It’s back! After the success of the first #so50visible challenge in 2019 we thought you might like to do it again, especially the thousands of you who have discovered @sewover50 since last year and who might have missed joining in.
In early 2019 we set you a challenge to find a pattern which featured an older model (at least 45+) and make it. If you thought this would be easy then you would have been mistaken, because once we had started looking more closely we realised that this was going to be much harder than it sounded.
Rather than me reinvent the wheel again here I suggest you take a read through the extensive post I wrote at the time, and its follow-up, so that you have some understanding of the challenge we set and how the whole idea came about. There is also a VERY extensive list of as many patterns as we could source at that time.
Since last year I’m cautiously optimistic that the situation seems to have improved somewhat. Sandy and Judith have been diligently saving in Highlights over on the Instagram account many of the new patterns that have been released in the the last twelve months which feature older models-male as well as female. Some of these patterns are by companies which have been consistently good at using a variety of models of all ages whilst for others this is a first toe in the water, which is great to see.
It seems that a lot more companies are actively using older women amongst their choice of models now (although a few still think we all want to wear the frumpier selection of what’s on offer-very wrong!) For the most part though, of the pattern companies who are choosing older models, they realise that we can be stylish, creative, outspoken individuals who do not have a shampoo and set once a week, don’t want to be stereotyped and who have money to spend on quality products.
I’ll list as many of the new patterns as I can but, if you’re tempted to join in with the challenge, I would strongly urge you to take a look at those I’ve already listed because each website will include that brand’s new patterns anyway.
Among the new ones we know of are, in no particular order:
Cashmerette-Washington dress and Rivermont Top and Dress
The Maker’s Atelier-there is wide range of patterns to pick from including several new designs Shawl Collar Dress, Shawl Collar Coat, Over-sized shirt dress, Blazer and Wrap Dress
Style Arc-Sheryl stretch or woven pants, among others.
That Wendy Ward-brand new book ‘Sewing Basics for Every Body’, the Kim jumpsuit and the Dylan Peacoat particularly
Simplicity and Butterick have improved considerably since last year and we have been told that they are actively including more mature models in their catalogues now, let’s hope this is the case. There are now a reasonable number of patterns to choose from (too many to list here individually) so browse their website or catalogues to see if there’s something that appeals.
I’m going to leave it there because I’ll never quite know where the end of this list should be! I would urge you to look through pattern company websites, books and catalogues for your inspiration if you’re keen to participate. I would also add that there are quite a number of small pattern companies who are hugely supportive and involved in our community but they either don’t use older models, or they use illustrations, so we can’t include them for this challenge. That said, we are very appreciative of every repost, share and use of the #sewover50 hashtag that any pattern company gives to a SewOver50er, they are always welcome and it helps to keep our little, occasionally slightly wrinkled, faces in the public eye to prove that we’re still here, and have no intention of keeping quiet.
We’ve got prizes again too so thank you to our list of sponsors (so far) who are offering a selection of patterns, and Wendy Ward is offering a copy of her new book too. Winners will be chosen at random after the challenge closes. You’re welcome to share works-in-progress but only completed garments shared with a photo of the original pattern after the closing date will be eligible to win a prize.
Stay in touch with the Instagram account while the challenge is on because that’s where you will find any new information as it crops up. Make sure you use the new #so50visible20 hashtag although the original #so50visible is OK too. If a pattern company reposts your outfit (which obviously we really hope they will!) use the #so50thanks hashtag too. Keep an eye on their Stories feed too because sometimes they forget to tag us, or the tag doesn’t work for some reason.
The #so50visible20 challenge begins on March 1st and runs for the whole of the month so what are you waiting for? Share a photo of your garment along with the source pattern, have a look in saved highlights on the IG account for various ideas how to do this, it doesn’t have to be a brand new garment this year but it should be a new photo of it, not one you’ve shared before. You could even use a flatlay this time, particularly if you don’t like putting yourself in the frame. Have a look at #so50flatlay for ideas on this. There is no limit to the number of entries you can put in either.
We can’t wait to see how SewOver50ers rise to the challenge, the more we keep this in the public eye then the more chance we have of seeing older faces featuring on pattern covers, in magazines, in sewing books. And part of the worldwide fun of this challenge is seeing makes for the opposite seasons to the one we might be living in because, let’s remember, we’re a global account, and that’s a really big deal!
I’ve been meaning to write this post for months…six months to be exact, because that’s when I wore the dress at my dear friend Jenny’s wedding in April! I know it’s a spring/summer dress but I thought the way I’ve used the fabric might be of interest if you’re thinking of tackling a tricky fabric. I’ve used a couple of techniques which could be helpful.
I bought the fabric in Fancy Silks in Birmingham last autumn with the intention of making an Asymmetric Dress TPC2 by Trend Patterns for our cruise but eventually I made that in something else and, as Jenny had set the date for a spring wedding, I decided to use it for that event instead. It’s a challenging fabric which I would describe as being a satin-striped organza which has been overprinted with flowers. It’s exactly the same type of fabric that I used for my Dior-inspired evening gown three years ago. Part of the challenge is that it’s sheer so it needs to have some kind of lining, this could be a loose lining, or an alternative is to mount it onto another fabric first like I did and then make it up into the dress.
By an amazing piece of good fortune I had some very soft satin left from a pair of bridesmaid dresses I made about five years ago and it was a PERFECT match-unbelievable! Better still, I ordered some lining from Minerva based purely on the colour image on my screen and it was also a perfect match-it was obviously meant to be.
Clearly though I had to decide on a pattern, I didn’t want anything too flouncy and there was going to be some serious stripe-matching going on so it couldn’t be in a million pieces. I rummaged amongst my patterns and came upon Butterick 6244 by Lisette which must have been free with a magazine at some point. A couple of the lovely ladies who come to my class have made the coat with great success but, looking at reviews, I think the dress has been largely passed over. It appealed to me because the skirt was a very straightforward A-line and the bodice was Princess seams with a ‘Dior’ dart [this is where a short dart extends to the bust point from a Princess seam] There is also a small shoulder yoke at the front so that was perfect for rotating the stripe.
With the exception of the sleeves I had to cut all the pieces in three different fabrics, the satin and the lining I could cut together but the organza had to be cut separately to ensure the stripes matched properly. I altered the sleeve to make them longer and then I decided to add a pointed cuff to finish them off.
Once everything was cut out it’s a fairly slow process of ‘mounting’ each organza piece onto its satin backing. I began by laying each satin piece shiny side up flat on the table, placing the organza on top and pin the two together around the edges. Then, moving it as little as possible, I tacked each piece together within the seam allowances. This was another reason for keeping the number of pieces to a minimum because this process takes a fair amount of time. Once all the pieces have been mounted you simply construct the garment as normal. This has various advantages, it makes the see-through fabric opaque, it makes a flimsy fabric more stable and in this case it means the hem of the skirt will be invisible when sewn.
