a SewOver50 discussion about fabric choices.

At the beginning of May @sewover50 posed us this question, “How do you assess your fabric purchases? Is cheap fabric inferior, or can you sometimes find a genuine bargain? Does expensive always mean quality…and what does that mean? How do you weigh up long lasting plastic-based fabrics against ‘natural’ fibres that may gradually wear out but where ageing can add to the appeal of the fabric?” The discussion was prompted by follower @kissntuss asking if anyone else had encountered the problem of buying and prewashing fabric, spending time carefully sewing it up only for it to turn into scruffy rag after its first proper laundering?

So, lots to think about there and I waded straight in with this comment, “Ooh this is a mine field! I’ve always said that over time and with experience you learn to judge between ‘cheap’ and ‘inexpensive’ because, in very general terms, I’ve often found cheap to be of inferior quality whereas ‘inexpensive’ would be a better or good quality fabric at a very reasonable price. Since the boom in home dressmaking over the last few years I think there are now a lot more fabrics which are quite pricey but you’re paying for the design, or the brand, not necessarily the superior quality of the fabric which they are made with. Price is not always a guarantee of quality unfortunately. Personally I would still much rather feel a fabric in my hand to better judge the quality BUT there are some very good fabric websites who sell excellent quality cloth so order a swatch if you aren’t sure. We’ve learned the hard way with our fabric-buying mistakes and I still get it wrong from time to time even after all these years.” These are strictly my own thoughts you understand which I’ve formed over many years of sewing and clothes-making, and learnt through good and bad cloth-buying experiences. I use the terms ‘cheap’ and ‘inexpensive’ loosely when I’m trying to help others with their fabric choices, there are no hard and fast rules.

Well, it seems many of you broadly agreed with me, at least in part, and had plenty of other brilliant insights to add. I’ll attempt to bring the threads (see what I did there?) of a long discussion together here. You could always go back to the original post too and wade through it if you really want to…

So, is cheap fabric always bad fabric? Of course not necessarily I would say. I’m sure many of us have encountered things like thin polyester/cotton with uneven printing and which is suspiciously stiff even though, as my Grandmother would say, “you could shoot peas through it!” It’s usually got lots of dressing like starch or excess dye in it which will wash out and leave the fabric flimsy with little body or oomph to it, it will literally turn into a droopy rag, possibly twisting and/or shrinking and losing colour with each subsequent wash too. These are to be avoided at all costs except for craft-based projects like bunting perhaps. Cheap jersey can be awful too because it’s thin and spirals badly (you know how cheap RTW T-shirts twist after a wash or two? That. However, ‘cheap’ could also be a bolt-end or remnant length of a good cloth sold at a fraction of its original price. When you’re shopping, using a general rule of thumb of 1) and most importantly, do I really like it? 2) is it truly fit for my intended use? and 3) do I really need it? (Ha!) If I have any doubts about these then I walk away and save my money, even if it’s just a few pounds. 

[I just want to add a story about some fabric I bought a few months ago to make a wedding dress toile. I made a trip to Walthamstow market in east London where I know there are some great fabric shops and the famous #TMOS ‘The Man Outside Sainsbury’s’ market stall. I had tried online to pick up a cheap cloth which was as similar as possible to the actual fabric I’d be using for the dress itself but the descriptions weren’t good enough for me to be confident they were worth buying. Anyway, off I toddled, what often happens at Walthamstow is that shop premises become available on short leases so very unglamorous but stuffed-to-the-rafters fabric shops pop up in them. You can never be sure they will still be there a few weeks later though. They usually sell deadstock or overstock from nearby factories or suppliers and everything is at rock-bottom prices until it’s gone or the lease runs out. I was after a decent weight triple crepe-type cloth, the colour and fibre content was irrelevant because it was for a toile, and I was really hoping to pay around £3-4 or less per metre. I was absolutely thrilled to find a pale mint green cloth of a really good weight for just 75p per metre!! Perfect for my needs so I bought 6m of the green and another 4m of a bright pink for me! My biggest problem then was carrying it because crepe is a really weighty fabric and I had gibbon arms by the time I got it home on the train! ] 

