A few of your favourite Sew Over 50 trouser patterns

Recently on the @SewOver50 account a follower asked if we could help her with any suggestions for trousers/pants that featured a side zip and/or a flat front and, as we’ve come to expect, the hive mind flew into action. 

Speaking personally, my primary reason for wanting a flat front is that it falls more smoothly over my not-so-flat tum [Years of fashion magazine input tells me that a flat tum is highly desirable, it’s what every woman of every age should want to achieve and anything less than perfect and a bit wobbly should be kept out of sight…Complete and total nonsense obviously but it’s very hard to undo so many years of conditioning] So, whilst I know it really shouldn’t matter it somehow still does matter to many of us and, because of that, we still continue to search for those perfect and often elusive trousers which give us just the thing we’re after, whatever it is. Sometimes we choose a smooth front because we want the top or blouse that’s worn with it to be the highlight and features like fly openings or pleats can be a bit bulky and change the silhouette we desire, but it isn’t always about hiding ‘figure problems’. One follower pointed out that as a person with physical limitations the trouser choices she made had to be based upon practical reasons which made her life more comfortable and straightforward and could not be influenced by mere vanity, a luxury not everyone have.

Much like the SewOver50 go-to T-shirt list I will simply give you links to the many and various patterns which followers have suggested. I’ll begin with the ones I have sewn myself so they are my personal opinions and then follow with the rest. Most of these patterns either have a side or back zip, a few have an elasticated back, some are pull-on and the majority have a flat or flattish front. Where I’ve mentioned sizing it will be UK sizes unless I state otherwise. 

Let us begin…

Eve trousers by Merchant and Mills are as basic and classic a shape as it’s possible to have. They have a side zip and darts front and back with a fixed waistband. They have a tapered, slightly cropped leg shape without being close-fitting and a turn-up hem option. I’ve made 3 pairs (so far) in very different fabrics and they fill a gap I had in my wardrobe for just such a garment. There are two patch pockets on the back but I think this understated style lends itself to many hacking opportunities. Sizes available are UK 6-18 or 20-28 paper and PDF

Eve trousers made in soft green babycord

Sidewinder Pants by The Sewing Revival The USP of these flat front and elasticated back trousers is the unusual side seam which winds from the waist starting slightly in front of the hip bone, down the side of the leg and finishing behind your ankle bone. There are pockets set into the seam and the Sidewinders can be hemmed with or without a turn-up or with a deep elasticated cuff. I found them very straightforward to sew-I’ve made 3 pairs of these too in a variety of fabrics including one pair in a really nice heavy jersey with the elasticated cuff. I wrote a review of them a while ago which you can read here. It’s a PDF only and sizes available fall into 4 brackets UK 6-12 10-16 14-20 and 18-24

My Sidewinders in jersey
Sidewinders in grey suiting with pink topstitching to highlight the seam detail.

Palazzo Pants by Simple Sew This style has darts front and back with a fixed waistband and a back invisible zipper which runs up into the waistband. It gives a smooth close fit around the body which then widens out to very voluminous legs. There are pockets in the side seams if you want them but could easily be left out. I think they are a lovely shape, and I reviewed them here when I was a Simple Sew blogger, but if I made them again I would sew a regular overlapping waistband which closed with a button and buttonhole or a hook and bar because they are a bit tricky to do up. UK sizes 8-20 paper and PDF

Simple Sew Palazzo pants

Portobello trousers by Nina Lee These trousers have a lovely Katharine Hepburn vibe, they aren’t technically flat-fronted because they have deep pleats but they zip up at the back, which has darts, so there’s no extra bulk in the front as a result. They sit on the natural waist with a fixed waistband, have wide straight legs and there are pockets in the side seams. I made a pair in a slightly-too-springy fabric but they look OK and are very comfortable. I reviewed them on the Minerva website, a better fabric choice would have been something like a nice heavy crepe or twill, anything with a bit of drape would look great. I believe Nina Lee patterns are only available as PDFs now, sizes are in two brackets UK6-20 and 16-28

Portobello trousers by Nina Lee

6351 by New Look This is a pattern for separates and I’ve used the trousers a few times now. They have a drawstring (and elasticated) waistband, side seam pockets and the legs fall wide and straight. If these fit well on the hips then there isn’t too much bulk from the gathers at the waist-I’ve made them in linen and they are gorgeous in warm weather. I shortened another pair I’d made but didn’t wear so much and they have had so much more use as mid-calf cropped pants. Paper pattern only UK 10-22 (I think) 

New Look 6351 worn with The Maker’s Atelier Holiday shirt in Assisi, Italy

That’s all the patterns I’ve sewn myself so now it’s over to you, in no particular order…

Ultimate trousers by Sew Over It these slim-fitting trousers have a side zip and a facing rather than a waistband. They have been around since the very earliest days of Sew Over It and I’ve heard reviews which swing wildly in either direction. Some people swear by them and others say they can’t get a satisfactory fit. My advice would be to read a few reviews before making your decision. They only seem to be available as a PDF now UK sizes 6-20

Bev in her Ultimate trousers

Pietra pants by Closet Core these are a more recent release from Closet Core as part of their ‘Rome’ collection and they already have a legion of fans. There’s no zip, the back is gently elasticated with wide elastic, the front is smooth because of a grown-on slightly-raised waistband, there are quarter seams down the front with pockets plus there are three leg shape options-tapered, wide leg and shorts. That number of variations alone must make them excellent value for money! On top of that they come as a paper pattern US size 0-20 only and PDF in sizes US 0-20 or 14-32

Jenny overalls and trousers by Closet Core these are a wide-legged dungaree pattern with a number of options including trousers. They have a fitted waistband and darts for a close fit. Available as both paper and PDF in US 0-20 only. Closet Core have a reputation for comprehensive tutorials on their website so take a look if you need any help.

Chiara trousers by Tessuti these are a wide-leg slightly cropped length trouser with darts for a close fit around the hips and waist and a side zip. The waist is finished with a stitched-down facing. Available as a PDF sizes AUS 6-16 only.

Crew trouser by Chalk and Notch These trousers/shorts do have a side zip although they aren’t flat fronted, they are high-waisted with pleats and a tie feature. PDF only sizes US 0-30 

Mountain View pull-on pants by Itch to Stitch Initially I thought these didn’t fit the brief because they appear to have a front zip but it’s a faux one so we’ll let them past. A jeans-style legging made in fabrics with stretch this is a PDF only pattern in two size brackets (you get both with purchase) US 0-20 and 22-40

Eureka pants by Fit For Art Patterns I wasn’t familiar with this brand but these trousers for woven fabrics have multiple options for the waistband and leg shape which should help you to achieve an excellent fit. Paper or PDF sizes XXS-3XL (whatever that means)

Calder Pants by Cashmerette are another good option. Wide legged in three lengths including shorts, smooth front and elasticated back to ensure an excellent fit. It comes in paper or PDF formats, sizes US 12-32 Cashmerette are renowned for their comprehensive fitting instructions which could be very useful.

Willow Trousers by Style Arc classic slim pants similar to Eve mentioned at the top. The Willow have a split hem detail and side zip. Paper patterns or PDF are both available in single sizes AUS 4-30 or multiple AUS 4-16 18-30 

Bob pants by Style Arc a tapered, ‘balloon’ shaped leg with an elasticated waistband and side seam pockets, these trousers have become a stylish choice teamed with loose shirts and casual tops for a modern look. Sizing as with the Willow above. If you like these you might also like the Ethel pants by Style Arc.