I used narrow piping on the neck edge and the waistband to give them some finesse, I had to cover the piping cord with both organza and lining because the cord showed through the organza alone. You can use a regular zip foot to sew on the piping, I have a specific piping foot for my Pfaff which is brilliant because it sews so close and holds it all firmly in position whilst sewing.
So that’s pretty much it really because aside from matching lots of stripes it’s a normal dress. The beauty of the skirt meant that I could use self-made satin binding on the hem and then the hand-stitching won’t show on the right side, a truly invisible hem!
The only sheer parts are the sleeves which I added pointy cuffs to and finished them off with pretty sparkly buttons. I mounted each cuff part onto plain organza before construction to give them more stability.
I hope you might find some of these techniques helpful if you’re tackling trickier fabrics. Mounting one onto another is useful to add interest-you could have a contrast colour underneath lace for example, it gives opacity to flimsier fabrics, stability and support to fabrics like panne velvet and can enable seams and hems to ‘disappear’ with ease. I used french seams in the sleeves but otherwise they are all regular seams. I only overlocked those inside the skirt as there is a separate skirt lining, the bodice is fully lined and enclosed so there’s no need to overlock any of those seams. If you’re using chiffon or georgette which are more fluid fabrics than organza you you should back them or interface them with a similar weight of fabric, preferably plain in colour so as not to show through or deepen the colour of the top fabric too much. Plain chiffon or organza are frequently used in couture techniques for this purpose.
It turned out that April 22nd was a very warm day so maybe I should have dropped the neckline slightly but that’s British weather for you-somewhat unpredictable! It was a gorgeous, happy wedding…
So as we head towards winter here in the UK I bring you a post featuring a summery dress! Anyway, you might find parts of it helpful.
Mary Quant is a name which is synonymous with British, and world, fashion in the 1960’s and 70’s. She is credited with pioneering miniskirts (although these were almost certainly originally by high-end French designer Andres Courreges, she popularised it and brought it to the masses) along with youthful Vidal Sassoon ‘5-point’ haircuts, and brightly coloured tights and accessories, all things that were a world away from the stuffy, old-fashioned clothes that young people were wearing up until that point, looking like younger versions of their parents.
She created a new and exciting fashion ‘scene’ that was fun and liberating, and which meant that young women in particular could wear what they wanted. The clothes were affordable and accessible although initially they were only available from her two London stores named Bazaar. She made them in bright colours reminiscent of children’s clothing, and often in ‘easy care’ modern synthetic fabrics such as Courtelle and Crimplene which were being developed following the end of the Second World War. Initially the garments in her shops were made in very small numbers using adapted Butterick home dressmaking patterns but this had to change rapidly with Quant’s increasing success.
A new retrospective of Mary Quant’s work has just opened at London’s V&A museum and it’s a fascinating overview of a twenty-year period of her work. During this time, she embraced a post-war boom in shopping and media marketing which resulted in mass production and export of her clothes all over the world, in a way which challenged the dominance of Parisian couture. She changed fashion with fun, edgy clothing that helped to modernise and redefine and which she promoted with high-energy fashion shows unlike the sedate shows that had gone before. Her clothes were being worn by women of all backgrounds, from celebrities and professionals, to mothers at home with young children. She developed ranges of underwear, hosiery, accessories, shoes and make up, even dolls, which often sold for not much money and so were available to just about anyone. She was at the forefront of mass-production of clothing and her garments were manufactured for over 30 years by Steinbergs in Pontypridd, Wales.
Her designs helped to sustain the British textile industry in the difficult post-war years. In 1967, for example, she used stretch-towelling and velour which allowed freedom of movement and comfort in ‘loungewear’, a mode of dress we just take for granted now and can’t imagine living without.
She also embraced a new type of wool jersey which was bonded to acetate fabric, making it more stable and could be dyed many bright colours and she exploited to the full with her iconic jersey minidresses.
She gained a reputation for reinventing tired products such as raincoats and sewing patterns. Her own initial experiments with PVC rainwear weren’t that successful because the seams were difficult to sew on standard sewing machines and they leaked so Quant quickly realised that she needed to work alongside long-time manufacturers of waterproof clothing to learn from their experience and specialist equipment.
In 1964 she signed a deal with Butterick patterns, the first British designer to do so, and this enabled home dressmakers everywhere to recreate her most popular styles in their own way whether it be in luxury fabrics or on a tighter budget. The first such pattern to be released was the iconic ‘Miss Muffet’ dress, a trademark simple shift with a pretty scalloped collar. There is a lovely original example on display made in 1964 by Sheila Hope in a fine Liberty wool.
Mary Quant also collaborated with chemical and fabric manufacturers Courtaulds and ICI to bring designs of Courtelle and Crimplene fabrics to a younger, trendier audience. Crimplene, which is a polyester-based fabric with easy-care properties, had fallen out of fashion by the 1970s in favour of other better-ventilated and lighter-weight fabrics so she was commissioned by ICI to rescue it’s fading image. It was possible to buy Crimplene in over 500 UK stores at a cost of about £3 per yard (the equivalent of about £23 today)
Many items on display were loaned or donated by ‘ordinary’ members of the public after the V&A put out a request for such items with the hashtag #WeWantQuant. There are interesting photo-montages with people’s memories of owning, wearing or making their own Mary Quant clothing, I particularly liked the quote from Sheila Nicholson, “I horrified my Domestic Science teacher by using a Mary Quant dress pattern for my O-Level!”
Interestingly, Indie pattern design company Alice & Co have collaborated with the V&A to produce a free downloadable dress pattern so you can make your own version of a Mary Quant shift with multiple variations giving lots of options to make your own homage to the MQ mini dress, visit the V&A website for more details, and look on Instagram for lots of tester inspiration too.
There are so many garments in this exhibition which could easily be from today, they still look fresh and wearable. This year jumpsuits and playsuits are very on-trend and there are several examples on show which wouldn’t look out of place now.
I didn’t expect to enjoy this exhibition as much as I did if I’m totally honest, I’m much more fascinated by the techniques, beautiful fabrics and appeal of couture but there was lots to see, along with interesting archive film clips and reminiscences from former Quant colleagues and collaborators. Although Quant herself is still alive she is very elderly now and takes no part in the exhibition. If you decide to take a trip to London any time before February 16th 2020 this would be an excellent way to spend a couple of fashionable hours.
SewOver50 has been going strong on Instagram for nearly 6 months now, since Judith Staley set it up last August, and it seemed like it was time to consolidate its success by setting up a new challenge for dressmakers to join in with.
