I seem to be constantly attracted to teal/turquoise/duck egg shades recently so this Art Gallery organic cotton jersey for my recent Minerva post looked perfect when it hoved into my field of vision!
I’ve used Art Gallery knit fabrics in the past and the designs and fabric, whilst fairly pricey, are lovely quality. This particular jersey is an organic cotton (with a little Elastane) and very soft, a lighter weight than many so it would be good for children’s and babies clothing as well as adults. I love the print, I think it’s a vaguely ‘Tribal-esque’ graphic stripe and I quickly decided to make a Tabitha T-shirt from Tilly and the Buttons book ‘Make it Simple’ which I’ve made a few times before but to try out the dress hack version for a change this time.
I traced off a new copy of the pattern using the horizontal lines indicated across the bodice specifically for the dress. I’m not long in the body but I thought it looked a little short so I added an extra 2cms to the bodice length. In truth I probably could have added more than that because I feel there isn’t as much blousing at the waist as there seems to be in the photo in the book [If you know, or suspect, you have a long body length then pay close attention to this before cutting your fabric, get someone to take your nape to waist measurement and compare it to the back pattern piece. If necessary then add any extra through the horizontal ‘lengthen/shorten’ lines, and don’t forget to do the front as well!] If you’re wondering why this matters, it will mean that the waist seam sits too high above your natural waist and could look more like Empire line.
I followed the instructions in the book to draft my own skirt pattern which was simple enough, you only need one because the front and back are identical (you’ll need a decent sized piece of paper to do this) I cut the new front and back as complete pieces so that I didn’t have to cut anything on the fold, I also wanted a short sleeve so I traced one off.
The fabric was a little bit curly at the edges so I took my time cutting out, be careful not to pull or drag the fabric at this stage because this could result in twisting of the finished garment. It’s helpful to mark stripes onto the pattern so that you can then match them to corresponding seams more easily. Cutting a single layer of fabric can really help make this more straightforward, and be less wasteful too.
Moving on, the suggestion for the waist casing is to use eyelets or buttonholes. I used a small round-ended buttonhole, whichever method you choose make sure you interface underneath first to stabilise the fabric. I used the quilting guide to help me sew an accurate 2cms seam to create casing. Once I’d sewn it I used a bodkin to thread the ribbon through.
The rest of the construction was pretty quick because I already knew the T-shirt in size 5 was a nice fit, the skirt was a bit ‘hippy’ though so I took some off in that area. Following the drafting instructions the pattern piece is shaped for the waist but, for me, a straight rectangle would suffice.
The length was educated guesswork but I’m very happy with it and it’s not too restrictive at the hem, any longer or narrower and the skirt might need a split in it to allow movement. I have the advantage of using a Pfaff coverstitch machine to hem the sleeves and skirt but a twin needle or a zig-zag stitch will do the job too, and don’t forget to use a ballpoint or jersey needle. I used a narrow grosgrain ribbon in a toning teal to slot through the waist casing to complete the dress. As I mentioned near the beginning I might add just a little more length to the bodice next time but otherwise I’m really pleased with this Tabitha dress, it will be comfortable to wear for everyday and easy to roll up in a suitcase if I ever get to go on holiday again!
Minerva provided me with this lovely fabric to write about, I’m delighted with the quality and I’m especially happy with the dress which is so just comfortable.
Over on the @SewOver50 account recently I shared a few of my favourite ways to finish hems or raw edges, although course it is absolutely NOT a definitive list by any means. I thought I would expand a little here on the blog using more photos of projects I’ve made in recent years. They are in no particular order either and if I wrote a blog post about the whole garment then I’ve linked it so you can read more if you want to.
Obviously there are the usual hand-finished hems using slip hemming stitch or herringbone stitch for example, which I use a lot too, but I thought I’d share a few alternatives which you might not know, or haven’t used for a while.
I’m beginning here with a faced hem…
The next one is an interesting hem finish which is very useful especially if you want a quality finish on evening or bridal wear. It uses something called ‘crin’, crinoline or horsehair braid (it doesn’t involve actual horsehair any longer though!) I’ve used it here on an organza skirt for the Dior New Look-inspired evening dress I made 4 years ago. As well as a crisp finish I wanted the hem to have distinct body and wave to it so this was the ideal technique. Crin comes in various widths, this was 5cms, lots of colours too because it’s more commonly used these days to trim hats and fascinators.
If you’re making a wedding dress for example and mounting all the skirt pieces onto another fabric, when you use crin on the hem (or bias binding for that matter) by hand-sewing the hem all your stitches will be invisible because you can catch them just through the mounting fabric. This is a couture technique so if you look at red carpet dresses with no visible stitching at the hem this will be how they achieved it. You can apply it as appropriate to any garment that you’ve mounted to another fabric though.