Flint trousers by Megan Nielsen a wide leg pant or shorts without a zip at all, instead they have a crossover closure at the side which is incorporated into the pocket. Printed comes in AUS sizes 0-20 or PDF 0-20 or 14-30

Marilyn Jeans by Charm patterns These are a Fifties-inspired close-fitting jeans pattern but with a side zip, think Capri pants. PDF only at present but available in two size brackets US2-20 or 18-34

Clover pants by Seamwork another pair of slim-fitting pants designed for wovens with stretch. Side zip and ankle or mid-calf length, they can also have small inseam pockets at the waistband PDF only US 0-18

Duet trousers by Love Notions these trousers have an invisible side zip, two front hip pockets, back darts and two leg shapes-straight or tapered. They are suitable for both wovens and stretch fabrics. PDF only in sizes US 2-26

Miller trousers by Paper Theory These don’t have a zip, instead they have an elasticated waist with a tie option. There are pleats in the front, deep side pockets and long darts in the back to improve the fit in this area. Paper pattern or PDF UK 6-28 

Judith wearing her brand new Millers

Free Range slacks by Sew House Seven These are another pair of slightly gathered elasticated trousers but the side seams on these have been divided and shifted to form a panel at the sides instead. They come with a tapered or wide leg option and look great in linen or similar fabric types. It’s a PDF pattern with two size brackets included AUS 00-20 and 18-34 

Kate @stitchmeayear wearing her Free Range slacks

So there we are, this isn’t in any way an exhaustive list of course, you may think there are glaring omissions, and the emphasis is strongly on Indie patterns rather than the mainstream pattern companies. These are the patterns which were suggested by the followers of Sew Over 50 so if you have your own favourites then feel free to let me know in the comments, a few of the patterns suggested were out of print so I haven’t mentioned them here. Don’t forget to tag #SewOver50 and #So50Trousers when you post on Instagram either, it’s such an amazing source of inspiration and ideas for others.

Until next time, happy sewing

Sue

Sewing and other bits in 2021

Well that was another weird year wasn’t it!? I’m not gonna lie but I’ll be glad to see the back of 2021. For every good event there seemed to be two or three stinkers which I found made it really hard to see positives anywhere. I know that there were some good things though and I’m incredibly grateful to have the life that I do so I don’t want to dwell on the downside, let’s move into 2022 with an air of cautious optimism!

I entitled my round up for 2020 as ‘sewing in a time of pandemic’ and I’m so glad I didn’t know then that 2021 was going to be ‘part two!’ Anyway, I’ve collected a few photos to round up my sewing and other events I was able to get up to during 2021 although I’m not sure if they are particularly chronological…the length and colour of my hair at any given time will give you a bit of a clue!

I’ve decided that the Trend Utility pants are definitely my favourite trouser pattern of the year-I had made two pairs by the end of 2020 and finished a third, in orange linen, in spring 2021 and I’ve worn them all fairly constantly. I find them interesting to make, they aren’t a completely straightforward sew and need a bit of concentration but they are all the better for that. The leg flaps are their USP and they are a design feature that make me very happy!
I was wearing them in the late summer when we finally escaped with one of our daughters on a week’s holiday, along with another favourite, the Maker’s Atelier Holiday Shirt.
The orange linen pair were perfectly autumnal at Kew Gardens in November, and the colours were absolutely stunning.
This hacked Sewing Revival Heron dress was one I finished in 2020 but wore a lot in 2021, and will do in 2022 as well.
I’m still not convinced about the ribbon bow but I haven’t actually done anything about changing it.

I was looking for new sewing challenges early in the year during the next long lockdown and Mr Y was the lucky recipient of a few items including this Carmanah sweatshirt by Thread Theory. The fabric was kindly provided for me as I’m part of the Lamazi blogger team.

This is the Thread Theory Finlayson sweatshirt I made for Mr Y at the start of the year and he’s worn it on heavy rotation. These items of menswear led to me writing an article for Love Sewing magazine about sewing for men, and by men, in the spring and I joined Maria at Sew Organised Style podcast to chat about it too.
Mr Y celebrated his 60th birthday quietly at home in March, we both wore hand-mades!
…and we celebrated a second wedding anniversary in lockdown too. Cabin fever had taken hold a bit as I dug out my wedding dress and flounced around the garden in it! I really hope our 33rd anniversary this year can be outside of the house!!
Let joy be unconfined because mid-March saw us going for our first vaccination and I wore entirely hand sewn garments to mark the occasion, including a Holiday Shirt, a Nora sweatshirt and my self-drafted rain coat.

I was selected to contribute some articles offering sewing tips and advice for an online sewing project in the early spring but after just two such items they just stopped contacting with me or replying to my emails. Bit rude I’d say, I’ve no idea what was wrong because they never had the courtesy to tell me, and I’ve no intention of wasting more time on them frankly.

Moving on…

Lucy at Trend generously gifted me the kit for the Box Pleat shirt from her capsule shirt collection. Like all her patterns it is so well drafted, I should have gone down at least one size though (my fault for being overly-cautious) There are currently three patterns in the shirt collection but I know there are more in the pipeline.
I only made two Minerva projects in 2021 and this Tabitha dress from Tilly and the Buttons book ‘Make it Simple’ was one of them. I really like the Art Gallery fabric and I’ve had plenty of wear from it.
I was so happy to see my dear sewing chum Claire after far too long at the Alice in Wonderland exhibition at the V&A in the summer. It was an interesting show although I suspect we nattered all the way around it! [it seems there was a ‘wear checks’ memo sent out too!]

As you know if you read my posts I like to reuse patterns if they have lots of options so I’ve sewn several variations of a number of Sewing Revival patterns during the year, including the Fantail top below which I made in an ancient remnant in my stash which I believe somebody once paid 90p for!

The wide elastic casing in the front hem is such an interesting detail.
This is another version of the Fantail featuring jersey cuffs and back hem.
This Sewing Revival Kingfisher top was made using the fabric from a summer dress which I never wore. It’s been a satisfying project because I worn it often (I‘d had a haircut by this point too!)
I enjoyed the challenge that this Heron adaptation presented because I used linen jersey provided for me by Lamazi fabrics. It was a learning experience and I shared lots of hints and tips in the accompanying post. It’s been such a lovely fabric to wear, it’s very comfortable and it has a beautiful sheen which is not particularly obvious in this photo.
I made another pair of Simple Sew Palazzo pants in a linen remnant I bought from Lamazi, they are comfortable and very nice to swoosh about in! That’s a M&M Camber Set top with them.
I sewed a third version of the Trend Bias T-shirt dress which I made specifically for an occasion at Capel Manor College in north London when the Japanese ambassador to the UK came to plant cherry trees. I’ve only had a chance to wear it once so far because the weather was getting colder but I have every intention of wearing it a lot in 2022-you know I love a floaty dress and this pattern is perfect for that!
I managed to get an outing to the Fashion and Textiles in the autumn to see ‘Beautiful People’ and it was well worth it because the colours and fashions were so uplifting.
One of my personal favourite posts of the year was this one where I had rediscovered lots of my college work and sketches from the 1980s. It was so much fun to find them unexpectedly and it seems it was a trip down memory lane for many of you too.

I wrote just three specific Sew Over 50 blog posts in 2021, the first was a summing up of lots of ideas and inspiration for how to sew more sustainably which the followers of the Sew Over 50 account contributed. There was a lot of it and it definitely worth a read.

Judith Staley joined Maria on the podcast to chat about it too.

I was a guest editor on the Sew Over 50 account in the autumn when we chatted about mannequins in our sewing practice. Many of you contributed some brilliant and insightful comments, I wonder how many people have gone on to buy a dress form, or use the one they have differently, or more often, as a result?

Sew Over 50 stalwart Tina generously shared with us the many resources she has gathered together over the last couple of years for sewing and adapting patterns and clothing after a breast cancer diagnosis. It has been one of my most read articles on the blog since it was published in the autumn and I know Tina is happy for followers to contact her via Instagram for any advice or support she can offer them. For me, she very much represents the positive aspects of being a part of this worldwide community.

One of my favourite ‘in person’ events in the sewing calendar, Sew Brum, quietly took place in the autumn and my lovely mate Elizabeth kindly put me up overnight and we had some quality shopping and sewing time together. Our friend Melissa even joined us for a couple of hours for a Zoom sew! Plus I ran in my first (and so far, only) Park Run too! phew, it was a busy and almost-normal 48 hours.