Hasan, the famous (if you live near London) Man Outside Sainsbury’s in Walthamstow

Returning to my own comments I mentioned ‘inexpensive’ cloth which, by my own definition, I would say is fabric that is of a good or excellent quality which normally sells for quite a high price but is now being sold for a lot less than usual. Ex-designer fabrics, dead-stock and factory end of lines are a few examples of this and there are more and more websites and shops starting to source these because they are a brilliant way of stopping wasted fabric going into landfill. And don’t forget those remnant bins, there might be gold dust in there but always double-check there are no nasty surprises like faults, flaws, dye or print discrepancies, and unfold the piece to make sure it’s roughly the size it says it is without terrible wonky ends, it isn’t a bargain if it turns out to be unusable.

In the UK there are areas of the country which have had a proud textiles- making heritage over the centuries and it is still possible in some of these places to buy quality cloth directly from the mills, or from shops and markets. For example, Harris Tweed is still made in the Isle of Harris, Scotland (Vivienne Westwood has been a devoted user of their cloth for decades now) A number of followers commented that in their areas of Lancashire, Yorkshire and Nottinghamshire they were able to buy beautiful quality cloth often as remnants or from mill shops. Most of us don’t have this opportunity and whilst in an ideal world we would all love to be able to feel the quality and suitability of the cloth in our hands before buying, for many online shopping is the only realistic option [and if you’re reading this during the worldwide Covid-19 pandemic then it’s the only option for pretty much everybody at present] @frugalisama said “there’s nowt like fettling fabric”, that’s basically stroking fabric to the uninitiated! Visiting bricks-and-mortar stores does offer the chance of personal interaction with others though, I can never resist poking my nose in at other customers deliberations and choices so I regularly have some lovely conversations about one of my favourite topics with complete strangers!

For me, the difficulty with buying online is relying completely on there being accurate descriptions of factors like the weight, handle, suitability for purpose and a true indication of colours and scale of print. 

Some websites (and obviously there are thousands and I only have experience of a few) are very diligent and give a lot of good information and are happy to send swatches whenever possible. Small companies can offer a very personal service and it’s nice to support them too, getting to know what fabrics they offer which makes them stand out from the big hitters. 

But even with lots of information it’s still all too easy to make duff choices, on more than one occasion I’ve ended up with fabric which was much thinner or thicker than I had hoped or wanted for a particular project, or the print has been a much bigger scale than I thought it was from a photograph. I find a 100m reel of Gutermann thread a really helpful reference point in a photo because we almost all know exactly what size they are, or a ruler in the photo is also helpful. My idea of what is suitable for a skirt or trousers for example might be very different from someone else’s because years of experience and attendant disasters has taught me the hard way. There’s very little you can do to speed up this process of learning although a comprehensive book like Fabric Savvy by Sandra Betzina could very useful-it’s a treasure trove of information of many, many different types of fabrics, their uses, fibre content, sewing and handling tips. There is a whole world of wonderful fabrics out there to discover and it’s a pity to limit ourselves to a very small pool. Cotton is not just cotton for example, it’s poplin, lawn, voile, calico, muslin, denim, corduroy, canvas, Ankara, towelling, sateen, chintz, jersey, the list goes on and that’s just one fibre. Shopping with someone who knows their fabrics is not only fun but educational too.

So does the cost of the fabric have a bearing on the quality and your likelihood to buy it? @jenerates, amongst several others, made the point that if she spends more on the cloth it means she takes her time and more care with the making of each garment. She is also much more inclined to care for the garment more diligently, to make it last longer. Some fabric is pricey because it’s expertly made from top quality materials with designer names attached, and often these fabrics might be made from natural fibres which at the top end can be very pricey. Silk has always been seen as a luxury fabric for good reason, but then so can an Italian-made synthetic-based fabric too, it is still superb quality just not a natural fibre. But being a good quality natural fibre is absolutely no guarantee of it’s longevity or durability, quite the reverse sometimes. 