Judith and I, along with Sandy in Brisbane, have been working on ideas for a while and eventually we hit upon the notion of asking anyone who wanted to join in to choose a pattern which featured an older person modelling it in the advertising ie: on the packaging or accompanying artwork. This proved to be even more difficult than we had imagined because it only went to show just how few pattern companies feature older models, never mind women of colour or larger sizes! Unlike some recent publicity elsewhere we’re not intending to shame pattern companies who don’t include us as part of their demographic because it isn’t helpful, we want to highlight and commend those companies that already do, even if it’s to a very small degree, and hope to encourage those that don’t to follow suit. It does seem though that a few companies have been falling over themselves to apologise to people of colour who sew (POC) or those who fall outside the ‘normal’ size range for excluding them, whilst we as older sewers didn’t merit such an acknowledgement-perhaps they actually don’t want our custom? Are we being too polite? Whatever, onwards…
Let me set out the challenge to you (should you choose to accept it…) it is this…
To sew a garment either for yourself or someone else using a pattern which features an older person ie: over approximately 45-50, on the cover and/or in other original supporting marketing. This doesn’t include a company sharing of other people’s versions of their patterns on social media. The point is to highlight how few patterns we think there are like this and to encourage designers and pattern companies to think outside the box more and include over the age of 50 in their advertising because we’re such a large part of their buying public. We feel that there is no valid reason to side line this particular audience especially as we often have more disposable income to spend.
The challenge can include any adult garment, for women or men, it can simple or advanced, outerwear or underwear, tops, bottoms, dresses. Only the garment which uses the older model in it’s artwork/advertising should be made, not any other garment by that company if it’s the usual situation.
We have decided to include patterns which feature in books or magazines (probably from within the last 5 years or so) too because there may be more opportunities available there.
If you feel strongly about using a genuine vintage pattern (as opposed to a modern take on vintage) which features an apparently older person then go ahead but it can be so hard to tell because everyone looked old back in the day, even teenagers!
Share what you’re up to as often as you like for the duration of the challenge, we all like to see what others are sewing and if you have a great pattern then let’s get it out there for all to see, someone else may want to choose it too! Make sure you follow the @SewOver50 account and use the hashtags #SewOver50 and #So50Visible so that we can all search for and see them too.
We’ve had several generous offers of patterns as ‘prizes’ from a few designers which will be randomly awarded at the end of the challenge. This isn’t really intended to be a competition, it’s more a sharing of ideas and inspiration and highlighting our presence.
In no particular order the ‘prizes’ are as follows-
The Maker’s Atelier-Holiday shirt and top.
Seamwork- 1 of 3 PDF patterns
Paper Theory-Olya shirt
Alice & Co-pattern bundle.
You don’t have to make a brand new garment for the challenge but ideally it will be one you’ve made relatively recently (within a year, say) and haven’t already shared lots of times. Why not take a new photo of it though?
When you’re ready to enter then you must include a shot of the original pattern as well as your finished make. If you don’t know how to do multiple images or collages on Instagram then just include the pattern in the shot with you (or your chosen model) Judith will share regular posts and information and you have plenty of time.
Post your photos any time between February 1st and March 15th 2019 on the @SewOver50 account and make sure you include the hashtags so that we can see them.
The Challenge is open to EVERYONE regardless of your age, size, gender, ethnicity or orientation.
Once we started searching we realised that although there are MASSES of pattern companies now there were very, VERY few using older models [the slight exception seems to be for men’s patterns where an older man is deemed to ‘distinguished’ the same does not seem to apply to women] Judith and I trawled through The Fold Line’s huge database which was very helpful as it collates so many pattern companies but it was often extremely difficult to tell if the model was in the over 45-50 bracket or whether they just appeared that way! We decided to err on the side of caution so as not to cause offence but if you feel the model (or the illustration) is ‘older’ then go right ahead.
There are doubtless more pattern companies existing in a small way where you are-SewOver50 has a global reach with followers all over the world-so if you know of a company, or are a pattern company, probably producing PDFs, then please highlight it on Instagram or message Judith directly and she’ll share it on the account.
We’ve compiled a list for you to look through [it isn’t that long and it isn’t definitive by any means] so hopefully you’ll feel inspired and want to show some love to those companies which already acknowledge we exist!
Wendy Ward-Beginner’s Guide to Sewing with Knits book
Any pattern created for a sewing or dressmaking magazine and which is modelled by an older person could also be deemed eligible.
As I’ve said in previous blog posts, I know full well that some smaller companies want to keep a tight rein on the image that they are projecting and I respect that completely. Sadly, as a wider community, we’re noticing that some of these companies don’t ever acknowledge any of us, via social media, who don’t fit into their ideal demographic. They are more than content to encourage us to ‘share your makes’ and ‘share the hashtag’ etc. so that they get lots of lovely free advertising from us but this is starting to get galling and I’m thinking of no longer naming, or indeed reviewing, any pattern by certain brands if they can’t be bothered to acknowledge the actual community that they rely on! #NoLikeNoMention
There are a quite number of other groups that are under represented in sewing community terms too so if you feel you are in one of those; people of colour who sew, curvaceous sewers and people with disabilities are just a few examples, please take it as read that you are absolutely invited to be a part of this too, the #SewInclusive hashtag would be pointless if it didn’t actually include anyone who wants to be involved.
We really hope that you’ll want to join in with this challenge, and that by doing so, as a community, we’ll encourage more pattern companies to choose carefully the models they use. Many of them must have stylish Mums or Aunties who would be up for a photo-shoot, or there are plenty of beautiful people right here in the sewing community who would volunteer I’m sure.
We’d love you to be a part of this challenge and help demonstrate that there are many of us who, whilst we’re a bit older, we still take a keen interest in fashion and great clothes, and we make stylish things which deserve to be seen and acknowledged by a greater section of the home dressmaking market. I want to stress that other than the pattern ‘prizes’ which have generously been donated this post is not sponsored, endorsed or affiliated by anyone and the @SewOver50 account isn’t either. We’re really looking forward to seeing what you all come up with so get searching, begin sewing and start sharing.
I think this is a fairly comprehensive album of my makes in 2018, most of them have been worn a good number of times although not all were for me.
When I look back like this I realise what a busy sewing year 2018 was ( and a bit of knitting too!). Also, there seem to be a LOT of dresses and tops but very few skirts and trousers! I think this is definitely as a result of me gaining weight in the last two years and feeling self-conscious so, with the exception of my Megan Nielsen Ash jeans from autumn 2017, I really haven’t wanted to make close-fitting clothes.
I’m addressing this now, with some success so far, but the other truth is that I like wearing looser-fitting clothes anyway, although hopefully I can go down a size or two when I make them in future…time will tell.
Some of the garments you see here have been worn loads since I made them whilst others were less successful. Sometimes this was bad fabric choices, sometimes they didn’t suit me after all, also the weather became so hot that I didn’t wear the heavier items as much as I expected at the time.