The next couple of photos are where I’ve used bias binding to neaten a hem. I find this a really useful technique if you need the maximum amount of hem because you can sew a very small seam allowance. It’s good if you’re letting down hems to gain length too, on trousers or children’s clothing for example.
If you have fine fabric why not consider using your overlocker if you have one on the rolled hem setting? Refer to your manual for specific instructions how to adjust your machine and make samples first to ensure it’s going to be satisfactory for your particular fabric. You’ll frequently see it used on chiffon or georgette but I’ve used it successfully here on fine cotton lawn, jersey and a stretch velour. If you don’t have an overlocker you can probably achieve a similar finish on your sewing using a rolled hem foot ideally and a small zigzag stitch-as always I would urge you to experiment to see what is possible. Some of the simplest machines can still give you an interesting variety of finishes.
I find the next couture/tailoring technique very useful on sleeves as well as coat, jacket or dress hems. I’ve used it here on my Tilly and the Buttons tester-made Eden. I wasn’t taught this method as such, I discovered it for myself whilst doing alterations taking up sleeves for people. I haven’t ever encountered it in pattern making instructions but I think it’s an excellent way of stabilising the cuffs of coats and jackets.
For this next finish I’ve used a triple straight stitch to create the effect of top stitching on the hem, and several seams, of this Simple Sew Zoe hack I made last summer.
If you have the foot attachment and stitch capability for your sewing machine you can always try blind-hemming. I must admit I don’t use it that often, and only then on completely straight hems. There is a bit of a knack to it and I tend to only use it on a busy print which will disguise any botched bits (yes really!) or if I’m tight for time compared with any other method. It’s not quite the same quality of finish you will see on RTW clothes though which uses a specific machine to blind stitch the hem.
I think it’s worth mentioning that I like to use bias binding to neaten necklines (and armholes) too. I particularly like this as a way of avoiding using a neck or armhole facing which can be notorious for constantly rolling into view or flapping about annoyingly. The version you can see in the following two applications is a strip which I’ve folded in half lengthways first, the raw edges are matched and sewn. The seam is trimmed slightly and snipped if necessary, then turned so that the edge is enclosed and finally topstitched close to the folded edge to secure. In both the following examples I have sewn the binding on the wrong side of the fabric so that the binding turns to the outside to be visible and decorative but you could just as easily sew it to the right side so that it turns to the inside of the finished garment.
I’ve have included another variation of binding on a hem to show you how it can be combined with other techniques to achieve a quality finish. I used it here on a sheer organza which was mounted onto a backing fabric of slipper satin. This meant that when I turned the hem up the hand-stitching was invisible from the outside because the stitches only went through the mounting fabric.
The next technique is more usually the choice of the pattern designer than the dressmaker, although if you know a little about pattern cutting you might be able to do it for yourself. This is an example of a deep grown-on faced hem on the Trend Patterns Square dress which I’ve made twice. It works brilliantly on this dress because the hem edges are straight (square!) plus it gives real weight to the hem which is another satisfying detail.
Pin hemming is a technique I’ve used for decades on fine fabrics. You can replicate it using a rolled hem foot attachment on your machine although it can be trial and error which size works best for you with variable results. I have two different sizes of foot, 2mm and 4mm and I can’t get on with either, I’ve since been told that 3mm is the optimum size for most fabrics but I’m not prepared to risk another mistake when I know I can achieve a good quality result this way instead.
Simply put, I turn over the raw edge by approximately 5mm and stitch very close to the folded edge. Carefully trim the excess close to the stitching line and give it a light press. Then turn again and stitch a second time on top of the first row of stitching. This particular example is from the Trend Bias T-shirt dress I made a few months ago.
If you read about my pattern hack of the Simple Sew Cocoon dress you will see how this variation of hemming came about. I added a large chunk of fabric to give extra length to a dress that would have been too short without it. This method is probably best on a straight hem, you could use it on sleeves too.
This next one is a very much trial and error. I used an edging stitch on my Pfaff sewing machine to hem this Broderie Anglaise blouse which I made recently.
I’ve used a variation of a faced hem recently when, instead of bias binding, I used straight strips of fabric to turn up a straight hem on a dirndl skirt. There will be a blog of this particular garment coming soon…
To finish with is a very simple method of rolling a fairly narrow hem. Overlock the edge first using three (or even two) threads then carefully turn it once and then again so that the overlocking is enclosed inside. If the fabric is quite ‘bouncy’ and won’t stay in position you could press the edge over once first and then roll it the second time. Whilst the result is wider than pin hemming it is narrower, and possibly quicker and more accurate, than a simple turned hem.