I think there are a number of popular fabric brands at present which have beautiful designs printed on them but the base cloth doesn’t always justify the price point. What do we do about this if, after you’ve diligently sewn a garment together, within a few washes it’s like a rag? If it were a garment purchased from a reputable retailer you could probably negotiate a refund or exchange but that’s no good in this instance, I suspect we fume for a while and then put it down to experience if we can’t find a way to fix it. I would be curious to know, has anyone ever gone back to the online supplier and successfully got a refund or exchange?

@paulalovestosew very kindly answered my questions directly because I know she is very happy to use manmade fibres and fabrics. We all have a tendency to believe that natural fibres are always best but what if they don’t work for your lifestyle, or the garment you want to make? Paula, like many of us, has been sewing her clothes for years, she loves to scour remnant bins in fabric stores and, like me, gets enormous pleasure from squeezing as much as possible from the least amount of fabric. If you check out her account you’ll regularly see not only a dress but also golfing attire all made from the same cloth. For her, stretch jerseys are perfect because they are comfortable to wear, never fade or distort in the wash, there are masses of colours and designs available, they roll up without damage in a suitcase and they last for years. Paula knows her own style which suits her perfectly and she always looks immaculate, style doesn’t have to cost a fortune.

What about vintage or recycled cloth? This can be a great way of using unusual designs or fabric types to create totally original clothes although vintage cloth might need a little more aftercare to keep it in good condition though because of the age of the fibres. It can be difficult without a burn test to know exactly what it was in the first place. If it’s been left folded for a long time it might break down in the creases for example, or it might not take well to being exposed to sunlight or sweat after many years but if the alternative is that it doesn’t get used at all then why not turn it into something nice! Charity shops, yard sales, swaps, Ebay and elderly neighbours are just a few of the places you could find some hidden gems. My 93 year old neighbour Pamela has given me some beauties for example and she’s always thrilled to see me in something I’ve made with one of her fabrics. 

I made this beautiful Maker’s Atelier Holiday shirt in Liberty cotton voile given to me by Pamela and when she saw me wearing it recently she commented that the fabric might not have belonged to her in the first place but to her mother!! Goodness knows how old that could make it but it’s still going strong for me and it’s one of my absolute favourites in warm weather.

Many people try to take into consideration how ethical a fabric is; is its production harmful to humans or the environment through the use of chemicals, dyes, dangerous processes, or is it dangerously straining or poisoning the local water supply? can it be successfully recycled? Will it wear well or will it need to be replaced more often, can it be laundered easily or should it be dry cleaned? There are so many considerations that there is unlikely to be one definitive answer, we must each make our own judgments according to our beliefs and moral framework. Buying organic or other ethically-certified fabrics is a good start but they do often, quite rightly, come with a higher price. You may be interested in reading my post on this topic, Fashioned from Nature, an exhibition at the V&A in London two years ago.

At the risk of being controversial, I do think there’s sometimes an element of fabric snobbery at play by which I mean natural fibres good, synthetic fibres bad. By all means buy and sew with what you prefer but there is a place for manmade fabrics which isn’t that easily replaced. If you sew swimwear or activity clothing which require technical fabrics then they are highly likely to be chemical-based. Yes, I know there are now bamboo and a couple of other alternatives but they are extremely difficult to source for home sewing at present unless you know where to look, and they certainly aren’t cheap either. If you’re interested in learning a lot more about how textiles have always been a part of our daily lives I recommend reading The Golden Thread-how fabric changed history by Kassia St Clair. It’s a fascinating insight into textiles and materials of all kinds, my only quibble is that there are no illustrations or photographs in it all which seems an extremely strange choice given that the subject matter is so visual.