I tend not to set myself up for ‘sewnine’ or other year-long initiatives because I’d rather see what takes my fancy as time passes, or whatever gap I feel needs filling. I’ve really enjoyed making a few jackets and coats this year and they have all had a good amount of wear, they aren’t something I’d done much previously. I’ll be making a couple of posh frocks soon because we’re going on a cruise in March which will need a few fancy threads in the evenings, I’ll be taking old favourites like the Maker’s Atelier Holiday Shirt and New Look 6351 trousers, and Papercut Moana to keep cool in during the day though.
Have you got sewing plans already for 2019 or are you more like me and just see what takes your fancy? We’ve got the new series of the Great British Sewing Bee to look forward to very soon and I’m sure that will inspire even more people to take up this brilliant activity with us! Dressmaking is an activity anyone can try fairly easily these days and there is so much inspiration, help and encouragement out there too, in a way it never was when I was first sewing.
I can’t wait to see the two blockbuster exhibitions at the V&A next year, Dior: Designer of Dreams opens in February and Mary Quant in April so there’s lots to look forward to there. It’s well worth considering membership this year I’d say, I’ve had excellent value-for-money from mine these past four years. [alternatively, Art Fund is also worth considering if you don’t live near London because that gives you reductions to lots of galleries and museums all over the UK, including the V&A)
I’m also looking forward to seeing a lot more SewOver50 activity from all over the world too, have you joined yet?
Maybe our paths will cross in 2019 and we can talk sewing together in real life?
I thought in this blog I’d take a look back at some of the things I’ve been up to over the last twelve months and it’s made me realise what a wonderful varied collection they are. As well as sewing multiple garments from numerous patterns (which I’ll look at in a separate blog) there have been several meet-ups including the Stitchroom Sewcial in June and the now-famous Sewing Weekender in August, plus one I organised myself in November. I’ve visited quite a few exhibitions, some of them more than once, read lots of books and written reviews of several of them in case anyone out there was interested in knowing more if they fancy a visit or a read for themselves. I’ve been back to the Knitting & Stitching show, and The Handmade Fair for the first time too.
In January I made my first coat in decades, the Butterick 6423 and was pretty pleased with the outcome overall.
My first meet-up of the year in February was a return visit to Balenciaga at the V&A organised by Alex (Sewrendipity) where I met a number of lovely fellow dressmakers in the flesh for the first time. It was so nice to go to an exhibition with like-minded people and then we all went for lunch together afterwards-very civilised!
Also in February Gabby Young invited me to become one of the Simple Sew bloggers so I embarked on a year of wrangling their patterns into submission, they are nice designs but aren’t always faultlessly accurate in their drafting or instructions. I took on the role on the understanding that I’d be honest (although never rude) but informative and constructive. I’ll leave you to be the judge of whether I achieved that.
I had the opportunity to visit the Fashion Technology Academy in April which was such an inspiring place. You can study many of the technical aspects of clothing production there and we also had the chance to try out a taster session of TR pattern cutting with the supremely gifted Claudette Joseph while we were there too. If you, or someone you know, wants to go down the technical route into garment manufacture then this place in North London could be a good place to start looking.
Also in April I returned to the Fashion and Textiles Museum in Bermondsey, London to attend their fascinating ‘Inside couture’ afternoon. I’ve been once before but it’s so enjoyable, and such a treat to get the your hands on real couture clothes (with white gloves on, natch). I highly recommend a visit if you’re in London but you do need to book for these particular events, the museum itself is open most days.
The first London Stitchers meet-up was held at the beginning of May and although I’m not technically ‘London’, as has become obvious, I go up a lot. These are organised by Ana Cocowawacrafts and Georgia One Stitch Forward and they vary in their locations between north, south and central London. Anyone is welcome and it’s a great way to meet new people and know that you all have at least one shared interest! It’s like speed-dating for dressmakers!!
Me Made May was also happening on Instagram and for the first time in ages I managed to post every single day for a month-long challenge even though I was out of the country for some of it. Lots of garments I shared weren’t new and box-fresh, in fact quite a few of them were old favourites, which is as it should be. We made a trip to Assisi in Italy during this time so that made my backdrops a bit more interesting for a few days!
I tried something a bit different in May by going on a course to learn how to make and print my own etchings. I’d done this once a million years ago when I did my Foundation Course at college and have always found the medium fascinating and beautiful. [Go and check out Rembrandt’s work in particular if you aren’t sure what they are] I’d met a lovely lady called Chrissy Norman on the first Sewing Weekender two years ago and it turns out that not only does she sew and knit, she’s a super-talented printmaker too. She has a separate IG account for her prints and I admired a print she posted on it early in the year. It transpires that she teaches courses a few times a year at Sudbourne Park Printmakers workshops. Long story short, I signed up and joined her in Suffolk in mid-May. It was soooo interesting and fun, plus I made some pretty respectable prints based on a photo I had taken of the Maggi Hambling sculpture on the beach at Aldeburgh, Suffolk.
The summer saw the first of several visits to the Frida Kahlo exhibition and Fashioned from Nature at the V&A museum. I also loved the retrospective of the work of Azzedine Alaia at the Design Museum, I didn’t write a review though because by the time I went there wasn’t much left of the run sadly. It was spectacular though and I’m very glad I made the effort. That same day we went to see the musical Hamilton which was absolutely stupendous, Mr Y normally doesn’t go for that style of music but even he has raved about it ever since-highly recommended!
In June I was one of the lucky attendees of the first Stitchroom Sewcial event organised by Anne ‘New Vintage Sewing’ and Lucy ‘Sew Essential’ at Anne’s workplace in the University of Loughborough. They had excelled themselves with activities for us all to try including visiting the print and weaving workshops, computerised machine embroidery, an individual photoshoot AND time to sew and use the industrial machines Anne has in her classroom. I really hope I’m lucky enough to go again in 2019…
I took a road trip with my ‘local’ sewing friends Alana and Helen to visit Sewisfaction on their first Big Summer Stitch-up which was great fun, even though it was a steaming hot day.
At the end of July and beginning of August I posted two blogs which seemed to light the blue touch paper that rapidly became Sew Over 50. When I wrote them I thought no one would read them, much less agree with me, so I was stunned by the response to say the least. My now-friend Judith was amongst those who read them and was feeling the same way so she went one step further and created a new Instagram account called @SewOver50 and everything went a bit nuts from there on. As I write this post the account has gained over 5,300 followers since mid-August which is phenomenal. It’s become a place of inspiration and encouragement for thousands of women (and the occasional man) who sew but felt they, we, are being overlooked or dismissed by the burgeoning home-dressmaking market because of our age.