This last suggestion is from a project which will be blogged very soon. I cut 6cms wide bias strips which I used to create a self-neatening hem on a pair of pyjama shorts.
I hope you’ve found my suggestions useful or thought provoking, is there something here which you’ve never encountered before, or that’s made you think how you could use a technique you already know in a different way? The idea is to show you a few ways of finishing hems, or raw edges, in new and interesting ways. I’ve not included the usual hand stitching methods because there’s nothing new to think about, although please let me know if you use these methods in a more unusual application. Just because the pattern instructions tell you to finish the hem a certain way doesn’t necessarily mean you have to do it that way…although think it through carefully just in case the really is a reason!
I followed the progress of this pattern with interest on Instagram when it was originally released nearly two years, it was fascinating to see how Claire-Louise Hardie (the Thrifty Stitcher!) developed and finessed the various elements of it as she sampled it, up to the point that she was ready to release it for sale. It has attractive style lines with princess seams in the front which curve into hip pockets, the back also has princess seams and there’s a horizontal seam just below the natural waist. The collar curves up smoothly against the neck and the back collar has a ‘sunray’ of five darts spreading out towards the shoulder blades which I particularly like. The cuffs each have 3 similar darts, the details on this pattern has simple but so stylish.
This post was originally published last year by Minerva who generously provided me with a nice firm Ponte Roma in a plain navy to make the Dawson in, it would also work very well in a boiled wool, felted wool, Melton, not a loose tweed though as they can start to fray and you’d lose the details too much in the weave. Anything fairly structured and stable would effectively show off the style lines. You could get some interesting effects with checks or stripes if you want a challenge! I’d wanted to make another version for a while because I’ve had really good use from the navy one, I hadn’t got around to finding any specific fabric for it but then I hit upon the idea of using a single old heavyweight cotton curtain that used to keep the drafts out by our front door. It had long been replaced for this task but I just had it folded up underneath the heat-reflective mat that I use on my cutting table. In order to maximise the fabric in the curtain I undid the deep hem and the sides, and removed the tabs at the top. I gave it a wash to clean it but also to, hopefully, stop it shrinking later on.
Areas like the pocket edges and the neck need stabilising with some iron-on tape or strips of interfacing as per the instructions, especially if you use a knit fabric like Ponte. I would recommend stabilising the shoulders with seam tape or scraps of ribbon to prevent stretching too. I used a specific needle for stretch fabrics and you could use the ‘lightening’ stitch to sew with if your machine has it, or a very straightened out zigzag. If you do use boiled wool the layers could be quite thick, use a straight stitch but you may need to lengthen it a little more than usual.
The pattern comes in eight sizes which are not numbered in the conventional way, CL opts for letters instead, so you work from your own body measurements to choose which size should fit you. I cut and sewed a size F originally which was quite generous, for the newer version I’ve cut the next size down. I misjudged how generous the ease is in the garment so I usually wear the Ponte version layered up over jumpers or sweaters on warmer cool days if that makes sense. At the end of the day it’s intended as a casual coat so don’t make it too small as you’ll always be pulling it closed across you. The sleeves are nice and roomy too, I’ve noticed some coat/jacket patterns can be a bit snug around the bicep for me which is a bit dispiriting, I’m hardly a muscle-bound hulk! Just check before cutting out if you’re happy with the sleeve length too, I probably could have added just 3-4cms because it feels the tiniest bit short on me.
The pattern goes together beautifully and all that tweaking in the sampling stage is borne out in the final version. I found the instructions pretty clear, they are mostly photographs and there are some really useful hints and tips which will come in very handy if you aren’t that experienced in your dressmaking yet. Make sure you transfer your markings for the pocket pivot point for example so that you get a crisp finish for the corners.
You could top stitch all the darts down, possibly in a contrast thread if you like, but because the Ponte had a slight stretch I didn’t do this on mine. I did top stitch down the front facings though and caught them down in a couple of places on the inside to stop them flapping.
For the ochre version I topstitched more of the seams, I confess that I was incredibly slovenly and used up various threads in my collection so not all the stitching is the same colour…oops! Incidentally I didn’t use top stitch thread, instead I used the triple straight stitch which looks very similar although it is quite thread-hungry (hence the non-matching!)