Gosh, this has turned into a long post, I hope you had a coffee to sustain you? Realistically there is no right or wrong answer, it’s what works for you, your lifestyle, your budget, your capabilities and that is different for everyone. Maybe a good idea is to buy the best you can afford if your budget allows but the pricier the fabric is the more I would say it matters to make a toile first. Cheap and cheerful is perfectly good if you’re just starting out in dressmaking, and always make a toile in as similar a fabric-type as possible to the finished article. You will make mistakes and poor choices-much like life!-but you’ve got @Sewover50 as a goldmine of support and information to help along the way, I’m a huge advocate of sharing my sewing failures as well as the successes. 

As I’ve said throughout, there is no absolute right or wrong answer to these questions, we make our fabric choices based on any number of personal, and wider reaching factors. I’d really like to conclude with Fiona’s comment, she sees her handmade wardrobe as “my memory album on a rail”, definitely something worth cherishing. 

Until next time,

Happy sewing

Sue

Sewing advice for newbies from the Sew Over 50 hive mind.

The @sewover50 account is nothing if not helpful. When Cathy messaged Judith and Sandy recently she said she was ‘nearly 60, keen as mustard, but where do I start?’ Well she picked a very good place to start…hold on, that’s the Sound of Music but you know what I mean.

So Judith and Sandy turned it over to you and you really didn’t let us down (as if you ever would…) I’ve trawled through all your comments and collated as best I can all the wise and helpful advice you’ve contributed here. I’m not sure how coherent it will be but here goes…

First up is simply get to know your machine-assuming you have one [choosing a machine is a whole other post] if possible have a lesson on it at the shop you bought it from, definitely look through the manual and watch the DVD; familiarise yourself with threading it and winding a bobbin; learn to change the needle; practice sewing straight parallel lines before moving on to curves and pivoting corners. You could draw lines onto paper and practice that way (don’t use the needle on fabric after that though, it will probably spoil your fabric by being blunt) one contributor said she taught her child by using dot-to-dot puzzles from a book-one page at a time presumably, not the whole book under the needle…. Learning to manipulate and manoeuvre fabric is something which comes in time with practice, you’ll get there and rushing won’t actually help…take your time.

Get used to ‘driving’ your machine, can you adjust the speed manually? Sometimes the foot pedal has a switch you can change. Have it on a slower setting if that’s possible, otherwise it’s all down to your foot control which again will come with practice. Make sure you’re sitting comfortably right in front of the work area so you have a clear view of what you’re sewing, do you need an extra light? a daylight lamp or a daylight bulb in an old one can be really helpful. If you have the option to leave your machine out so you can use it at any time this will allow you to sew whenever you get a chance and not have to keep getting it out and putting it away.

Gradually compile yourself a ‘stitch bible’ of what your machine can do, use pieces of plain fabric (two layers) old sheets or a duvet cover are perfect for this, then use a coloured thread so that everything shows up clearly. Even if your machine can only sew straight and zigzag it’s still possible to make buttonholes and neaten seams. If there are other feet or attachments what are they for? They might be useful as you progress, the zip foot will probably be an essential although they are usually the most basic type unless you’re buying a high-end machine. Learning a few seam finishes without an overlocker will help you make longer-lasting garments too. You might like to make examples of gathers or darts and other seam types to create your own reference resource which you can always go back to. It might sound ‘old-school’ but whatever works for you is fine.

Ready to think about what to sew? Things like tote bags, aprons or cushion covers are an excellent place to begin because they will enable you to practice sewing plenty of straight lines with a few corners and/or curves. You can include patch pockets, possibly a zip, add trims, embellishment or applique for interest. Everything will help you to become more confident using your machine. Having a bash at making costumes for kids is another great way of getting more confident, you don’t have to be so precious about the materials you use, the fit might not be spot-on but you’ll have fun exploring new ideas. Or what about accessories or clothes for dolls or toys? Kids clothes can be lovely to make but they can also be very fiddly if you’re making something tiny with little armholes for example. Stick to little T-shirts and leggings to begin with perhaps.