One thing that some people misunderstood about the whole idea wasn’t that we wanted to be separate from any other age group, like some kind of exclusive club, not at all, we just felt that some people-magazines, pattern companies-were overlooking the opportunity to tap into a market and a group who had cash to spend, had styling ideas, skills and experience to share, originality, fun, empathy, quirkiness, style. For a lot of the people who started following the account they had very little experience of using social media to broaden their horizons in sewing terms, and for connecting with like-minded people around the world, including Australia, New Zealand, Canada and the US, as well as Europe. Suddenly there was an identifiable hashtag to follow which took you straight to the heart of this community. In fact it isn’t only sewing that members are supportive with, many face health challenges, a changing body with the menopause, dealing with elderly parents or caring for grandchildren so there have already been lots of conversations that have strayed away from sewing completely, and that’s OK too.
It’s been gratifying to see that a number of sources are making a big effort to be more diverse in who they feature in articles or as models. There is still a long way to go though because we’re conscious it might appear that it’s mostly white middle-aged women who sew, but we know this isn’t the case because there are many women of colour who sew too, maybe they don’t engage as much with Instagram or other social media though? I don’t know the answer to this one except to say that all are welcome because that’s the whole point. It makes me very happy when much younger dressmakers comment to me that they also follow us to get inspiration and advice, which is also the reason that I follow younger sewers myself!
Onwards, there was another amazing Sewing Weekender in August which was quickly followed by SewPhotoHop on Instagram in September organised by Rachel ‘House of Pinheiro‘. I didn’t keep up with this one so much and dipped in and out a bit [the same happened with Sewvember as well] but it’s a good way to find new people to follow and be inspired by if all this is new to you. I’ve just remembered there was MIYMarch (Make it Yourself) but that passed me by completely this year.
In September I became a Minerva Crafts blogger so I’m provided with fabric by them to make up into my own choice of garment and then write a comprehensive review for their own website. I’m enjoying this and it’s another string to my bow.
October saw me return to Birmingham for the SewBrum event which is magnificently organised by Charlotte ‘English Girl at Home’. It’s a chance for dressmakers from all over the place to come together in Birmingham, shop for fabric, visit Guthrie & Ghani and generally hang out together.
I was really chuffed to be invited by Amy Thomas, editor of Love Sewing magazine to contribute an article about the Fashioned from Nature exhibition to the magazine in November. It was a really big deal for me to write something specifically to appear in print. I’ve been lucky enough to write pattern reviews for Love Sewing and Sew Now in the past but this was a new departure. I’d love to do more like this in the future. There’s definitely a little something coming up early in the new year but I can’t talk about that yet…..
I organised my own meet-up at Walthamstow Market in east London in mid-November which fortunately was a beautiful day as it was well attended and we nearly all went for lunch afterwards, to continue chatting! It was the first meet-up for quite a number of the attendees but I think everyone enjoyed themselves and were delighted to get the chance to chat together in real life and not just in a comments box!
There was a lovely pre-Christmas sewing day in Cambridge called SewCam organised by Jen Walker ‘The Gingerthread Girl’ which was a delightful antidote to festive fever, and a final London Stitcher’s meet up the following weekend to round everything off nicely!
When I look back at everything in this way it makes me so happy to realise the sheer quantity of wonderful opportunities that my love of dressmaking has brought me this year in particular. I continue to teach my lovely group of ladies locally-they think all this Instagram nonsense is ridiculous in a good way! I’ve met so many awesome and inspiring women in real life for the first time and I’ve deepened some of the friendships that started last year, or longer, ago. Many people think that ‘friends’ on Insta aren’t real but that just isn’t true. Of course there are those people you should give a wide berth to and we are continually plagued by nut-jobs who think women who sew will be interested in their guns, or love of God, or whatever but if we all continue to report them then so much the better.
Wherever you are in your sewing ‘journey’ I hope you find it relaxing, fulfilling, inspiring, empowering, distracting, whatever you need it to be. I’ll never stop learning and being creative is so good for us ( we knew this all along but science is finally realising it too!)
I’ve already got some ideas for next year but, to be honest, much of 2018 just unfolded one thing at a time without too much planning in advance. I’d like to expand my own skills in 2019 and not necessarily in dressmaking terms, I have always enjoyed art so perhaps I should get my pencils and paints back out again.
There’s always an element of me hoping you enjoy what I write and find the reviews helpful or informative although, in truth, I’d write them anyway as a record. Thank you for joining me on the journey and Happy New Year, and here’s to lots more sewing adventures, maybe we’ll meet ‘in real life’ in 2019?!
Sometimes makes jump to the top of the queue just because the fabric grabs you, this is one of those makes. At the recent Sewing weekender Stoff and Stil generously gave each attendee 1 metre of fabric in their goodie bags and mine was this pretty vintage-toned georgette. It doesn’t take a sewing genius to notice that my dress took a lot more than 1 metre! My lovely friend and neighbour Elizabeth @eliza_sew_little and Melissa @fehrtrade had the same fabric and it wasn’t to their taste so they gave me theirs too.
What to make? Because of it’s drapey sheer qualities I wanted a style that exploited these features without being over-clingy, but also the fabric was in three separate pieces so I had to work within those constraints. It needed to be something where the top came out of 1 metre and the skirt came out of the other two metres. In the back of my mind I remembered an 80’s shirt pattern that was in my collection, I think donated to me by my neighbour although I have plenty from that era myself, it’s when my sewing life properly started so I still have virtually every pattern I ever bought!
I had enough fabric to use style B with collar C and the pockets from D.
My neighbour had obviously made it at some point in the past as the 14 was already cut out so I just went with that, the 12 would have done though.
Georgette is a bit wriggly so take your time cutting it out, try and keep it as flat as possible on the table and don’t shift it about if you can avoid it. Pin carefully (I’m not a weights person) and sharp scissors are vital so as not to snag or catch on the fabric as you cut. Because it’s sheer and lightweight I didn’t want to spoil this with clunky interfacing in the collar and front facing so I used some sheer organza that was left over from a wedding dress alteration. This has to be basted in position temporarily while everything is put together, the stitches are removed at the end.
Take your time sewing with a fiddly fabric like this, it’s hopeless if you’re in a rush because it shifts about and is quite ‘bouncy’ when you gather it up, hence the simplicity of my design. If you want a real quality finish I’d suggest using French seams wherever possible, especially if the fabric is plain because the seams will show through however because my fabric was patterned and I was being lazy I overlocked! Fine or sheer fabrics can pucker a little so use a fine needle and smallish stitch, not all machines handle sheer fabrics well though so you could try sewing with a layer of tissue paper underneath, tear the tissue away after you’ve sewn. If the needle pushes the fabric down into the needle plate you could try a foot with a small hole in it rather than wide hole (like a zigzag foot) that might help, or you can put a bit of masking tape over the needle plate to reduce the size of the hole and so reduce the risk of the fabric being pushed down it.