We got VERY wet at the Park Run but we earned extra smug points in our me-made Fehrtrade running kit! [I wrote a post about the Tesselate Tee that we’re both wearing here]
I didn’t even buy any of this green fabric at Barry’s in the end…

I finally made a jumpsuit (or two) at the end of the year, it’s the Cressida by Sew Me Something Patterns.

I made this second one to wear at the first Lamazi open day in November. It was so much fun to be a part of and I really hope there will be the opportunity to hold more events during 2022 because it so good to meet up with people in person and to just chat about sewing all day.
This was fun outing to the V&A that actually happened rather than being cancelled like so many others, it was an in-person talk by Oscar-winning costume designer Sandy Powell and it was absolutely fascinating. I’ve really missed these talks in the lecture theatre and it was great to be back.
Being an actual grown-up at a fun event!
I splashed out on this unusual quilted fabric from Merchant and Mills and sewed it up into their Fielder top plus I wrote up a blog post on how I made the too-wide elastic fit around the neckline.
These Eve pants are also a Merchant and Mills pattern and they became my second-favourite trousers of the year, made in their Elinore checked linen and worn with a long-sleeved Holiday shirt in Swiss Dot.
This second Hug hoodie of the year by Made It Patterns is definitely one of my favourite makes of the year. It looks tricky but is very straightforward to sew and the style lines look very effective.

For quite a while I had wanted to organise an informal sewing event and they were finally able to happen in October and November with #HertsSewcial It was such a joy to be reunited with my Sew Over 50 stalwart friends Ruth and Kate, along with meeting several other online friends like Bev and Elke in real life for the first time. We had so much fun sewing and chatting together, the time flew past far too quickly and I very much hope I can organise some more in the New Year, current situations permitting.

Can you tell that Ruth, Kate and me are happy to see each other again after far too long!?

And my final sewing treat of the year was being able to meet up with Judith Staley in her hometown of Edinburgh!! It was much too brief but absolutely better than nothing, we had so much we could have talked about but that will have to wait until our oft-rescheduled and much looked forward to sewing get together next spring…fingers tightly crossed!

My final personal make of the year was another Maven Somerset top in this celestial jersey I bought at the Lamazi open day. It’s festive without screaming CHRISTMAS!

And so ends another year of sewing and other stuff, as well as the new garments I’ve sewn for myself there were many other occasions when I wore, and re-wore, favourites which didn’t need to be photographed! I fervently hope 2022 brings better times for everyone and that we can adapt to our new or changed ways of living. Sewing will continue be a big part of my life and I hope there will be some new and exciting projects and opportunities during the year. There are so many wonderful people in this community and the support and encouragement that swirls around has been so important during another trying year-I hope I will get a chance to meet up with more of you in person during the next twelve months.

Until then, thank you for reading my wafflings, happy sewing and a very happy New Year,

Sue

Simple Sew Palazzo Pants updated

In 2019 I decided to try something different to dresses from the Simple Sew pattern collection for my blog post so I chose the wide-legged Palazzo pants. 

I always have a look at any posts or reviews about a particular Simple Sew pattern first to check if there are any pitfalls I should look out for which might influence my decision, or how I tackle making it, and the overall opinion of trousers was positive. I sorted out some fabric from deep in the stash, it’s a viscose from the now-defunct Adam Ross fabrics which has a good drapey quality, although I know it will crease so I’ll wear these permanently standing up! 

There are only 4 pattern pieces to the trousers-front/back/waistband/pocket- which makes them very simple to lay up and cut out, you could even leave out the pockets if you’re short on fabric but why would you leave out pockets?! 

I checked my measurements against the chart to decide my size, I also measured the pattern pieces to get some idea of the ease involved but I was optimistic they would be generally OK. If you’re very unsure, or between sizes, I’d suggest you make a toile that’s about mid-thigh in length to check the fit and comfort around your waist, hips and body length. Leave out the pockets at this stage, there are darts in the back and the front is flat, you could insert a zip in the back if it makes things easier to fit yourself but I didn’t bother. Always sew a toile as accurately as you would the garment itself because if you don’t bother cutting properly or following the seam allowances how will you know where the problems lie? That’s the whole point of a toile! Make any adjustments on the toile and transfer the changes to the pattern pieces. There are no lengthening/shortening lines marked on the midriff area of the pattern so I suggest, if you need to make either of these changes, drawing a line at a right angle to the grainline at a point midway between the waist and crotch level. Fold out or add in length through this line. There is a lengthening/shortening line for the leg length however.

It wouldn’t be a Simple Sew pattern if there weren’t some errors or anomalies to keep you on your toes and this is no different. On the back piece the pocket placement notches are only printed on size 8 and none of the others. Either transfer the markings to your size or remember to snip them when you’re cutting out the back.  

The notches don’t feature on all the size lines so transfer them across as required.

The lay plan for cutting out shows the main pieces interlocking, which is fine if you have plain or multi-directional fabric but don’t forget to keep the pieces running the same way if you have a distinct one-way print. Also, I didn’t cut out the waistband until I was happy with the fit of my trousers as it’s very shaped piece and if it’s too big or too small you’ll probably need to cut another. Don’t forget to make a snip for the centre point on the waistband, it could have done with a notch for the side seam position though as there isn’t one so it’s a bit of guesswork.

I’m not normally an advocate of overlocking the edges until they’re sewn up [because if you aren’t careful you can easily lose too much seam allowance in the trimming and when you join pieces together you could start to make the garment too small, plus your notches disappear] but, as many of the pieces here require the seams pressed open and flat, I overlocked most pieces first this time. 

You will find that for instructions 4 and 6 the words don’t match the diagrams but the drawings are correct 

Next the pockets go in (unless you wish to check the waist/hip fit first in which case tack or machine baste the side seams and leave the back open where the zip will be inserted in order to try the trousers on) The description for the pocket insertion is a bit vague, I’ve made a second pair since writing this piece originally and found it quite unsatisfactory which is why I have updated my advice.

Neaten the lower edge of the pocket bags first then pin to the trouser fronts matching the ‘opening’ notches. Next stitch in place from the waist to the bottom edge of the pocket bag using a 12mm seam allowance (see my notes on the photo above) Repeat with the trouser backs, then neaten the seam edges all the way down enclosing the pocket edges too. On the front only, understitch the pocket opening. Now you can pin the fronts to the backs and sew the side seams shut using a 1.5cms seam allowance, not forgetting to leave the pocket opening unstitched! Finally, carefully sew the bottom edge of each pocket bag closed otherwise your sweets will fall out inside your trouser leg!

After I’d assessed the waist size (comfortable to loose) and crotch length (comfortable) at this point I cut and interfaced the corresponding waistband [for some reason there were two waistbands printed out but I could find no discernible difference between them so just ignore one and cut a pair in fabric plus one interfacing] 

The reason the waistband goes on before the zip insertion is because the zip runs right up into the waistband to finish at the top, there’s no overlap allowed with button or hooks and eyes. You could use the overlap method if you prefer but you’ll need to add some extra length to the waistband on one end to allow for the overlap. 

The lack of indication of the side seams on the waistband means you’ll need to pin carefully to evenly absorb any fullness of the trousers to ensure a good smooth fit to the waistband. [the side seam is probably at the halfway point but not necessarily, especially if you’ve made any fit adjustments to the waist] 

With the benefit of hindsight I would make the waistband in two pieces, a front and two backs with the join at the side seam. This is for two reasons, first, it will allow you to make adjustments for fit more easily and, secondly, I’ve found the centre back has become slightly pointy and misshapen both times I’ve made these now. I believe this could be because the length and curve of the waistband means that it the centre back is very off grain, usually the centre back seam would be cut on the straight grain which gives it stability.

The instructions and illustrations for inserting the zip are reasonably clear however there seems to be a contradiction with an earlier instruction which tells you to sew up the back crotch seam. Illustrations 13-15 appear to have the CB seam unsewn and 16 tells you to sew it up after inserting the zip but previous diagram 6 tells you to sew it up! No wonder I got in a muddle!! My suggestion would be, if you’re using an invisible zip as suggested, leave the CB seam unsewn AND ignore instruction 11 to sew up the inseam until after you’ve inserted the zip. Alternatively, use your preferred method of inserting an invisible zip. Before sewing the waistband down I added two hanging tapes to each side seam so that I had an additional means to hang the trousers up if needs be.