This brings me onto another area: you’ll find masses of free patterns online especially for simple things like bags and aprons, sewing magazines always feature these types of project along with well-photographed step-by-step guides. As you progress there are also free patterns for all sorts of other things including garments, many pattern companies will have one or two free ones which, if you’re happy with it, will hopefully encourage you to buy from them too. The Mandy Boat tee by Tessuti is only 3 pattern pieces and really simple to construct for example. With regards to fabric choices it’s probably sensible to stick to a woven fabric like cotton poplin or lawn, or a stable knit like Ponte Roma to begin with, they don’t wiggle about when you’re cutting or sewing, chiffon and slippery satin will have to wait just a bit longer. Another contributor suggested choose a pattern with no more than 5 pieces to start with, what about pyjama shorts or an elasticated waist skirt for example? A really simple dirndl skirt doesn’t need a pattern at all, just gather widths of fabric onto a waistband.

So you’ve got the machine and you’ve got the pattern and now you need to sew it. You don’t need masses of equipment to start off with but I would suggest that you invest in decent quality pins, scissors and a tape measure for starters [I’m set in my ways here because I never use rotary cutters or weights]

Look out for classes locally-is there a fabric shop nearby? what about a college offering part-time courses? There are so many online tutorials that you could learn entirely via the internet and never pay a penny. There are also specific online courses which you can pay for, these are probably of a higher quality and consistency as a result, whichever you opt for you can access them at any time wherever you are in the world. Many indie pattern companies create sewalongs for their patterns so you can follow at your own pace, Closet Case and Tilly and the Buttons are just two for example. Others like Sew Essential, Stitch Sisters and GuthrieGhani (all in the UK) have created easy to follow tutorials, often for specific techniques and processes which can be really helpful. That’s all online but there are plenty of excellent books to help, a really good one is the Reader’s Digest Complete Guide to Sewing which has been in print for years but has such clear illustrations and instructions that it’s useful as ever. It covers SO many different techniques and examples of garment and fabric types, many that you’ve probably never even heard of! Seamwork magazine and Tilly’s book ‘Love at First Stitch’ were also suggested as excellent sources of clear, concise patterns with instructions, there will be many others which might be equally useful.

Other sources of support and advice (apart from SewOver50 obviously!) are Facebook groups-McCalls patterns have one which offers ‘massive global support for fellow sewists of all abilities’, there are area-specific ones too which you might prefer if they are more local. These forums could be especially helpful if you live miles from anyone else who sews. If quilting or patchwork are more what you want there many groups or guilds for these, I was also told about the American Sewing Guild and the Australian Sewing Guild.

If you like Instagram try using a specific hashtag for a pattern #lbpullover #wikstenhaori for example. You’ll get to see what it looks like on real people of all figure types which can be so helpful before you start. There are loads of SewOver50 ones too including #so50dresses, #so50tops or #so50visible for example. Or listening to a podcast like Love to Sew while you sew can be both entertaining and informative.

Another suggestion was to take a good look at the ready to wear clothes you would buy to see what the fabric is like, does it drape well or how has it been cut, or does the style even suit me? These days you can try things on and take sneaky photos in the changing rooms so that you’ve got a clearer idea when you’re planning your makes. It’s also a really good idea to make a ‘toile’ or ‘muslin’ so that you don’t spoil your ‘good’ fabric with errors that can’t be rectified, why not use a old duvet cover or sheets? It’s always a good idea to make a toile in a fabric which is similar to the fashion fabric you intend to use. This is because all fabrics behave differently with different properties which might not work appropriately. Make sure you read the pattern envelope carefully for fabric-type advice, or ask in the shop where you’re buying it; get a sample from online shops to avoid costly mistakes.

As you improve you could treat yourself to a complete sewing kit which include everything you need-pattern, fabric, trims, notions etc to make a project, or what about a subscription box?

What about trying refashioning? Take an old or unloved garment and reinvent it as something new. Or you could unpick a worn out garment to make a pattern from and recreate it in new fabric.