Once the top part was all put together I simply joined the other two remaining pieces of fabric at the selvedges to form side seams and gathered the top edge to attach to the lower edge of the ‘blouse’. This made a monsterously long skirt even when I made a deep double-turned hem so I turned it once more, for my own safety!
The seam and the pocket aren’t actually very visible but that’s fine, I know they’re there.
It’s all a bit floaty with a gypsy vibe going on but do you know what, it’s sooo lovely to wear, very liberating!! It’s a bit ‘out there’ for me but I feel really feminine in it, it’s pretty, it’s comfortable, even with tricky fabric it didn’t take that long to make. I’ll definitely be making another in something else, or even just the shirt part because it’s a really simple collar and the horizontal seams make it more interesting, best of all it just pops over my head. It isn’t a million miles from the Deer and Doe Myosotis that everyone is making either, that’s probably where I got the idea from without realising. Gifted fabric and a gifted pattern, buttons from the stash, organza from the offcuts make this, basically, a free dress and you’ve gotta love that! I wore it to the handmade fair at Hampton Court over the weekend and bumped into Karen Ball, she’d been one of the speakers at the sewing Weekender and she recognised the fabric!
Why not have a look at your patterns for tops, blouses and shirts, can you add a skirt? It doesn’t need to be anything tricky, just gather or pleat straight widths of fabric onto the bottom-that’s all a ‘dirndl’ skirt is anyway. Be aware of the gathering properties of the fabric you’ve got though. I know georgette (or chiffon, or even cotton voile) are very fine so they can take a lot of gathering, a firmer fabric can end up too chunky and less flattering so experiment first.
Well, I seem to have set the cat amongst the pigeons a little with my previous post reviewing Vogue 9251. In it I mentioned how I chose this particular pattern over a Sew Over It one. I didn’t say anything detrimental about their Eve dress, I simply chose the Vogue one.
When I posted on Instagram about the new blog I simply commented, “don’t dismiss ‘big 4’ patterns because Vogue have some fantastic designs which fit well and are often fashion-forward”. What I didn’t expect was the number and variety of responses which that provoked. I’d like to try and explore a little more some of those comments here.
When I first learned to dress-make at secondary school the only patterns generally available to me were the big brands, Butterick, Vogue, Simplicity etc. Burda were there too but they were much more challenging because very often you had to trace them off (I’ve never been a tracer, always a cutter-outer) and remember to add your seam allowances. They were frequently more fashion-forward but I think because they are a German brand their styles were ‘a bit weird’ and it wasn’t often to my taste at the time. Their printed patterns now include seam allowance but the magazine still has large sheets which you trace and add the SA to. The designs have improved somewhat too. Vogue patterns were always very much the ‘Rolls Royce’ of the pattern brands and it was always a big deal for me to spend so much money on one (even now I try to buy them when they are on a half price offer) They were often where innovative designs first appeared and then an adapted version would appear later on in Butterick or Simplicity instead. Now a Vogue pattern almost seems cheap compared to indies!
Another source of patterns were free ones provided by post by women’s magazines and newspapers, you’d save up printed vouchers which you posted off and they would then post the pattern back to you. A slow process but actually it didn’t matter much because we weren’t all about instant gratification back then, we were happy to wait because we were getting something for nothing! Some of these patterns were OK, some not so much.
In the early 80’s Prima magazine started giving free patterns included with the magazine. They were the template type we still get today which came on two-sided sheets that you had to trace off and, as a result, they were quite simple designs but they were popular. I was attempting my own pattern cutting by this time before I went to college so these patterns were a springboard to getting me started.
Then dressmaking seemed to fall out of favour and the curriculum all seemed to change at school. There were always a few of us who kept it up, it was how I earned a modest living while my children were small but it became harder and harder to buy nice fabrics at reasonable prices, or haberdashery, and nobody seemed to think it was a worthwhile pastime.
Then, in 2013, the Great British Sewing Bee happened and everything changed. There was always the core of us that had carried on sewing but now a new group were being introduced to it as a hobby and as a means to make the sorts of clothes they wanted to wear. The big pattern companies were still there but for the women who hadn’t been taught dressmaking they were a bit daunting and also a little dull. [I know there are men who sew but, let’s face it, they are the tiny minority] The packaging looked a bit dated and the layout of the instruction sheets inside hasn’t changed in decades. This isn’t a bad thing for those of us who know what we’re doing but to the unfamiliar they can be very confusing and a bit scary. They generally always assume a good level of sewing knowledge before you start so beyond telling you the order of making they don’t always tell you the exact technique or method. The pattern books don’t help themselves because they can look uninspiring with strange fabric choices and not many up-to-date or trend-led styles, or by making it difficult to spot them amongst the dull ones!
I’m not aware there was any such thing as an ‘independent pattern maker’ before about 5 years ago, and if there was then they were well below the radar, but people like Tilly Walnes, who appeared on the first GBSB series and is Tilly & the Buttons, and Lisa Comfort of Sew Over It both started developing their own patterns and began marketing them. Tilly created wearable, simple modern shapes which were beautifully presented and the instructions came in the form of photographs rather than with illustrations. Sew Over It’s aesthetic is vintage-inspired with tea dresses and floaty skirts being more prevalent. Lisa seems to have diversified into a whole lifestyle-thing which I’m quite glad I’m no longer a young mum trying to emulate.
Fast-forward to today and we have masses of new ‘indie’ patterns flooding the market all the time. It seems that everyone who fancies themselves as a designer can have a go at it and create new patterns and clearly some will be considerably better than others. Initially I didn’t go down the indie route because they were usually in the region of £12-£15 or more for a printed pattern, and besides I have a monstrous collection of paper patterns which I’ve acquired over about 40 years! I wasn’t attracted to the new patterns because they were either too simplistic and I could make my own quite frankly, or they were vintage-style which I’m not that into.
I’ve noticed too since making a few indie brand patterns that with some of them if you don’t fit into a certain age or body type then you never get a ‘like’ or a mention if you tag the company in your IG feed. Frankly, if I, my makes and my photosdon’t suit your design ideal or aesthetic then I won’t be bothering to tag in future, you need the customers more than they need you and no one likes to feel ignored.
So, where does that leave us today?
The big companies have carried on very largely unchanged for decades and you can usually be sure of a well-drafted product with good instructions (although if you are able to follow them is sometimes an entirely separate issue) The fit of some of these styles isn’t always so good but there’s always going to be some variation according to the style and I’m not saying they are always wrong or right. Let’s face it, we’re dealing with the human body here with all it’s quirks and variations as well as personal taste and style.