On my second pair I’ve added a small button and loop inside the waistband because I found the zip a bit of a faff to do up without anything at the top of it.

you can also see here how the waistband rises to a slight point on each side in spite of it being fully interfaced. It isn’t the end of the world but I’m a bit cross it’s happened a second time, CBA to fiddle with it too much though…

Hopefully you’ve now arrived at a finished pair of trousers which simply need hemming. After checking the length wearing shoes (they come up pretty long) you could use the simple rolled hem finish as per the instructions or, as I did, leave a sizeable hem of about 5cms to give weight to the very flared leg width. I overlocked the edges to neaten and then used my blindhem stitch with the appropriate foot on the machine to finish [incidentally the photo is of a different project] I don’t use this technique often but it’s a good, and quick, finish on hems that don’t have too much, if any, curve. You could also slip hem by hand of course. 

Different project but still blind-hemming set up

The Palazzo pants are worth persevering with as they have a pleasing smooth fit over the waist and hips which is very comfortable and the leg is wide without being crazy-big. You could shorten them to culotte length very easily, they would work well in a variety of fabrics including linen, chambray or crepe, fabrics with a bit of drape and fluidity will look nicest as you don’t want to look like Coco the Clown!

I’ve made my second pair from a remnant of printed linen/viscose mix I bought from Lamazi recently.

I’m wearing them here with a top made from broderie anglaise that I found in a whole collection of fabric I was given by a friend. Her mother had been a wonderful dressmaker and I found the fabric pre-cut as this simple top which so I just sewed it up.
I’m wearing them here with one of my trusty Camber Set tops from Merchant & Mills
Same Camber, different trousers!
I cut this pair slightly shorter overall so that they aren’t so long if I wear them with flat shoes.

Overall I’m pleased with these trousers, they are a good fit and make a nice alternative to a skirt or close fitting trousers especially in warm weather.

I noticed that this particular post gets a huge amount of traffic so I hope this update clarifies any issues you might have had with the pattern. In fairness, it might have been updated and corrected since my copy was produced in which case you may be able to disregard some/all of what I’ve written!

Until next time, happy sewing

Sue

2020-Sewing in a Time of Pandemic

Well what a year 2020 turned out to be!

It’s been such a tough time for so many and being a part of the wider sewing community has been a very real lifeline for many people. Those of us that enjoy making our own clothes already realise the obvious benefits this can give us; total freedom to choose types, colours and patterns of fabrics as we wish, the ability to emulate high-end or high street fashion at the price-point we can afford and the skill to make clothes fit our own particular body type, to name but a few. It shouldn’t then come as a surprise that the wider world, whilst searching for activities to entertain and occupy them during the long weeks and months of lockdown, discovered (or rediscovered) that home sewing can be creative, absorbing and rewarding which is a VERY GOOD THING! Who knew there was a link between doing a creative activity and a more balanced sense of well-being??

To be honest it doesn’t matter what that activity is, or whether you’re really any good at it, the fact that it can take your mind away to other less stressful places for a time is what matters.

But at the start of the year none of that was of much interest to most. I was extremely fortunate in January to go on a cruise to the Caribbean so I made a couple of new things to fills ‘gaps’ but mostly I took old favourites…cue multiple photos of 3 versions of The Maker’s Atelier Holiday shirt on heavy rotation! One new item was the Trend Square dress I made in fabric given to me by Dibs from Selvedges and Bolts the previous year, I got a lot more wear later on in the summer.

Within a couple of weeks of getting back, Judith Staley and I hosted the very first Sew Over 50 meet-up in London. We very much hoped, and expected, that it would be the start of many more such meet-ups between followers of the @SewOver50 account all over the world but it wasn’t to be…not yet anyway.

If you’ve been reading my blogs for a while you’ll know that as well as meeting up for sewcials with fellow sewers I really enjoy my visits to exhibitions and galleries. At the end of February I caught up with Janet Poole who is a fellow Lamazi blogger at the Stitch Festival in London, I had such a lovely day shopping and chatting with her, and her friend Great British Sewing Bee winner Juliet too. We didn’t realise it then but we were very fortunate to be able to attend the event at all and I wouldn’t be surprised if others who went didn’t catch the-virus-that-shall-not-be-named because it was so crowded.

About a week after this I was able to go to the stunning new Kimono show at the V&A and, although we didn’t know it at the time, that was to be the final outing for several months…

I wore the new Homer & Howells Cissy dress (and failed to remove my coat from shot which I chucked on the floor!)

So then we entered the first long lockdown and that’s when sewing (and some baking) became my primary occupation. During this time I had some blogging commitments for Simple Sew Patterns and Lamazi fabrics to complete. For my first Lamazi post I made a Trend patterns Bias T-shirt dress which was a tough make, not because the pattern was difficult but because I was making the dress for a wedding that never took place. And worse than that, I was making the Bride’s gown too so I still have an almost-finished dress waiting for the day that the wedding can happen.

In all honesty I hated how I looked in this dress because I had piled on weight and felt very self-conscious in a fitted dress. It was a lovely pattern made in beautiful fabric but I felt I was doing both a disservice. Eventually I did wear it in September by which time I had lost weight and it was a delight to wear! I’m sure I’m not the only one whose state of mind has fluctuated wildly this year and my self-confidence was rockbottom when this picture was taken.

I know I’m very blessed in that I have little to actually complain about in my life but that does not mean that these months of lockdown didn’t take their toll mentally so, when the call to help make scrubs came, it was something I could actually do! Eventually I made 10 sets, I believe they were headed to a maternity department in a London hospital.

I continued to keep busy by doing a few refashioning projects because the desire to make new things that weren’t going to be worn outside the house was just too depressing. I love the act of making clothes, the planning, the cutting out, the sewing, because that was taking my mind off what was happening in the real world but how could I justify making new clothes that I had little use for? Even dressmaking was starting to become a negative because I felt guilty about it. By doing some refashioning projects using things I already had, other than new fabric, I made a few items including pyjamas for my final Simple Sew post and another pair using the PJ pattern in the Great British Sewing Bee book written by Alex and Caroline of Selkie patterns and for which I had made a couple of samples. I used 4 old work shirts of my husband’s which were very well worn! I also made (eventually) two pouffes as well which took care of loads of scraps and off-cut furnishing fabrics and were extremely satisfying! I also refashioned a very old and redundant heavyweight cotton curtain into a Dawson coatigan by Thrifty Stitcher.

Early on in lockdown I had the pleasure of talking to Maria Theoharous for her Sew Organised Style podcast on a couple of occasions. I’ve set up a separate page so you can access this to be able to listen to her inspiring SewOver50 guests every week. One of our chats revolved around how we each arrive at our fabric choices for specific purposes or projects, I wrote this topic up as a post which you can read here, and I also wrote a further post which came from when I was guest editor on the @SewOver50 account and we talked about our cutting out processes-did we cut and make one thing at a time, or cut several things and have multiple projects on the go? Scissors or rotary cutter? Pins or weights? It was wide ranging and fascinating with so many excellent ideas and practices. I hosted another discussion about a variety of hem finishes later in the year and you can read that one here. Incidentally, by the end of this year @SewOver50 has reached an incredible 25,600 followers!!

One of my stranger tasks this year was to carry out a socially-distanced dress fitting on a doorstep! Before lockdown started I had been commissioned to make a dress for a work colleague of my daughter Katie. Thankfully I’d opted to make a toile of the bodice which I’d fitted just before lockdown kicked off so I managed to get the dress to a good stage of completion. However, I got to a point where I definitely needed her to try it on because even if she couldn’t wear it for the event she had hoped to, it would be nice for her to take delivery and wear it around the house!! So I went to their place of work and handed the dress over at arms length to Tracey to put on in the staff toilet, then she came out onto the porch where Katie, under my direction, pinned the dress for me. I took a few photos for reference too. From that I was able to finish and deliver the dress and my client was delighted with it…phew

One of the regular sewing highlights of the last 4 years for me has been the Sewing Weekender which generally takes place in Cambridge, UK in August. The organisers took the bold decision to put the whole event online instead which meant that many more people could ‘attend’ from all over the world. Myself and Judith Staley were delighted to be asked to contribute a video message each which was very nerve-racking but it turned out alright in the end. I published a transcript of mine here, along with the original video (you’ll notice that I had abandoned my signature pink hair by this time because, quite frankly, what was the point of bothering!) The Online Weekender also raised a significant amount of money which was divided between 4 charities. 

