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Embellish your projects with a simple Japanese embroidery technique £4.99 ISSUE 11 APRIL 2015

Sewing circles

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Clever chair caddyThis nifty storage solution is perfect for small workspaces

Skinny laMinxDesigner Heather Moore opens her Cape Town studio

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001_PP11[Cover]NT3LHWRLH.indd 1 26/02/2015 13:51

70 Pretty Patches • APRIL 2015

Step into the world of Skinny laMinx, a stunning blend of Scandi styleand African soul and the design creation of Heather Moore

Interview by LINDSEY HARRAD Photography by HEATHER MOORE & LAR LESLIE

Material World of HEATHER MOORE

F using the simplicity of Scandinavian design with bolder in� uences from her nativeSouth Africa, the Skinny laMinx brand of homeware and fabrics re� ects a cool, clean

style that immediately proved popular when Heather Moore � rst launched an Etsy shop in 2007.

Heather admits her design ethos has been shaped enormously by one particular setting from her childhood.

‘My mother’s best friend is Swedish and when wewere growing up in Johannesburg her home was very di� erent to everyone else’s. Also she didn’t have children, so it was a very clear, ordered space and I really loved it.’

Equally fascinating to the � edgling artist was that most European of design institutions, Ikea.

‘I used to draw all kinds of things, and at one pointI got hold of an Ikea catalogue. It had such huge appeal to me as we don’t have Ikea in South Africa, or anyone selling that kind of a� ordable yet clean design. Mass

market stores here tend to focus on big, heavy, dark, fussy furniture – it’s very di� erent. I drew a lot of pieces from the catalogue and put them on a tea towel and called it “I Wish We Had Ikea”!’

ATTRACTING ATTENTIONWith a range of paper-cut and screen-printed designs that translate to everything from home accessories to wallpaper and fabric, Skinny laMinx products are now sold online through Etsy, wholesale through other retailers all over the world, and direct to the public from Heather’s shop on Bree Street in the vibrant, creative hub of Cape Town.

Remarkably, given her overnight success, Heatherhad never planned for a career in design and is entirely self-taught. After studying drama and English literature at university and going on to take a teaching diploma, she worked in educational illustration for 10 years.

‘I learnt a lot, including teaching myself to draw, but

Bold and beautiful

070-2_PP11[mwHMoore]NTLHWR.indd 1 26/02/2015 13:39

www.prettypatchesmagazine.com 71

I’d always wanted to give screen printing a go, so in 2005 I took on a small studio,’ she says. ‘My husband had given me a kit for my birthday and I started out making paper stencils and printing designs onto fabric in my spare time.

‘This coincided with getting broadband installed at home, and I began looking at blogs and online shops such as Etsy and thinking about ways to get people to notice what I was doing. I started my own blog in 2006 and then opened my Etsy shop, and amazingly people did notice my work – and I responded to their interest by creating more products.

‘When I got my first wholesale order, I had no idea how I was going to do it, but I did! My business launched very much by the seat of its pants, just by taking opportunities as they came up and not being afraid to give things a go.’

THE FIRST COLLECTIONAt the end of 2011, Heather decided to open a bricks-and-mortar shop in Cape Town. ‘People do take you more seriously when you have a “real” shop – and perhaps you take yourself more seriously too,’ she says.

‘That’s the thing about having a business that grows out of an enthusiasm: you do need to reach a point when you say to yourself, “This is no longer a hobby.” Opening the shop was a good way for me to do this, good for myself and for my customers.’

Heather’s Pinterest pages are scattered with gorgeous prints and creations by Scandi design leaders such as Marimekko, alongside mid-century style influences both original and contemporary – names such as Vera Neumann, Orla Kiely and Eley Kishimoto. Her own signature look combines the cool northern European aesthetic with South African motifs and colours.

‘My very first designs came out of doing some work for a woman whose husband was an authority on cave art. Cave art is something I’ve seen all my life, it’s part of the South African vernacular, but you mostly find it on horrible souvenirs made for tourists so I’d never really perceived it as beautiful. But looking at it with an expert opened my eyes to the delicacy of the drawings, so I set myself a challenge to take that beauty and merge it with the simple design that I love.

‘My first fabric collection was called Sevilla Rock and it was really just repetitions of these cave paintings. The combination of cave art and a clean Scandinavian style enabled me, and hopefully others, to see the paintings for their intrinsic beauty and not simply as an artefact.’

These days, Heather enjoys drawing on influences and experiences from her travels, notably to Japan and India. A new range of upholstery fabrics and ready-made products called Diggi Dot, due to be launched in May this year, was prompted by the delicate block printing and handwork she saw on a recent teaching trip to

‘When I got my first wholesale order, I had no idea how I was going to do it’

Opposite page: The Cape Town shop and a selection of signature designs.Left: Developing a new screen-print – Heather’s skills are entirely self-taught.Below: There’s no shortage of themes for Skinny laMinx.



Jaipur. But quilters will be particularly interested in her third collaboration with Cloud9 Fabrics. � e stunning Yoyogi Park quilting collection is tipped to be hugely popular in the UK.

‘Working with Cloud9 on a second fabric collection has been so easy. It was such a lovely collaboration with creative director Michelle Engel Bencsko – we have a happy chemistry in our process,’ says Heather. ‘My 2013 trip to Tokyo in� uenced the collection I designed for Skinny laMinx last year, and I thought it would be nice to tie the same story into the Cloud9 collection but with a di� erent style more suited to the quilting market. I made some drawings of topiary and trees, and then added some birds and feathers, and came up with a design called Shrubbery.

‘All my fabric designs are hand drawn, hand printed or paper cut initially, but then the designs are developed further on the computer. And yes, I still � nd it very exciting to see my name on the selvedge of the � nished

Material World of HEATHER MOORE

Above: Heather in herCape Town studio.Top right: Change purse in Flowerfi elds fabric, a characteristically bold and crisply defi ned print.