Don’t forget that sewing and fitting are two different things and there’s no quick and foolproof way to learn either, it just takes time. Don’t make the mistake of thinking that the size you buy in the shops is the size that you cut out-check your own measurements! Better to cut a little big and take it down than try to add extra (the voice of bitter experience!!) You will make mistakes but don’t beat yourself up over them, do a step at a time and don’t worry about step 7 or 11 or whatever until you get to it. By all means browse through the instructions before you start (especially before you cut anything out though!) to familiarise yourself, gather your favourite books or other information if you’re going to need clarification of a technique. Above all, enjoy the process, this is your time and you’re investing in yourself even if the project isn’t ultimately for you. Don’t be put off by those who finish projects quicker than you, they’ve probably been doing it for longer than you. Blanca of @Blakandblanca said “thoughtful making gets the best results” and I agree. Even those of us who have sewn for decades were beginners once and I certainly still make mistakes, to quote Einstein (approximately) “a person who never made a mistake never made anything” or something like that.

Thank you to every single person who contributed their thoughts and advice on the original post, I can’t possibly attribute each one I’ve used unfortunately but I hope everyone, especially nervous beginners, will find this post useful. If there’s anything else you’d like to add you can leave a comment at the end. Incidentally, I wrote a blog post a couple of years ago where I detailed a few starter thoughts when it comes to getting yourself ready preparing and cutting out your projects. I’m a stickler for accurate cutting because if that is correct to start with, and then something goes a bit wonky, you’ll have some idea if it’s your cutting or the pattern (and there’s been a lot of talk about accuracy or otherwise of pricy Indie patterns recently!)

I haven’t attempted to put too many links in here because you’re all over the world so what might be appropriate for the UK probably won’t be where you are. Hopefully you’ll get some generally helpful ideas as a springboard though.

Until next time,

Happy sewing

Sue

Refashioning a wedding dress into a Christening gown.

I think this used to be a much more popular thing to do years ago, probably because wedding dresses were home-made more often and the fabric would have been quite a costly part of the finished article. I’ve made a couple of Christening gowns in the past (although sadly for complicated reasons not for my own girls) but this is the first time I can recall cutting up an existing dress for a refashion.

I got a message early one Sunday morning just two days after we got back from holiday recently asking if such a thing were possible and also I’d have less than three weeks to do it in! Fortunately the client was able to come the next day so we got cracking very quickly. She had an idea of what she had in mind so she showed me a photo and we went from there.

Although the dress was from five years earlier it hadn’t been cleaned so the skirt, and the hem in particular, was very soiled. I took the whole skirt off the bodice, and also the skirt lining, plus the embroidered lace appliqué panels which came off the bodice and skirt. I was able to wash the lining but I couldn’t risk washing the Duchesse satin of the dress so I had to separate the front skirt panel (which was asymmetric) from the backs and then work out where the straight grain was so that I could cut a new front skirt piece from the cleanest area. To work out where the grain is you can tell to some extent by pulling gently in each direction on the fabric. If there’s some degree of stretch (in a non-stretch fabric) then it probably means you’re not on the straight grain yet but if there’s little or no stretch then you’re probably pretty much on it. To double-check after doing this I cut along the edge of the piece on what I’d calculated to be the grain and then pulled a few loose threads away until eventually I could see exactly where the grain was. I could then place the pattern piece onto the fabric with a good degree of certainty.

As I never throw a pattern away I have a number of children’s patterns which I used when my own girls were small so I simply used bodice pieces from one of these. The client wanted an over-long skirt so I merely created a flared A-line shape to the length needed. She wanted small ruffles at the shoulders instead of sleeves and these are very simple to draft. I drew a line on the bias (a 45 degree angle) and then a curved line which measured approximately twice as long as the sleeve opening it was going into. The curved edge is the one which you then run your gathering stitches along to pull it up, the straight edge is the one which gets neatened, or in this case had new narrow lace added to it.

This pattern was from 1989!
The ruffles drawn directly onto the fabric at a 45 degree angle, the curved edge will be gathered and the straight edge gets neatened. The pieces don’t have to be on the bias but it gives the finished ruffle a nice fluidity.
I added new narrow lace to the edge of the ruffle.