As lockdown started to ease in the summer I was able to get out and about a couple of times. I joined an al fresco rag-rugging workshop in Hertfordshire run by Elspeth Jackson of Ragged Life which was so enjoyable, and I visited a couple of exhibitions in London including the Kimono show again, plus Andy Warhol at Tate Modern and Tricia Guild at the Fashion and Textiles museum both on the same day. Since then though things have been shut down then reopened, then shut down again. My heart goes out to everyone who is trying to run a business or an organisation that relies on visitors through their doors to make them viable, their future is very uncertain.

I’ve made a few other garments during the autumn which I’ve been really pleased with including the Prada-inspired shirt dress and a pair of Utility pants by Trend Patterns (not blogged yet) but I feel I’ve run out of steam with my sewing right now and I never thought I’d say that. My own teaching classes restarted for a total of 5 weeks in October but they’ve stopped again. I know some have adapted by using Zoom or other platforms but it just wouldn’t work for me, I feel dressmaking is too hands-on and needs real assistance for tricky bits, holding things up to the camera isn’t good enough sometimes. And being part of a group and all that shared enjoyment is a huge part of it too. I’ve had fairly regular online catch-ups with some of my lovely sewing friends and that has been a joy, albeit not as good as seeing them in the flesh.

Mr Y was the lucky recipient of a few handmade garments too during 2020 when I made him another two Kwik Sew 3422 shirts, and not one but two Thread Theory Finlayson sweatshirts! I’m happy to say he’s delighted with all of them and I’ve got plans for another sweatshirt for him in the new year.

I’m working on my own pattern which I’ve self-drafted so hopefully that will be something positive for the new year but I need occasional assistance from more expert friends and that’s making it a drawn-out process which would have been so much more fun person-to-person.

One final project I was commissioned by a friend to make was a Christmas chasuble for her to wear as she presides over her Christmas services in church. A chasuble is essentially a fancy poncho which the priest wears over their other vestments and Wendy wanted me to create one with a Nativity scene on it. She sourced the base fabric with my advice, and a printed quilting cotton Nativity which was sent from the US. This was square so I carefully cut it into approximate thirds with the central third featuring the stable scene and the star for the front, another third with Bethlehem for the back and the remaining third I cut into two parts to use on the stole, which is the long scarf priests wear around their necks. All of these I attached by appliquéing around the black outlines (I was literally making it up as I went along!) Wendy is delighted with the finished result (thankfully) and I’m sure she will enjoy using them during the Christmas season.

As I finish writing this (2 days before Christmas) we have no idea what lies ahead…some countries seem to be slowly recovering whilst the UK as a whole seems to be sliding further and further into disaster, or maybe not? I should try to think more positively as scientists have worked tirelessly to make a vaccine which will gradually be rolled out. Personally I’m a long way down the list for it but that’s absolutely fine, we must protect the most vulnerable first.

I’m making an effort to look cheerful in this most recent Lamazi blog make, but the wine was slightly off watered down Rosé from my daughter’s fridge and it was 10.30 in the morning! I’m genuinely pleased with the dress though and in spite of everything I’ll wear it on Christmas Day because there’s plenty of room for expansion!!

This has probably ended up not being a-not-entirely-coherent post but that’s kind-of appropriate I reckon! Wherever you are and whatever the new year brings for all of us I’d like to thank so many of you for reading my posts, sending me lovely or encouraging messages. Being a part of the online sewing community and Sew Over 50 in particular has been an absolute joy and a lifeline at times. We need to lift each other up more often, call out injustices when we see them but not to the extent that it becomes bullying of individuals, that isn’t right either. 2020 has been a year of huge upheaval, I plan to restart 2021 with fresh sewing plans to help me to feel more positive about it…it’s going to be a bumpy ride!

Until next time, stay safe!

Sue

Refashioning a Simple Sew Kaftan into PJs

Two years ago one of my early makes as a Simple Sew blogger was the Kaftan pattern made in a tropical print cotton lawn kindly given by Doughty’s online fabric store. It was very much a ‘holiday’ garment but, even so, I didn’t wear it as much as I’d hoped because whilst the fabric was quite lightweight there was too much of it around my legs, it was probably a size too large and the whole thing just looked quite bulky. It would have been better in something like a very lightweight cotton voile or Batiste, or a printed chiffon or georgette as a swimsuit cover-up. 

Anyway, rather than make another new garment for my next Simple Sew post I’ve decided to refashion the Kaftan into pyjamas instead, retaining the top section and cutting shorts from the remainder using the Lapwing trouser pattern. 

I studied myself in the mirror wearing the Kaftan and decided to reduce it to approximately 25cms long from the original waist seam at the side-I would make it level all the way around although the waist seam rises up at the centre front. With the remaining fabric of the skirt I would make the shorts

I took the cord out of the waist and initially decided I would replace it with elastic instead although eventually I changed that plan. I felt the sleeves were a bit long and restrictive to sleep in so I shortened those too by about 5-6cms. I removed the pompom trim first although I didn’t reuse that in the end because I opted to create a curved opening on the shoulder seam instead, to soften the lines.

calculating how much to remove from the sleeve and underarm seam.
I took a good chunk off the sleeve and the underarm seams.
after I cut excess off one sleeve and side seam I placed the pieces onto the other side so that they mirrored each other.

I partly unpicked the shoulder seam and overlocking sufficiently far that I could re-overlock the edges singly and then roll hem finish them so that the overlock stitches were enclosed.

curving the shoulder seams

I also took quite a bit of fullness out of the bust section at the underarm so that it would fit closer to my ribcage, I didn’t remove any corresponding fullness from the newly-shortened skirt though, I simply pleated it up to fit the top part and rejoined them together at the waist seam.

I pleated the ‘skirt’ fullness into the waist seam.

I neatened the new hem using the overlocked rolled hem method again and finally trimmed the waist seam with co-ordinating pink rick-rack from Backstitch. I decided against putting elastic in the original casing because I felt it would ride up while I slept and become annoying around my ribcage. This has proven to be the right choice because the top is comfortably loose without being huge.

Moving on to the shorts, I used a RTW pair I’ve had for years to compare measurements and also to compare against the size chart for the Lapwing trousers. I traced off the pattern in a size 14 because I wanted to create a hem similarly-shaped to my RTW ones for the shorts, they have a slight upward curve at the side seams (I dithered about adding side pockets as per the pattern but in the end I left them out, I thought about adding a patch pocket on the back instead but I didn’t do that either!) 

I was able to fold the original front skirt section down the centre front line and cut a pair of front shorts pieces from that. I placed the piece as near to the top as possible so that I had the maximum amount of fabric left to cut the bias strips from. 

As is very often the case the back section of trousers was bigger than the front so this meant I couldn’t cut it out of folded fabric. I laid the fabric out flat instead and cut them singly using the centre fold as my guide for the grain and making sure to flip one so that I had a pair, not two the same! 

In order to hem the curve I made a wide bias band pattern piece which, ideally, I would have cut one for each leg but the remaining pieces of fabric from the front skirt didn’t allow me to do that so I cut several shorter pieces which I joined to make a long enough strip. 

cutting the bias strips from the remainder of the front skirt panel
joining 3 shorter bias strips to create enough length for two leg openings
attaching the bias to the hem, RIGHT SIDE to WRONG SIDE!