This time however I didn’t top stitch the front facings down, I adopted a different approach. As it’s an unlined coat so all the innards are visible I used some ribbon to anchor the facing down in a couple of places. I chose to do this because I know from experience that when you’re sewing through several thick layers the triple stitch (which is a set length on my Pfaff and not adjustable) it can lead to puckering which doesn’t look so nice. Try a sample before you go ahead if you aren’t sure, that’s a LOT of slow unpicking if you don’t like it after all.
I finished the hem by hand using a herringbone stitch rather than machining it for the same reason that I didn’t top stitch the front facings.
I think the Dawson is a well-drafted and executed pattern from an independent designer (and CL’s art work features herself so it squeaks into the #so50visible category!) The Minerva Ponte Roma works well for the soft tailoring, using my old curtain gives the slightly cocoon-shape a little more definition. It shouldn’t be too difficult to do an FBA if you need to either. I’m much happier with the fit of the ochre one, but I love the navy and will still wear it regularly too.
Because the Dawson is a loose cocoon shape it would make a beautiful evening coat in a glamorous brocade, to go over the top of your evening outfit, denim would look great too (Have a look at my Simple Sew Cocoon jacket in denim here)
I guess this was also a useful exercise in upcycling, the curtain was years old and not being used for it’s original purpose so I thought why not give this a try. If I found I wasn’t mad about wearing the colour after all I know it’s 100% cotton so it would dye, I might come unstuck with the polyester sewing thread though which would take up the colour differently-it’s hardly Saville Row standard though! The Dawson took barely two metres of fabric (the front facing is helpfully cut in two parts which helps reduce the fabric usage, and of course you could always use a contrast fabric anyway) it doesn’t instruct you to use interfacing on any of the collar or facing parts but I did, just to stabilise the fabric a bit.
I originally wrote this as a review for the MinervaDotCom blog but I’m not actually sure if it ever appeared. Rather than waste my efforts I thought I’d publish what I wrote here instead.
I’m sure it was a combination of an over-generous stated fabric requirement, my just-to-be-on-the-safe-side ordering and then super-stingy cutting out means that I managed to get not one but TWO sweatshirts out of my Minerva fabric choice this time. At the time of writing last autumn, Minerva were introducing a collection of textured jerseys made in a polyester/ viscose/ spandex mixture which came in a wide range of colours and textures so I opted for a geometric design in lilac to try out. I would suggest that this fabric is not as firm or thick as some jerseys suitable for sweatshirts, it isn’t fleecy on the reverse for example but it has reasonable drape, is soft to the touch and has a fair amount of stretch but not in a ‘really difficult to control’ kind-of way (it isn’t like lightweight jersey for T-shirts for example) it’s actually pretty stable so manipulates well into armholes or cuffs.
I already had a pattern I wanted to try, the Maxine sweatshirt by Dhurata Davies that has interesting diagonal seams across the front which have pockets in them. This actually made cutting out a whole lot more tricky than I anticipated because the ‘check’ design of the fabric I had picked turned out not to be square but rectangular so matching the lines was a real challenge. In some areas I’ve failed so my advice would be “don’t choose a pattern that has too many intersecting seams or style lines” because you could end up tearing your hair out when you can’t get it to match! Once I’d committed though I decided to press ahead and settle for ‘almost but not quite’…not my usual route but there we are.
When it became apparent that by folding and cutting really carefully I’d have oodles of fabric left over I pulled out a very simple sweatshirt pattern Simplicity 8529 and cut that at the same time. You might recognise this pattern as the Toaster sweater by SewHouseSeven if you think it looks familiar. If you fold the selvedges in towards the centre so that you have two folds then it’s often possible to get more pieces out of less fabric, any sleeves, yokes or facings can be cut out of what remains.
I currently have a Pfaff Coverlock 3 on loan to me so I used it to sew up much of the two tops on it’s 4-thread overlocker setting but you can easily sew this fabric on a regular machine, just use a ballpoint or stretch needle and set your machine to a very elongated zigzag if you can (regular stitch length and a narrow width) or a ‘lightening’ stitch if your machine has it. Unlike some jerseys or sweatshirting you’ll definitely need to neaten the seams though because I found the fabric frayed and went fluffy at the cut edges quite badly as a result of the woven nature of the surface design. Use a zigzag stitch on the edges if you have limited options, or pinking shears.
The ‘Maxine’ is a great design which stands out in a crowded field of many other sweatshirts and the well-written instructions and diagrams are very clear and simple to follow. The tricky area could be the point at the centre where the seams intersect, I simply made this more complicated for myself by choosing the geometric design! And of course it has pockets! I’ve made another version of it since the lilac from a remnant of linen/wool which you can read about here.
The Simplicity/Sew House Seven pattern has a very simple ‘grown-on’ collar and self bands on the cuffs and hem. I cut and made this one up in less than two hours and it shows off the textured surface of the fabric very well.