After our initial discussions and sketches it wasn’t practical for the client to keep coming backwards and forwards constantly so we conducted the rest of our consultations via WhatsApp because it was a good way for me to send her photos of ideas for her approval.

The appliqué was too much for the tiny bodice, the baby is only ten months old, so I tried it on the skirt instead.

I suggested that the appliqué should be towards the hem because then it would show better in photos if the baby was being cradled or sitting on a lap. Once we’d settled on the position the lace had to be sewn on by hand.

I wanted a deep hem on the skirt rather than a narrow rolled hem because a rolled hem would have had a tendency to curl up on this fabric and not look nice. Because of the curve of the hem I couldn’t just turn up a hem of 4cms because there would be too much bulk that would look very clunky and no possibility on this fabric of steaming it away. Because of these factors I opted to make some 8cms wide bias binding from the Duchesse which, after I’d joined it into suitable length strips, I folded in half lengthways and pressed. I placed the cut edges against the hem of the skirt and sewed it in position. Next I pushed the seam allowances towards the binding and understitched it about 1mm away from the seam.

The bias is pinned in position ready to sew close to the edge. I did the front and the back separately and then joined the side seams later.
This is how the hem eventually looked when I’d slip-hemmed it into position.
The finished hem looks like this on the right side.

It was a then a case of putting all the pieces together, along with fully lining the gown. We went with two rouleau strips across the front, which I secured into the side seams, along with the loops for the back which would tie into a simple bow. The skirt was gathered into the waist seam and an invisible zip inserted into the back. I finished the neck edge with a simple bias binding, to keep it very soft and simple around the baby’s neck.

One final detail the client had asked for was her baby’s name and the baptism date embroidered inside. Fortunately my Pfaff Quilt Ambition 2.0 has a range of script options so I did a couple of test runs. I stabilised a piece of the satin and then embroidered the words onto it. I added some more of the narrow lace around the edge and finally satin-stitched it inside the skirt lining. Maybe one day there will be other names alongside it, that would be nice to think.

I really enjoyed this project as it was so creative and was real contrast to most projects I undertake. The client was absolutely delighted, and not a little emotional, when she came to collect the gown. You have to put a lot of trust into a dressmaker, especially when you’re handing over a garment which is itself has precious memories. I’m looking forward to seeing photos of little Poppy in her gown eventually, I hope she doesn’t disgrace herself!

I decided with about 45 minutes before the client arrived to collect the gown that I needed to make a matching padded hanger covered in the satin and trimmed with leftover lace.
As you can see, I needed the washing line and Mr Y to help display the gown in the April sunshine. (I should have pressed that crease out before I photographed it!)

Designing by WhatsApp might be unorthodox and have its limitations but it worked a treat this time. Have you ever had to refashion a wedding dress into a Christening gown? Maybe you’ve done it yourself?

Until next time,

Happy Sewing

Sue

A leather jacket refashion

Oh my goodness, I’m not sure I would have started this if I’d known how tricky it was going to be!

I was asked by a neighbour if I’d consider refashioning a leather jacket she had had for a good number of years. She had worn and loved it a lot back in the day but it was now relegated to the back of the wardrobe, she neither wanted to wear it because it was too big and dated, nor did she want to throw/give it away so what to do?

Although I’ve done other radical refashions in the last couple of years they have been for myself so the pressure wasn’t there like this one. You can read about those here, here and here. I made it clear, in the nicest possible way, that I had no guarantee of the quality of end result with a leather jacket, once sewn the stitch marks were there permanently, anything cut off couldn’t be reattached. So long as she understood that there was an outside possibility that it wouldn’t go well and was able to accept that then I was prepared to have a go. I haven’t sewn leather since I did it as a module at college many years ago.