I joined each side seam first, neatened it and pressed towards the back. Having joined the bias strips I pressed over one long edge by 1cm. In order the self-neaten the hem I placed each strip RIGHT side to the WRONG side of the shorts (see photo) and stitched it in position.

bias sewn in position, this then flips to the outside and encloses the raw edge neatly inside it

Then the strip flips up to the right side, thus also being right side out and enclosing the raw edges. You could simply top stitch this in place along the folded pressed edge or add a trim, I put more rick rack on here to match the top. Now sew up and neaten the inseams. 

the almost-finished inseams

The rest of the shorts were very straightforward, I placed one leg inside the other so that the crotch seam was right sides together then stitched it twice a couple of millimetres apart before neatening.

I pressed over the top edge by 3.5cms then made two round-ended buttonholes for the ribbon to come through at the centre front. Next I top stitched close to the top fold, then sewed another row of stitching 3cms from the fold to create the elastic channel. I measured my elastic for a comfortable fit and added a short piece of dusky pink ribbon (which probably came off a gift bag or something) to each end of the elastic. I slotted this through the buttonholes and then secured it so that the elastic was just out of sight with only the ribbon showing through the button holes. Job done!

I’m pretty pleased with how my new pyjamas have turned out, I reckon I’ve already worn them more times than as a kaftan so that’s got to be a good thing, right? At least this pretty fabric isn’t languishing in the wardrobe waiting for a warm sunny holiday which is nowhere on the horizon any time soon! 

I’m a bit uncomfortable about sharing photos in my PJ’s but it’s in a good cause I guess.

Until next time, happy sewing

Sue

A few hem finish suggestions-a Sew Over 50 topic

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…

This was the hem of the first Refashioners project I attempted. It was a jacket made from two pairs of my husband’s old jeans and because I wanted to use as much of the reclaimed fabric as possible I cut shaped facings for the lower edge. As you can see I also finished the edge with bias binding I made from offcuts of dress fabric.
The inside of the finished jacket looked like this. I understitched the lower edge of the facing to help it roll better and also slip-stitched it in various places including the seams and pocket bags to secure the facing without the stitching showing on the front.
This is also a much more shaped facing on the hem of Tilly and the Buttons Orla blouse. This can be a beautifully neat finish on a curve, it gives some ‘weight’ and crispness to the hem too and makes it less likely to curl upwards on blouses for example.
This Orla blouse was from 4 years ago, I like the exposed zip in the back too (the instructions for putting it in were excellent if I remember correctly)

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.

Helpfully, my fabric had horizontal stripes, some opaque and some sheer so I started by placing the crin on the front of the fabric and lining it up with the bottom edge of an opaque stripe. It is stitched on very close to the edge being careful not to stretch the crin as I sew, it’s important it lies flat. By sewing the crin onto the right side of the fabric when you flip it to the inside the raw edge of your fabric is enclosed underneath. To be honest I was making up the method as I went along because my experience of this technique previously came from altering wedding dresses which used it so this isn’t foolproof. I would strongly advise you to try a few samples first so that you have the version which looks best for your particular garment. [the eagle eyed amongst you might notice in my photo that I’ve sewn the crin to the wrong side of the fabric! I obviously did it and photographed it before realising what I’d done. As this was four years ago I don’t have any other photo!]
Once the crin is turned up to the inside I slip-hemmed it by hand, it looks a bit messy on the inside because the black shows up but it’s absolutely fine on the right side.
the finished dress, it’s one of my favourites I’ve ever made, and it’s a partial-refashion too because the velvet bodice used to be a skirt!

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.

Sew the binding on very close to the raw edge, this was a Simple Sew Lizzie dress
Here I made my own binding which is first sewn on with a 5mm seam allowance and then understitched which is what you see here. I made this Grainline Farrow dress for a magazine review
The hem is turned up and I’ve slipstitched it in place by hand.
This is the same technique with ready-made bias binding.
the finished skirt.
My final example is the little christening gown I made from a wedding dress.

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.

This is one of my variations on the Camber Set
I roll-hemmed a straight strip of fabric here which I then pleated onto the sleeve using a fork!
I roll-hemmed a straight strip top and bottom and gathered it onto the sleeve here.
An extended length sleeve on the River pattern from Megan Nielsen, roll-hemmed and elasticated

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.

Using strips of iron-on interfacing to stabilise the area where the cuffs fold up
This is felted-type woollen fabric where hand stitching is unlikely to show through but if you have a finer fabric I would make the interfacing strip wider so that I then caught the inter with my stitches and not the fabric itself. See the next photo to explain this better.
You can see the interfacing is above the hem line here and I’ve herringbone stitched it by hand. You can also see how I’ve created a chain link to anchor the lining to vent opening on the back of the skirt.
the hemming stitches aren’t visible from the outside using this technique.

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.

Personally I always think the stitches show a bit too much no matter how hard I try to get them really tiny. It’s very easy to catch a bit too much fabric, or none at all! In truth I probably don’t practice enough!!
This Regatta dress from Alice & Co was an ideal application because the skirt has a straight, unshaped 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.

the binding is sewn on the inside first
the binding then flips to the outside to become visible.
This dress was made for the Simplicity pattern hacking challenge last year
Instead of the usual hem on this dress I created a casing which I threaded elastic through.

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 hem from the inside
the finished hem from the outside.
the finished dress, I was off to a wedding!

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.

Inside the hem the corners are mitred.

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.

turn stitch and trim
make another narrow hem, stitch a second time on top of the first line. Press. There will only be one row of stitching visible on the outside.

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.

attaching a band to the hem.
The finished dress (worn with walking shoes during lockdown!)

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 put a piece of Stitch and Tear behind the fabric as I sewed.
It looked like this after I finished
It will look like this on the reverse.
gently pull away the backing and then carefully snip off the excess fabric up to the stitching line.
Eventually the hem looked like this, the sleeves are trimmed with Broderie Anglaise

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…

I had some narrow strips of white cotton lawn lying around so I joined them to make a piece long enough to go around the whole hem.
I folded the strip lengthwise.
attach the strip to the hem, raw edges together.
I understitched it, plus there’s a band on the front which is what you can see folded over in order to enclose the facing eventually.
The band folds back to enclose the hem facing.
There’s a little bit of puckering on the reverse here but this is invisible from the front, a good press will sort that out.

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.

Stitching the hem with the overlocked edge rolled to the inside.

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.

the bias strips were applied right side to wrong side on the shorts hems.
the bias strip is on the inside at the moment
It is then turned up to the outside where I trimmed and stitched it with ricrac braid.

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!

Until next time, Happy Sewing

Sue

A Simple Sew Cocoon dress hack

I had made two Simple Sew Cocoon dresses without alteration when the pattern was first released a couple of years back, and you probably know that I love a bit of a pattern hack so I decided that the style would be good for an adaptation. I’d drawn a few sketches of ideas and had a rummage in the stash for some suitable fabric when a funny thing happened…

I found I had already cut out a hacked Cocoon in the past!! I realised I must have done it easily two summers ago but then abandoned it because I decided it would be too short. I remember it was a limited amount of fabric, probably 2 metres, but I put it to one side and forgot about it. 

Fast forward to now, I wanted to make it up but I needed to lengthen it in a way I was happy with. I had truncated the bodice at Empire line just below the bust and then the skirt was two widths of the fabric, a simple dirndl. I’d cut the facings too but there was literally nothing else left except small scraps.

There’s a centre front seam in the bodice, I cut the dress horizontally under the bust at about Empire line

I went through various options including adding extra frill layers but to do that you gradually increase the amount of fullness needed for each layer, in other words, layer 1 would be 1.5x the waist measurement, layer 2 could be 2x the length of layer 1, and layer 3 could be 3x the length of layer 2. In simple terms this means longer and longer strips of fabric are needed to form each frill to be sewn to the previous one, and the longer the length of the dress the more layers you might need. Basically I couldn’t make the skirt any longer with what I had because it was already cut, and because of the lockdown I couldn’t go out to look for a suitable plain cotton. I returned to the stash and eventually found 50cms of cotton poplin which I know I bought at the same time as the original, I must have intended it as a contrast but never used it.