I wonder if the fact that, almost without exception, indie pattern styles have names rather than numbers which instantly makes them more memorable? Also, having now succumbed and bought a number of indie patterns I see there’s a wide variety in the form they take and their packaging is definitely part of the appeal. They come in nice packages and they might feature lovely sketches on the cover or fashion shoot-style photos, many come printed on heavy, quality paper and others are on ‘greaseproof’ type paper or even brown wrapping paper, each is trying be unique in what is becoming a crowded market. If you can get yourself in with The Fold Line and an attractive young blogger who will sing your praises then so much the better, guaranteed advertising.
I think that the single biggest difference that the indies have is the availability of downloadable PDFs. We’ve arrived at that very modern phenomenon ‘instant gratification’. You can purchase, download, print, cut, stick, cut out and sew all in one evening if that is what works for you. The PDF is generally a little cheaper [there are free ones too] so you can buy direct from a pattern maker who may live on the other side of the planet if you want to. It’s possible to get them printed at the local print shop too, or by online printers but I’m wondering if that doesn’t defeat the object of not buying a printed version if there is one in the first place? Indies often have a wealth of online tutorials and support which was never possible before. That said, never dismiss a good old text book-the Reader’s Digest Complete Guide to Sewing (first published in 1978 I think) is an absolute goldmine of information.
In the 4 years or so that I’ve been part of the ‘online’ sewing community I’ve noticed a trend amongst some dressmakers who only appear to use indie patterns and to sing their praises. Is this an inverted form of snobbery? I don’t know but that’s just fine if they are the styles you want make, of course it is, we’re a free country, but a lot of the new styles from some brands are starting to look incredibly ’samey’ and are bringing nothing new to the design table. If you want truly original new styles it seems to me that the Europeans are doing it better, such as Named, Deer and Doe or The Assembly Line.
Some indie patterns are so overly simplistic in the designs they offer that I do wonder why dressmakers are shelling out so much cash for the pattern when they don’t have to. Do they genuinely not realise that there are other, cheaper alternatives?
Don’t get me wrong, there are brands which produce well-drafted, original designs with clear instructions and the designer has worked very hard to put out an excellent quality product but none of the printed versions of these patterns are terribly cheap, many are £20 a pop now (and I’m not saying they shouldn’t be because of course there is a lot of time and effort involved) but, as I return to my original point, don’t dismiss the big companies out of hand because they do still have something to offer, relative cheapness for basics being one of them.
I was particularly saddened, and annoyed, to hear Heather-Lou of Closet Case Patterns say on the Stitchers Brew podcast recently that she thought “you don’t need to take a pattern cutting class” because there are “very few things in life you need to go to school for”. Well thanks a bunch!! I’m so glad that myself and thousands like me took the time to go college to follow our dream and learn how to be pattern cutters because it was obviously a big old waste of time as anyone can do it! In the next breath she says that she now has a professional do her pattern drafting because “she (the pattern cutter) went to school and trained to do it” WTF! I’d enjoyed listening to what she had to say up until that point but that’s plain insensitive and insulting. I know there are some brands, like Maven patterns and The Maker’s Atelier, which have been created by women with years of experience and expertise in the fashion industry but there are other’s who don’t have that.
I could wang on for ages about the benefits and downsides of both types of pattern and in all honesty they will coexist side by side from now on. The big companies have certainly got to stay on their toes and possibly find new and engaging ways to present themselves to be appealing to the burgeoning younger market, but I hate to see newer dressmakers parting with lots of cash for some patterns which are really just a new version of the wheel, the spokes or the tyre may be different but it’s still a wheel none the less.
Part of what we all love about dressmaking is making original, creative clothes that fit and supporting one another in our endeavours, long may that continue. It’s just that we are the customer and always have a choice where we spend our hard-earned money.
All views expressed are my own of course and I dare say many of you won’t agree with me but I know from comments on my IG post that I’m echoing thoughts of others too. I’m not sponsored by any of the brands I’ve mentioned either! I’d be really interested to know what you think about the whole subject too so do please leave a comment.
Did you take part in Me Made May? At the outset I pledged to try and wear at least one self-made garment every day during May and, by and large I achieved that. I say ‘by and large’ because although I definitely wore a me-made item of clothing every day there was the odd occasion when I failed-or couldn’t be bothered-to take a decent photo!
The first few I managed by balancing my phone on top of a loudspeaker and setting it on a 3 second timer. This proved imperfect and the novelty quickly wore off when it fell to the floor for the umpteenth time!
Neither of the next garments were new either, the red broderie anglaise was amongst some fabric I was gifted and was already cut out, I just sewed it together. The blue and white was self-drafted 2 or 3 years ago in a cotton/linen mix fabric and it’s a summer favourite of mine.
The georgette kaftan is new and was the try-out version of my most recent Simple Sew make for their blog.
The stripes is also the same Burdastyle top but in a striped jersey and with short sleeves. I’d didn’t like it much as a regular T-shirt but it’s been great as exercise wear!
Awesome dragon pattern-matching and zip insertion even if I do say so myself! Bias binding and hand-sewn hem too.
This top was drafted from a RTW one and I extended the shoulders to form sleeves. It’s sheer georgette with a slightly sparkly stripe which I get from a market and worn with a RTW camisole underneath. I made it 3 years ago but it’s been a real favourite.
The next ‘make’ is a big old cheat because it’s the etchings I made not the clothes! I loved my visit to Sudbourne Printmakers in Suffolk, and the sewing connection was meeting Chrissy Norman the tutor at the first Sewing Weekender two years ago. take a look at her work, it’s beautiful.
This is only half new-I made a top from this lovely broderie Anglais I bought at Walthamstow market last year but I hadn’t bought enough and it was too snug around the hips. Luckily I managed to get a bit more so I unpicked and started again. This time I used the top half of my favourite Holiday shirt and used wide elastic in a casing under the bust to give it some shape. There was just enough for sleeves this time. I used a ‘daisy’ bias-binding to finish the neck edge and opening.
Not everything I’ve made has been an unqualified success and this teal blue dress is definitely one of the disappointments! It looked lovely on the packet but the back is ridiculous because the zip bulged out giving me a strange hump so I took it out again and inserted it in the side seam instead. Frankly it’s not much better. The top is far too wide and the V neck flaps about undecided whether it’s a V or a fold-back revere. The fabric was super-cheap from Walthamstow again but it’s the amount of time I spent which makes me grumpy. I might turn it into a skirt…
And so to the last outfit of the month…
The top for my last outfit of the month was originally a dress but, even though I’d made one previously for winter, this version just wasn’t right. The length wasn’t flattering and the sleeves, which had decorative darts, were too tight. After a bit of a refashion which removed most of the skirt, put short splits in the side seams at the hem and took the darts out of the sleeves making them a bit more floaty it was much more wearable. There were pockets in the side seams which I wanted to keep so this governed the length overall. I wore it with my trusty Ash jeans which I’ve absolutely loved since making them last autumn.