I would suggest that this fabric will make very comfortable loungewear like track pants, tees, sweatshirts, dresses and children’s wear. I don’t know what the other designs in the range are like but if you are pattern match averse then this particular one might not be for you! I thought at the time it would be interesting to see how well a fabric with a raised surface texture like this wears and now that several months have elapsed I’ve found that it catches quite often and has started to pill quite significantly which is disappointing given the price per metre.
My thanks to Minerva for providing me with the fabric to write about, this is a significantly different version of the blog post which may, or may not, have appeared on their website. I did try to find it but their search function doesn’t make it very easy to find specific posts.
After a couple of months in the planning I can hardly believe that the first ‘official’ Sew Over 50 meet-up is over! This isn’t really a blog as such, it’s more of a photo album so that those who were there can look out for themselves and to prove that it did happen and a great time was had, new friendships were made, information and tips were shared, fabric was stroked and support and encouragement was offered.
Judith and I were simply overwhelmed by the feeling that was in the room for those 3 hours. The Village Haberdashery in West Hampstead, London proved to be the perfect venue to hold the meet-up with it’s mix of light-filled studio space and retail opportunities! Whilst quite a few of us already knew one another, and had met in the past, there were many others for whom this was the very first time they had gone to such an event. The distances some people travelled was extraordinary too, south Wales, Cumbria, Cheshire and north west England, Scotland, East Anglia, the south coast and Cologne, Germany were just some of the places people had come from. This represented a really big deal for some because it took them a long way outside their personal comfort zone to go on a long train journey to London and meet lots of strangers who they only ‘knew’ through the medium of little Instagram squares. So far as we can tell all of them thought it had been worth the effort and anxiety because within minutes of arriving they were chatting with fellow sewers and crafters as though they had known each other for years. That’s what the Sew Over 50 community seeks to encourage, to nurture and expand each others skills and talents, we try to make it a positive and supportive place to share our makes whether they are completely successful, or a dismal failure!
I would personally like to thank every single one of the companies and individuals who gave me prizes for the charity raffle in response to my requests, and several others who offered without me even asking.
Have a browse through the photos (please ask permission and credit me if you would like to use them elsewhere though, thank you) these are just a few of the hundreds that my daughter Bryony took for us but without them I don’t think there would be much record of the event having taken place…hardly anyone else took photos because they were too busy chatting!
I had opted to raise funds for The Samaritans, a UK-based charity who offer support at the end of the telephone to those at risk of suicide and the raffle made over £550 which is magnificent.
Thank you so much to everyone who came along and made it so enjoyable, thanks especially to Judith for having the courage to start the account in the first place. We’re approaching 18K followers and there have been almost 52K uses of the hashtag #sewover50 That’s a LOT of work which Judith and Sandy put in every day to ensure it’s such an enjoyable, interactive and mutually supportive community. I for one hope it continues this way. I’m sorry to those of you who couldn’t get a ticket, or are simply too far away, we want to actively encourage you to create your own meet-ups like this, there was no sewing at this one but you just need a venue where you can chat, a friendly cafe? your local sewing shop? Now we’ve started the ball rolling don’t forget to use the hashtag #so50meetup so we know what you’re up to.
I first met pattern maker Dhurata Davies at my friend Sal’s ‘Sew2gether’ event last spring and then our path’s crossed again unexpectedly a couple of months later when I made a last minute decision to go to the Threads textiles fair in Farnham. Dhurata was exhibiting there and she offered me a copy of her Maxine Sweater pattern in return for a review. The pattern is intended as a sweatshirt, and I’ve made one in a jersey fabric already, but it also works well in a woven too. It was the diagonal seam lines with pockets concealed in them that appealed to me. The sweatshirt version was for a Minerva fabric blog review which hasn’t appeared yet at the time of writing but now that I’ve made a second top I can tell you all about the pattern here.
I had picked up a modest remnant of ‘Woolsey’, a linen/wool fabric in the Merchant & Mills shop in Rye last August, it’s a lovely deep teal colour which is one of my favourites (although it’s a devil to photograph accurately). When I made the jersey version I made a size 16 based on my body measurements and there’s plenty of room in it so I knew I could risk making the same size in a non-stretch fabric. [If you are making anything more usually intended for a fabric with some stretch you will almost certainly need to go up a size or two, especially if it’s in any way close fitting. Measure the pattern itself if you’re not sure and don’t forget you need to be able to get it on, will it need additional openings like a zip or buttons if there’s no stretch to get it over your head, or your hips?]