By cutting the 50cms piece across the width into two 25cms pieces I could join them at the side seams to form a loop and then fold them in half to create a 12.5cms deep band which I would sew to the hem of the dress! Simple! 

Once I’d worked all this out I sewed up the bodice, rather than hemming the cap sleeves I used some binding from my stash so that I could maximise their length. I planned to twin needle some top stitching in various places and I used two different coordinating threads for this. 

Bias binding sewn onto the sleeve then understitched
bias binding turned back
The completed sleeve with twin needle topstitching

I did the same around the V neck once the facing was sewn on, in order to get a pristine join at the point I carefully unpicked a couple of stitches and secured them on the reverse.  

I wanted side seam pockets (of course) so I had to cut them out of some plain cotton scraps, each piece was added to the side seam and then the side seams sewn up. 

The new band was initially slightly wider than the lower edge of the skirt so I restitched it until the two were the same width and matched exactly at both side seams. I used the overlocker with four threads to join and neaten the band in one step, I pressed the seam upwards and then twin-needle topstitched it to decorate. 

the band folded and pinned to the lower edge of the skirt

The final step was to run two rows of gathering stitches at the top of the skirt then sew it onto the bottom of the bodice, matching at the side seams. I pressed this upwards too and topstitched it as well.

For a dress which had languished with not much hope for two years I’m really happy with it!! I loved the fabric (which was from John Lewis originally I think about 4-5 years ago!) and I was so cross I’d cut something which I couldn’t imagine I’d wear if I sewed it up. By adding the deep band the skirt now has weight as well as length. It’s been so comfortable in the hot weather, why did I wait so long?!

we were heading out for our exercise hence the unsexy shoes!
we have a Henry Moore sculpture on loan for the duration of the centenary year of our town, maybe we can keep it for an extra year now that all the summer celebrations are cancelled?
Coronation Fountain
yes I have got water coming out of the top of my head!

Lockdown is easing in the UK since I originally finished this dress but I hope, as always, this hack has given you an idea of how simple it can be to take a section of a pattern you already have and give it a twist to become a different garment. I had very limited fabric with a print which still needed to match everywhere, by adding the hem band I’ve given it the look I was after…it just took a couple of years to think of it!

Until next time, happy sewing,

Sue

Simple Sew Chelsea Collection blouse hack.

A lot has happened since I wrote my last Simple Sew blog post, Christmas for one thing, and I had a lovely holiday in the sunshine too but now we are all confined to our homes because of Covid 19. Without wishing to trivialise the gravity of this situation, one of the side effects of it is that you might have more time to sew. 

I’ve had a rummage through my Simple Sew patterns to find one which I haven’t already shown you, and which has opportunities to hack, and I settled on the Chelsea Collection. This is a capsule wardrobe of a short sleeve blouse with two variations, a pair of trousers and a button-front skirt in two lengths. I liked the blouse with it’s shirred sleeves and keyhole back detail but I decided to mix it up a little by adding a button front. Normally we are able to select fabric from a couple of generous sponsors but I wanted to ‘shop my stash’ to find something this time. I found a very pretty vibrant floral John Kaldor cotton lawn which I think I picked up from a swap table sometime and I knew would work well for the blouse. 

I didn’t want the blouse to be overly tight so, after checking my measurements I opted for a larger size than I’ve made previously. If you’ve been a regular reader of my posts you’ll know that I tend to check Simple Sew patterns for any discrepancies before I start. There didn’t seem to be any glaring ones but I just added a slight curve to the back hem so that it dipped in the same way as the front and I trued the shoulder seams so there was a smooth flow from front to back. 

Adding a curved hem to the back, I measured the distance from the lengthen/shorten line on the front then made the back the same amount, curving the line gently upwards to the side seam.
trueing the shoulder seams

As I wanted to alter the front significantly I had to make some changes there first. In order to create a button-stand I simply added 2.5cms to the centre front all the way down what would have been the fold. [2.5cms was a fairly arbitrary figure because it depends really on what size buttons you’re using, a general rule of thumb is that the bigger the button the bigger the button-stand needs to be so that there’s enough overlap and the garment doesn’t end up too tight because the overlap isn’t big enough.]I was able to do this by drawing directly onto the tissue before cutting the piece out as there was enough space to do so.

adding the button stand to the front

If you’ve already cut a pattern that you want to add to just stick some extra paper to the centre front fold line, or trace off the whole piece again adding the extra. The original front had a facing for the neckline so now I needed to create a new facing which would neaten both the neck edge and the button-stand. To do this I simply traced off the whole of the new front opening including the neck edge and made the facing a depth of 7cms all the way down from shoulder to hem, with a smooth and gradual curve. The photo should make this clearer. The back neck needed a new facing too because the existing one took the armhole into account. Again I traced off the section I needed making it 7cms at the shoulders to match the front facing. 

The final change I made was to lengthen the sleeve a little and add some more fullness to it. I started by making the sleeve 5cms longer and then I drew 3 vertical lines on the pattern at approximately the front notch, back notch and shoulder seam points. [Depending how much extra fullness you want to add to a sleeve you could use more places than this but do try to space them evenly apart.] Next I cut up each line from the bottom until I reached almost the top, I left this very slightly attached. With the piece flat on the table I spread the bottom of each slit by about the same amount, probably about 4 cms, then taped slithers of paper into each gap.

First I added the extra length and then drew the vertical lines where I wanted the extra fullness.
Next I opened each part to add the extra being careful to keep the pieces flat and not twisting or wrinkling up, put extra pieces of paper under the gaps. Once you’re happy tape them in position,
Once I had added the extra I cut the piece out.

If you don’t want to cut the pattern up you can do the same process by still marking the vertical lines on then pivoting the uncut pattern at the top of each line, use a pencil or your finger as the axis. Draw or trace around the first section, which remains stationary, then each subsequent section after you pivot it to so that you get the extra fullness being added at the hem. Opening up the wedges in this way means you’re adding fullness to the hem but not the crown of the sleeve, if you want extra fullness in the crown spread the whole piece more or less parallel. The grainline should run equidistant down the centre of the new piece (unless you want to cut it on the bias)

Having done all this I cut it out and was ready to sew! 

I started by joining the shoulder seams of both the blouse and the facings (which I’d interfaced and neatened) then I attached the facings to the neck edge, turned, understitched and pressed. The keyhole back calls for a small rouleau tube as a button-loop which needs to be inserted at the same time as applying the facing although you could choose to make a hand sewn thread loop and stitch that at the end. In fact it isn’t even vital that this is a functioning loop if you’ve got a front opening, the keyhole is purely decorative now. 

I put the blouse onto Doris to check it was looking OK and this was when I found that the keyhole appeared to be bagging outwards quite significantly. I decided not to do anything at this point and I would check again once I had sewed the side seams and put the sleeves in, then I would get a better idea by trying it on myself. 

Checking the front neck
With the loop pinned I discovered that the keyhole didn’t sit flat.
It seems to stick out quite significantly on Doris.
If the button isn’t done up it would look like this.

I made three rows of shirring on the sleeves next, using my quilting guide to make sure the first row was 5cms from the bottom edge, the next two rows were then sewn parallel to the first. [Refer to a previous blog post on how to sew shirring if you haven’t done so before] Next I sewed up the sleeve seams and pin-hemmed the bottom edge to give a neat finish.

I positioned the needle 5cms from the cut edge and the quilting guide helps me as a visual marker to keep it parallel all the way.
Shirring is stitched from the right side so that the elastic is on the reverse. Use a long straight stitch, secure both ends and then apply plenty of steam to shrink up the stitching further.
finished sleeve

After sewing up and neatening the side seams I inserted the sleeves. At this point I tried the blouse on again to check the keyhole on myself and, with real shoulder blades under it, it didn’t seem so noticeable. Two other things struck me though, the blouse was a little too big so I took it in on the side seams and also the blouse was a bit shorter than I expected. In order to take as a small a hem as possible I made some bias binding from offcuts of the fabric then stitched it (folded in half lengthways and with the cut edges together) to the hem using a narrow 5mm seam allowance [This is a useful finish to any hem or edge where you need every spare centimetre of fabric.] Have a look at the photo which shows you how to get the ends of the binding enclosed within the front facing. I turned the binding up and top-stitched in place. 