We started by assessing what the jacket looked like as it was and we agreed it was much too large for her and it looked over-long now. The sleeves were too roomy as well, the zigzag detail at the neck and shoulders I could do nothing about so that would have to stay. Because you can’t pin leather I bought some quilting clips to do the job instead. I undid the lining and clipped the side seams and sleeves inside so we could assess in front of a mirror what the effect looked like. We decided pretty quickly that the over-large shoulders had to go too. Because we had to make each decision before moving on to the next Etain had to keep coming by, luckily she only lives over the road from me.

the original jacket was below hip length with a horizontal seam and welt pockets.

I was kindly given a specific ‘leather’ foot by Pfaff Uk for my Quilt Ambition 2.0 and I bought some leather needles too. The foot is made from Teflon (that’s right, like non-stick pans) because it glides over the surface of the leather rather than ’sticking’ to it. If you don’t want to buy a special foot you could attach masking tape to the underside of a regular foot although I must stress I haven’t tried this personally so I can’t vouch for its success. I also used some Stitch-and-Tear Vilene which I’d got knocking about to put under the leather if it was directly again the teeth of the feed-dog underneath [this prevents them from scuffing and chewing up the surface of the leather]

I’m not going to lie, even though I have a wonderful machine which doesn’t usually struggle with multiple thicknesses, and I had the correct tools for the job, I found this a very tricky refashion because the machine hated going over too many layers of leather. The needle sewed smoothly over two layers but as soon as I went over more than that the needle would ‘stick’ and then clunk back out of the leather with such loud bangs that it frightened the life out of me every single time! I resorted to winding the balance wheel by hand every time I had to sew over seams or darts so that I had some control over it. I also had to adjust the top tension a lot in order to get a reasonable stitch quality, added to which there wasn’t a decent colour-match for the shade of pink I needed in the stronger thread from Gutermann. It’s possible that another brand had something available but, bearing in mind the trouble I was having with multiple layers, I wanted to avoid visible top-stitching at all costs and I didn’t want to order threads that might not be a good match anyway.

Onwards! I must confess that I kept pushing the jacket down the list because I wasn’t enjoying it and there were other projects to complete which were preferable….

I took off the lower portion of the jacket at the midriff seam, put darts into the front and pulled in the centre back seam to give the jacket more shaping. The sleeves came in by quite a bit although, in the end, we retained the modest shoulder pads to give some structure. Unfortunately one of the side effects of bringing the sleeves in caused the shoulders to raise up slightly in wear but anchoring down the collar to make it appear narrower distracted from this to some extent.

with the lower section removed, before the darts were added.

To give the jacket some definition again at the bottom I took leather from the original lower section, made a much narrower band and reattached it to the bottom. This looked ok and by pressing this seam open I could fold the band up and stitch it through the seam allowance thus keeping it in position. I was also able to bag out the corners at the front thankfully, the last bit of reattaching of the new band to the button-stand had to be done by hand through the seam. It’s not completely invisible but it’s perfectly acceptable. I reattached the lining to the seam allowance of the new lower band, I was partly able to do this on the machine and then sewed up the remaining gap by hand.

with the new band stitched in position and clipped to hold it. The collar is now anchored down to make it appear narrower.

I’ve made a tiny stitch through the neck seam and caught the reverse side of the collar stitching to hold it down.

Inside the new band, it’s not the tidiest but I had to stitch by hand through the seam and then catch down the lining to the leather too.

I gave the fold of the band a good press, with a cloth over it naturally, to flatten it as much as possible. the final touch was to change the buttons for something newer than the slightly scuffed covered buttons of the original.

Finished, I do hope she’s happy with it.

The centre back seam was taken in by about 2cms at the bottom too, to give a bit more definition.

So there we have it, it was a challenge but Etain is happy with it and it looks a good deal more fashionable, at least for now! Leather isn’t difficult to sew as such but there are definitely challenges, I didn’t follow all the rules like glueing seams flat but when you’re dealing with an already-made garment some of those things go out of the window a bit. Please don’t think I’m now an expert in this field but if there’s anything you want to know about how I tackled things then do message me and I’ll try to answer. Meanwhile, I think I’ll find a simpler project next….

Happy sewing

Sue