Before I cut anything out I made myself a ‘whole’ sleeve pattern piece, it comes as a ‘half’ sleeve vertically so this needs to be placed on a fold in the fabric (twice as you need two sleeves!) but I always prefer to have a complete sleeve. Just stick the pattern to a large enough piece of paper so that you can fold it down the central ‘place on fold’ line, fold it in half and pin in a few places then cut out a new symmetrical pattern piece.
I knew I would not have enough fabric for the separate collar, cuffs and hem-band pieces but I could lengthen the body so that it wasn’t ridiculously short. I added about 10-12cms to the bottom of the front and back pieces. I had to decide how to finish the neckline instead of the collar and I came up with a combination of piping directly on the edge first and then a band of jersey ribbing. I didn’t know how, or if, this would work but the piping would look fine on it’s own if the jersey wasn’t any good.
The instructions and illustrations are nice and clear and straightforward and it’s not as difficult as you might imagine to get the diagonal cross in the centre. The seam allowance is just 1cm so I always highlight the pattern when this is the case so that, when I make the pattern again, I don’t sew it up as 1.5 by mistake and it’s all too small!
Once the front was complete I joined it to the back at the shoulders and then made some bias binding for the neck. I had just enough scraps to cut 3 strips which were approximately 50cms long and 4cms wide which I joined to form one long strip. I have a specific piping foot for my Pfaff Quilt Ambition 2 which is really useful but you can usually use your zip foot if it allows you to stitch close enough to the piping cord. Not all zip feet are good at this especially if it’s the generic one which comes with the machine but there are usually adjustable ones you can buy which, in my experience, are better. The piping foot actually sits over the top of the fabric and piping cord rather than just beside it so it’s held more securely and stitches much closer to the piping for a better finish. If you want to see another use of the piping foot pop over to my review of the Simple Sew Lizzie dress.
Once I’d made the piping I sewed it around the neck, raw edges together and making a neat join at the back. I knew I wouldn’t be able to find a matching jersey so I opted for a complete contrast. I bought 50cms each of deep red and dark grey tubular jersey from Backstitch and when I put them together I decided that the red made a more interesting garment. Generally when you’re adding a stretch band you work on the basis of it being approximately 85% of the neckline/cuff/waistband measurement that you’re attaching it to, depending on the stretch of the jersey. I’d made things tricky by adding the piping first so the machine had to go through a LOT of layers of fabric. I must say that the Pfaff sailed through it all pretty easily. The only time it was hard work was over the seam allowances on the cuffs. Because I was making this bit up as I went along I sewed the piping onto the cuff first then sewed the under arm seams, if I were using this finish again I would sew the under arm seam first and then put the binding on ‘in the round’ because it would be less bulky where it crosses the seam. I used my little seam-hopper gadget to help lift the foot to help ease it over the bulky seams, this one came with the machine but you can buy something called a Jean-a-ma-jig or even use a piece of thick folded cardboard.
Having told you 85% is the usual amount for a stretch bands I should have made the neck one slightly shorter than that as it doesn’t sit completely flat even after a good amount of steaming. I left it though because it doesn’t look that bad and it would be a lot of work to re-do it. First join the band into a loop along it’s narrow edge then fold it lengthwise in the same manner as the cuffs and then divide it into 4 equal parts marked with pins. Next equally divide the neck (or cuffs) equally into 4 too. Pin the band onto the neck (or cuff) at the marks and stretch the band to fit and stitch in place. You can see from the photos that this was quite tricky because of the number of layers involved, I graded the layers so that it reduced the bulk as far as possible. All these layers plus the piping cord made it too difficult to get the cuffs under the overlocker so I finished the edges using a simple zigzag stitch. Around the neck I used the Coverlock 3.0 to coverstitch which had dual benefit of neatening on the inside and giving an attractive double row of top stitching on the outside.
To finish the hem I just overlocked the edge, turned it up and stitched twice. So that’s it really, I’m very happy with the finished top, I layered it up with a thin RTW T-shirt when I wore it to go to Brighton recently. The fabric doesn’t seem to crease so much as bend, it’s of a double-weave construction the same as cotton double gauze.
I’m really happy with the outcome of this top, the fabric has lent itself well to the more smocky kind of shape and although it was bit involved I really like the finished effect of the addition of the stretch cuffs and piping onto an otherwise simple garment. The ‘Woolsey’ fabric does fray a bit because of the loose weave but it’s manageable. Incidentally, this pattern looks great lengthened into a dress or with the pockets left out of the seams if you’re short of fabric.
Thank you Dhurata for the gift of the pattern, in my opinion it’s a goody and if you aren’t adding extras like me it’s a nice quick half-day make. Dhurata has also designed some lovely children’s patterns too which you might be interested in.
