst other things!!) of Farmdale Crosshatch (by Alexander Henry) in pink from The Eternal Maker.
It’s already in the running in the Very Berry Fabric Oscars for Best Supporting Print – it’s simple, but that 40s/50s feel gives it a real edge for me.
I’d love to hear your nominations for the best supporting fabrics!