So to sum up, Me Made May encouraged me to really look in my wardrobe and get out some of the things which get worn less often, as well as the favourites. The weather has ranged from freezing cold to boiling hot and I realised that my summery dresses are rather lacking when it’s warm, and cooler plain bottom halves are needed to go with my many patterned tops. I know I’ve been prolific in the last 3 years or so compared to a long fallow period for years before that and that makes me very happy. Looking through the clothes I’ve worn during May the vast percentage are things that were made more than a year ago, a lot are more than 2 years old and some older than that. Even when I used to buy more clothes if there was a garment I really liked I kept it for a long time, I think probably because if I’d taken the time to choose it then I wanted good use from it-££ per wear and all that. The same is now true of my makes, I’ve invested my own time into making them so I want to enjoy wearing them (although it’s frustrating when they aren’t a success, but I’ll often refashion them if I can)
Did you join in with Me Made May and did it encourage you to to make more use of your self-made clothes?
Two years ago I did a 10 week tailoring course at Morley College, London but it’s taken me until now to actually make my own coat. I settled on Butterick 6423 partly because it’s a fairly similar silhouette to a RTW coat I already own and wear a lot, and then, ironically, it came free with Love Sewing magazine just before Christmas.
Added to this I had 3 metres of lovely turquoise-coloured wool in my stash that was gifted to me about a year ago by a friend who was clearing out her mother’s belongings and wanted the fabrics and patterns (LOTS of them) to go to an appreciative home. Not only that, I had just under 2 metres of almost psychedelic lining fabric which came from a different elderly lady ( I had no idea what to do with it at the time but, as is often the way, it goes really well with this wool)
Because I had plenty of fabric, which makes a change for me as I tend to underestimate, I could cut out the coat without having to watch every centimetre. I didn’t have quite enough lining though so I cut all the pieces which would be visible inside the main body and the sleeve linings I cut from plain lining, again from my stash.
Initially, before I cut the fabric, I pinned the tissue together to check it on my dress-stand. I chose to take 3cms out of the overall body length and 4cms out of the sleeves because they seemed terribly long. This proved to be sensible as you’ll see in the finished garment.
I found the instructions very clear to follow and I don’t think at any time did I get in a muddle although I do think a common problem with the ‘big’ pattern companies is that the diagrams can be very small making it difficult to see exactly what you should be doing, particularly areas like clipping into important corners eg at the collar/shoulder seam.
Because I do a lot of alterations for people I’ve noticed various techniques employed in the construction of RTW garments. Cuffs, for example, are usually stabilised with iron-on interfacing of some kind so that’s what I did here.
By doing this it stops the cuff from stretching (my fabric is fairly loosely woven too) and gives it firmness and stability. I bought my iron-on interfacing in Goldhawk Rd, London so I can’t really give much detail about it except to say I was told it’s suitable for woollens and tailoring with a light jersey backing. I used it on the collar facing too and it seems to be absolutely fine. You could use a firmer one if you wish, that would make the collar firmer than mine.
There are a few places where you’re told to hand sew hand, attaching the sleeve lining to the inside of the cuffs for example, but if you’re not a fan of hand sewing it is possible to do this by machine, you just need to get them pinned correctly (double-check you’ve got it right first by turning the sleeve right-side out before you sew it)
It’s also worth attaching a small amount of the sleeve-lining seam to the sleeve seam inside, this stops any chance of the lining sliding out of the end of the sleeve.
You can do this on the machine, or a few running stitches will do the job.
Making the back pleat needs a bit of concentration partly because the lining gets stitched together with it-this makes sense because it reduces the bulk if you’d done them each separately. I opted to partly stitch the pleat together for about 10cms down from the top simply so that it didn’t have a chance to be to flappy in wear.
Once the pleat section is sewn on the instructions say to slip-stitch the lining down. Again, it’s possible to do this on the machine, you need to work your way into the right place by going in through the gap at the front between the facing and the coat front.
I sewed the coat hem up using herringbone stitch because I think it holds a hem nice and firmly. You sew this stitch from left to right, looping each stitch backwards from the previous one, one above then one below.
Throughout the making process I pressed often and used plenty of steam, with a pressing cloth to prevent shine. If you’re using pure wool you can press and re-press because it’s very forgiving although be more careful if you’re using a fabric that isn’t well or is made with mixed fibres. As my tutor on the tailoring course often said, “steam is your friend” A tailor’s ham is a great boon too because it will enable you to press in tricky areas or under curves seams, for example.
The lining hem was just turned and machined. To neaten the bottom of the front facing I applied a little bit of self-made bias binding, it’s looks nice and it doesn’t add the bulk that turning the edge over could do.
I also added 2 small loops of fabric to hold the lining and the coat together at the side seams, again this stops it flapping about in wear.
I added a hanging loop at the neck which I should have sewn on by machine at an earlier stage but I forgot so I had to sew it on by hand at the end.
The last thing to do is the single buttonhole. I had a rummage for a suitable button first and I came up with a single beautiful mother-of-pearl one which I’d bought a couple of years ago, simply because it’s lovely! I paid £1 for it and I’ve actually left the tiny price label on the back, just because…
I created a surround of tacking stitches to hold the area firm and stable before sewing the buttonhole. I did several trial ones first because my Pfaff is so new to me and I didn’t want to mess it up at this late stage. Unfortunately the thread I’d used for the whole garment was clearly too dark in such a prominent position so I had to go and buy a single reel of thread just for the buttonhole! When I sewed the button on I sewed another small button on behind it so that the fabric doesn’t have to take all the strain of a button being done up and undone constantly.
This is a coat with a slightly retro aesthetic, it’s a little bit 50’s, the back is a little bit 20’s. The result though is modern and wearable and I’m really happy with it.
I love the fun lining inside too. The wool fabric isn’t that thick though so I don’t think I’ll be wearing it when it’s very cold although there is room for a jumper underneath.
As you will have noticed it’s a difficult colour to photograph accurately, the outdoor ones are probably the closest to the real shade.
It’s been an enjoyable process, I took my time over it and I’m very happy with the result. It would be a good project to try if you’re becoming a bit more experienced with your sewing, nothing is terribly tricky, buy suitable but not too expensive fabric and take your time! I’m glad I took some of the length out of the body and sleeves as they would have been very long. I made the size medium and it was plenty big enough, I think the sizing is definitely on the generous-side though so don’t be tempted to go up a size, make a toile if you need to or tissue fit if you can. I didn’t bother neatening any of the seams inside because all of them were going to be enclosed but you could choose to leave the coat unlined and then bind all the seams (Hong Kong finish) which is practical and attractive.
…and the coat cost me barely anything at all!
Because it was the free pattern with Love Sewing I expect there will be lots of versions of this coat popping up over the winter so it will be fun to see how they all vary. Have you made this pattern, I’d love to know how you got on?