My latest Minerva blog post is up for you to read now and it’s a jacket that nearly didn’t make it. I chose the fabric based on the image on screen but when it arrived both the background colour wasn’t what I expected and the design was larger than I thought it would be too. The lesson to learn from this is to order a swatch whenever possible to make sure the fabric is exactly as you expect or want.
That said, the quality of the loop-back jersey I used was absolutely lovely and it made up-eventually-into a really nice Jalie Charlie bomber jacket. I haven’t used Jalie before but I must say I was very impressed with the HUGE size range each pattern comes in, the quality of the instructions and illustrations (in both English and French) and the sizing is spot on.
The next problem I had was matching ribbing to the multi-coloured fabric and also finding a suitable open-ended zip. Eventually I found a gorgeous raspberry pink plain jersey from Sewisfaction instead of ribbing, and I got a zip from MacCulloch & Wallis in London.
Anyway, once I got everything together it all sewed up really well and I was pleased with how all the colours eventually came to form a unified whole. Subtle it isn’t so it definitely needs to be worn with plain garments but it’s a bit of fun and I know I’ll use the pattern again too.
As always, you can find the full rundown of my making experience over on the Minerva blog now, I hope you find it useful.
It’s been almost a month since I was loaned a Pfaff Coverlock 3.0 to try out so thought I would give you a ‘half-term report’ on how I’m getting on with it.
First thing to say is that it’s quite a beast! It’s a very substantial piece of machinery and so is fairly heavy as a result. That being said, this is normally the case with coverstitch machines because they are generally bigger than overlockers so the weight isn’t unusual. It does have a good-sized and comfortable carrying handle though.
Ok, so, the Coverlock 3.0 is a combination machine in that it is both an overlocker and a coverstitch machine. I’m sure you already know that an overlocker will trim and neaten raw edges and often sew the seam as well if you have 4 or 5 thread version. What you may not know is that a coverstitch machine doesn’t trim any edges, it will sew two or sometimes three rows of top-stitching on the outside of a garment whilst covering the edge of the fabric on the inside with loops of thread to ‘cover’ it. It has the advantage of being stretchy too. If you’re still not sure what I’m talking about have a look inside the hem or cuffs of a RTW jersey garment and you should see.
The first thing I had to do was not only rethread the machine as it didn’t arrive pre-threaded but I also needed to change it’s function from coverstitch to overlock. A major part of what I want to assess for you is how quick and straightforward it is to go between the functions. This is partly why I didn’t plunge in with a review as soon as I got it because I didn’t think it would be balanced or fair. Indeed, I will certainly write another review in due course after a decent amount of time and usage has occurred.
Because the machine was merely delivered to me without any demonstrations I’ve needed to use the instruction book a fair bit. If you have difficulty following written instructions and/or diagrams this may not be ideal for you but there is a (silent) DVD included with very clear animations of exactly what you need to do for each of the stitch variations possible. [I didn’t find this straightaway though so I muddled through with the booklet! I’ve also since found a few very helpful You Tube videos which were useful]
I’m not going to lie, it does take a bit of time to make the changes because you’ll need to remove and reinsert the needles to different positions as well as thread the machine in different ways depending on the function. This will eventually take me less time and I’ve added Post-it notes to the relevant pages in the book so that I don’t have to keep searching for the two I’ve favoured most. The machine is capable of up to 23 stitches using 2, 3, 4 or 5 threads and up to 3 needles. So far I’ve only used the 4-thread overlock and the coverstitch but I will endeavour to use more, including the flatlock, and report back.
I decided on making a hacked version of the Tilly and the Buttons Nora top which I’ve made a couple of times before as I didn’t want any nasty complications by attempting an unfamiliar pattern with a new piece of machinery!
The beautiful jersey with an amazing ‘tie-dye’ print is from Lamazi fabrics and was my choice as a July/August maker of the month [it could be you if you tag them on Instagram] I cut the sleeve to approximately 3/4 length and also cut two cuff pieces which were again approximate, initially about 20cms in length and then my wrist measurement at one end and my mid-forearm measurement at the other. I added a couple of centimetres for seam allowance to all sides.
I’d definitely say you need to do a bit of forward planning if you intend to use both the overlock and coverstitch functions on a project because of the swapping between the two. For example, on my Nora I needed to coverstitch just the cuffs and the hem, everything else could be sewn either directly using the 4-thread overlock or on my Quilt Ambition 2.0. I opted to sew the top together first and complete the hems at the end, in the usual way although there may be times when it’s better to hem first, we’ll see.