Below: Popular soft bucket storage in tribute Orla design.Below right: A tempting array of fat quarter bundles.

fabric, even though I see the designs many times on paper, and then again on the screen before the fabric is � nally printed.’

CREATIVE THINKINGAs a designer, Heather says she is blessed with having too many ideas and rarely struggles to come up with something new. ‘I just start doodling and before you know it something will happen: you � nd a loose thread and start pulling at it.’

Capably supported by her business partner Pearl � ompson, she tries to set aside a day a week to be purely creative.

‘It’s not always easy to keep it going but I have a practice that I call ‘Making Friday’, where I put all my e� ort into getting away from deadlines and organising product shoots and so on, and just sit and make something in my studio.

‘It’s amazing how many of the designs that I comeup with on those days end up becoming new lines. For the Cloud9 collection, one of the designs is called Feather Leaf. I’d sat down to try and work and I didn’t know where to start. � e Venetian blinds in my studio were down and there were dots of light falling on my desk, so I drew around them several times with an ink pen and made some little feathery patterns. It started as little more than a warm-up exercise. I had no expectation it would turn into something special.’

As a self-taught designer, Heather admits to having lacked con� dence in her work in the past, but over time she has grown to trust her creativity and to let the popularity of the brand speak for itself.

‘I’ve learned to value other people’s belief that what I’m doing is worth something,’ she says. ‘You are your own worst critic, so you need to trust other people and their willingness to trust you.

‘� ere’s no point feeling self-doubt – you just have to get on with it.’

You can fi nd out more about Heather Moore and

Skinny laMinx at www.skinnylaminx.com

To see the new Yoyogi Park collection for Cloud9

Fabrics go to www.cloud9fabrics.com

Search for stockists at www.hantex.co.uk/cloud9

Turn to page 75 to make Vanessa Lynch’s exclusive mini quilt using the Yoyogi Park collection, designed

by Skinny laMinx forCloud9 Fabrics


CIRCLES MINI QUILT Project

Sweet circlesProject and photography by VANESSA LYNCH OF PUNKIN PATTERNS

Learn how to get curves in all the right places with this vibrantmini quilt project that’s much simpler than it looks


Combining plain solids with a few fat quarters of a favourite print collection

is a great way to make a designer fabric go further

075-7_PP11[proCircleQuilt]NTWRLH.indd 1 25/02/2015 10:42

6

FINISHED SIZE

Approximately 36" x 48"

CUTTING NOTES

✁ Cut out 48 circle pieces, outer circle pieces

and rectangles. The rectangles measure

7"x 1½", so you can cut them out with a ruler

instead of a template if you wish.

1 Lay out an inner circle piece and an outer

circle piece. Note that the pieces are not

symmetrical; the solid black circle on the

pattern pieces shows which direction they

should be in relation to one another.

2 Fold the inner circle piece, right sides

together, so that the end points of the curved

side are touching. The straight sides will not

align because the piece is not symmetrical.

Press to create a seam, as shown.

Repeat for the outer circle piece, folding

wrong sides together to align the ends of the

curve. Press.

3 Turn the outer circle piece wrong side up

onto the inner circle piece, making sure that

the pressed seams sit inside each other. (The

outer circle piece is a solid, so it looks the

same on both sides.) The pieces are now right

sides together. Pin in the centre seam only.

4 Pull the end of the outer circle piece to

line up with the edge of the inner circle piece,

as shown. While you are sewing the pieces

together, make sure the bottom inner circle

piece remains fl at. The outer circle piece will

curve to fi t.

5 With your sewing machine set to a smaller

than usual stitch length, begin sewing the

edges together slowly. As you turn your

fabric, re-adjust the top fabric to make sure

the edges line up.

6 Remove the pin as you go, and stop at

the centre to re-adjust the second half. Align

the other edges and hold them fi rmly in

place as you begin to sew the second half of

the curve.

7 Press the piece fl at when you’re done.

8 Next sew a rectangle to the side of the

block. It will fi t on only one side: the other side

will be too short. Press fl at.

Repeat this block construction to make a

total of 48 blocks.

Project CIRCLES MINI QUILT


HOW YOU MAKE IT

MATERIALS

❤ 4 fat quarters of print fabric

❤ Two ½ yd cuts of solids – I used

Cloud9’s Cirrus solids in Limestone,

Ash and Turquoise

❤ ½ yd fabric, for sashing

❤ Basic sewing box

FOR TEMPLATES PLEASETURN TO PAGE 91

1

4

2

5

3


CIRCLES MINI QUILT Project


Vanessa used Skinny laMinx’s newYoyogi Park collection for cloud9fabrics.com

For UK stockists see www.hantex.co.uk/cloud9Tturn to page 70 to find out more aboutSkinny laMinx designer Heather Moore

9 Trim each of the blocks to a 61/2" x 61/2"

square. To do this, use a patchwork square

ruler (it can be larger than 61/2" square). Align

the 51/2" line with the sashing seam. The spot

where the circle meets the sashing should

be at the intersection of 1” and 51/2". The top

of the circle should be at the 6" ruler line over

to the left and at the 1" line down. Trim the

left and top side of the block.

10 Rotate the block so that the 61/2" ruler

lines are on the edges you just cut. Trim the

top and left side again. You now have your

perfect 61/2" x 61/2" square block. Repeat for

all of the 48 blocks.

ASSEMBLING THE QUILT

When all your blocks are sized and ready,

arrange them in larger blocks of four to

complete a circle design. Sew together.

Next sew your larger circle blocks together

in a grid of 3 x 4 blocks to create the quilt

top (see diagram, right).

Baste and quilt as desired.

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