If you’re merely changing the thread colours it can be done in the same way as regular overlockers by snipping the threads near their spools, tying on the new colour and pulling each of them gently through, plus rethreading the eye of the needles. On one occasion when I altered the function I completely rethreaded but the stitch was much too loose-what had I done? It was all done correctly and yet it was way too loopy. I checked the manual for hints on troubleshooting but it didn’t make much difference. I was starting to pull my hair out when I realised I had threaded the machine without lifting the handle out of the way-the threads MUST go under it or they don’t sit in the tension discs! (Had I watched the helpful YouTube video first I would have known this…) Another thing I learnt the hard way was when the spool holder kept falling off the back of the machine and I was ready to chuck it out of the window I noticed it has to be slid sideways to click securely in position-doh!
The next two projects I made I didn’t use the coverstitch function as both the sweatshirts had cuffs and waistbands but I constructed much of them using the 4-thread overlock stitch. I used fabric provided to me by Minerva and they will appear on their blog in the new year. One of the patterns I used was the gorgeous Maxine sweatshirt given to me by it’s designer, Dhurata Davies. I’m going to make another one soon so I’ll write an individual blog on it then. [I got both tops out of 2.5m of fabric!]
For the final project I want to talk about here I took a different approach. It’s an Amy top by Brilliant Patterns and which I’ve made a couple of times before. I had a 1m remnant of loop-back cotton sweatshirting which I bought from Sew Me Something at a show for £8 and by shortening the sleeves very slightly, cutting the neckband in two parts and joining it I got a WHOLE sweatshirt out of the one metre!!
This time I set the machine up with a wide 2-needle coverstitch and I used my regular sewing machine to sew most of the seams. What I did at each stage of construction was to press the seams flat and top stitch them using the Coverlock. This meant that there would be two rows of top stitching on the outside and the raw edges were covered on the inside. This was generally OK although as I’ve yet to ‘get my eye in’ with lining up the foot against a seam or other visual marker a couple of them do waver more than I would usually like. It turns out there is a large removable flat bed included to increase the working area (it was tucked down inside the box and I’ve only just found it!!) this will support your work while you sew but it does take up a bit more room.
So to sum up (for now) I’ve been impressed with the quality of the stitches I’ve used so far on the Coverlock 3.0 and I will definitely look for opportunities to try others whilst I have it. I’ve yet to be convinced about swapping between the stitch-types but obviously, as I get more familiar with it, I should get faster at changing between them. There are few processes which have to be gone through to make the changes but I’ll probably work out an order or procedure to follow to speed it up. If you are short of space a combination machine might be useful, they aren’t cheap though. You’ll almost certainly use the overlocker stitches more of the time so possibly changing occasionally to coverstitch will be sufficient. I would definitely say you should have a thorough demonstration of the machine so that you know what is involved and what it is capable of. Unlike washer/driers which don’t do either job very well this machine does both functions to a very high standard.
Thank you to Pfaff for giving me the opportunity to try out their machine and if you have any questions about my experience so far then do ask.
I’m really happy with this make, it’s the Dawson Coatigan by The Thrifty Stitcher, Claire-Louise Hardie, which I made in Navy Ponte Roma given to me by Minerva Crafts in return for an honest review.
This pattern was released just before Christmas and I think it would be a useful addition to any wardrobe. It’s a softly tailored edge to edge coat with flattering seam lines and integral pockets. It works well in a structured jersey like Ponte Roma, and it would also look good in boiled wool or felted wool.
And depending when you’re reading this the Dawson also qualifies for the Sew Over 50 #so50Visible challenge too which finishes on March 15th. Read my previous blog posts for all the details on that but you haven’t got long if you hope to win one of the prizes!
There’s lots more details and photos of my make over on the Minerva Crafts website, thank you as always to them for providing me with the fabric.
My latest Minerva blog is live now and it’s all about their beautiful printed velour. I was attracted to the gorgeous mixture of teal colours with a splash of pink thrown in for good measure. Initially I was going to make a pleated skirt with it but eventually I decided that wouldn’t be flattering on me so I settled on the River dress by Megan Nielsen with my own adaptations instead.
I lengthened the short sleeves and added elastic to make cuffs, I increased the length of the dress overall too and left a side split and finally I put wide elastic under the bust to create an Empire line.
This is a very simple pattern to sew and has the novelty of two necklines-a scoop and a V-and because of its raglan sleeves you can have either in the front, I generally wear it with the V in the front.
As always, you can find the full details of the fabric and my sewing tips on adapting the pattern with a lot more photos on the Minerva Crafts website, thank you to them for providing me with the fabric, in return for an honest review.