If you’re adding binding when there’s also a facing pin it like this so that the end is neatly enclosed inside the facing when it’s turned right side out.

Finally, I found some ‘vintage’ buttons amongst my treasure trove and there were just the right number meaning the whole blouse had been sourced from what I already have!

Well I hope now that I’ve made it that I’ll have a chance to wear my Chelsea blouse somewhere other than in my own garden this summer, who knows? Maybe you’re reading this long after the emergency ended and life has returned to some sort of normality, although it definitely won’t be exactly as it was before.

Sewing our own clothes is an activity which gives us so much enjoyment for a variety of different reasons and, right now, the simple act of creating something is chief amongst them for me. It’s absorbing and the problem-solving gives me something else to think about.

I think the keyhole back is, by and large, just about acceptable when I’m wearing the blouse. I also think the cure could be to add a centre back seam instead of cutting on the fold so that the point of the keyhole could extend beyond the centre back line, this would hopefully bring the button and loop closer to one another when they are done up…this is just my theory based on experience and I haven’t tried it out. It’s such a nice little detail that I’m disappointed it hasn’t worked out quite right. I also regret not reading my fellow Simple Sew bloggers reviews of the blouse because then I would have known how short it comes up, personally I would add a minimum of 8-10cms to the length next time.

The sleeves are pretty and feminine but maybe they are a little too girly, the jury is out…

Until next time, happy sewing

Sue

Roses-the latest Alexander McQueen exhibit in London

This isn’t so much a blog as a photo album. I know lots of you appreciate seeing images from the beautiful exhibitions that I often go to so I thought I’d share the pictures I took when I visited the Alexander McQueen shop in Old Bond St, London recently.

If you go up to the second floor of the flagship store you will find a stunning collection of brand new as well as archive garments on display. Whilst you’re not allowed to touch, nothing is behind glass and you are free to take your time, wander around between the clothes and see everything close up and great detail.

The overarching theme this time is ‘roses’ and as well as items from the new collection there are several gowns from past ones including the Sarabande collection from 2007, and The Girl Who lived in the Tree from 2008. McQueen used many natural forms and ‘textiles’ within his collections including shells and bones as well as wood and metal, he never shied away from experimentation.

I adored seeing this dress fairly close up in Savage Beauty but I really wanted to see what happened at the back (I always do when I go to exhibitions!)
Fortunately now I can see exactly what’s happening, it’s beautiful voluptuous folds of rich duchesse satin.

Close by are the most gorgeous, extravagant gowns made from metres and metres of Italian silk taffeta, constructed to specifications which will enhance its qualities of stiffness and pliability. We were told that each gown contains none of the usual stiffeners or interfacings such as crin or horsehair, a small amount of boning is used in the Elizabethan-style collar of the red dress but that’s it.

You can see all the teeny tiny pleats which are so precisely worked in order to flow over the torso.
There is a short video to watch nearby which shows in fascinating detail how these shapes were arrived at, they are carefully built up onto supporting boned bodices and underskirts to carry the weight. The red ‘Elizabethan’ collar dress took approximately 3 weeks to construct.
The skill of manipulating the fabric into cohesive, recognisable forms is breathtaking.
On the walls nearby are photos of the gowns at various stages of construction and trying out lots of ideas, also accessorising them in different ways too.

These photos are well worth taking the time to look at because it gives you some idea of the working process as well as the starting point for ideas. There are images, for example, from Vita Sackville West’s beautiful gardens at Sissinghurst Castle in Sussex (well worth a visit too!)

What appears at first sight to be feathers is in fact finely pleated and shredded silk organza.

What I find so memorable about the show space is the sheer amount of visual information and it’s there for all to see, there’s nothing secretive or precious about the process. Although it’s aimed at students primarily anyone with an interest is welcome too, and the assistants are happy to tell you everything they know, and to point out things which may be of interest. I wonder if other designers would be as happy to open up in this way? The Sarabande Foundation was set up by Lee Alexander McQueen as a way of promoting and supporting visionary creative talent which still continues.

So, what loves a rose possibly most of all? Bees of course! Just take a look at this beautiful gown, it’s so simple in its silhouette and yet the details are stunning.

We didn’t notice the honeycomb design within the fabric initially, and it’s only as I’ve looked again at this photo that I realised there are bees woven into it too!
Can you see the bees in the weave? And some of the hexagons are in a different weave too! So much attention to detail.
Nearby are the test samples for various forms of the embroidery.
…and by complete chance I’m wearing my bee dress!
the two dresses side by side put me in mind of Swan Lake and Odette/Odile, what do you think?
This is the Queen Bee dress which had extraordinary embroidery, it’s all enclosed within a hooped ‘hive’

Just a few more photos! There are also examples of dresses nearby made from beautiful needlepoint, and one riffing on a similar theme of deconstructed corsets similar to the previous exhibition.

I couldn’t resist another selfie with those beautiful dresses (do you like my McQueen-esque boots?)
This is from our visit to the previous show earlier in the summer
McQueeeeeen! I always have great visits with Claire, Kara and Camilla

So to sum up, if you are in London in the Mayfair area I’d urge you to take a visit to the second floor of the McQueen shop. Even if you only have 30 minutes it’s a good way to spend the time and don’t worry, the doorman is friendly, tell him I sent you!!

Until next time,

Sue

Simple Sew Amelia tea dress hack.

The Amelia tea dress isn’t one I’ve sewn before but Jane who comes to my sewing class had made one last summer and I remember liking the shirred elastic midriff section. The brief for our makes this time was ‘festive’ (we usually don’t have a brief, it’s free-choice) Bearing this in mind Bobbins n Buttons had offered to provide me with fabric so I had a browse on their website and selected the Lady McElroy ‘beauty and the bees’ stretch velvet. 

The pattern isn’t intended for jersey but it is simple shapes and a bit of gathering which I knew would still work well, what you don’t want is a fabric that’s too thick or stiff though because the shirring won’t work properly. I planned to hack the pattern a bit so I decided to add long bishop sleeves as it’s winter, I also lengthened the skirt (more on that later) and of course I added pockets! 

Because of the distinctive large print I opted to remove the centre back seam and put the zip into the side seam instead, this was to save me the hassle of trying to pattern match the print across the zip. Because I’d removed the CB seam in the bodice I took it out of the skirt too, for the same reasons. If you’ve got a tricky print to match over a seam like this consider whether you can move the zip to the side, it’s not much different to put in and the opening can be a little shorter but still give you sufficient room. Now I could have a line of bees central down the back (and front of course) and just needed to get a good horizontal match too for me to be really happy.

As I said before I wanted the skirt as long as possible but there needs to be a compromise between length versus flare because of the width of the fabric. If you want the skirt to be longer you’ll need to reduce the amount of flare at the hem because you’ll be restricted by the fabric width. The wider the fabric then the more scope you have. I measured how long I could make the skirt before it would need reducing at the hem and decided it would be an acceptable length. I could add around 10cms to the hem making sure the new side seams were at a right angle to each other so that the hem will run in a smooth lineI traced around a few bees where they crossed the cutting line so that I could ensure the front and back matched as well as possible. 

In order to cut everything as efficiently as possible from the fabric I first cut the skirts against the main fold-don’t forget to exclude the CB seam or the piece will be bigger than your back bodice (if you’re excluding the zip) 

Then I refolded the fabric with the selvedges into the centre to cut the bodice pieces on the folds. This is vital to get those bees running down the centre. 

From the remaining fabric I cut a pair of long sleeves. I used the pattern from another design I’ve made a few times, I measured the armhole of the dress and compared it against the sleeve I have. It was a little smaller at the crown so I added a small amount to give it sufficient widthFinally, because it’s jersey, I chose to use a neck binding instead of the facings so I cut two narrow strips which were each the same length as the CF to CB measurement of the neck plus a couple of centimetres seam allowance. 

I increased the sleeve head by 2cms, moving it out by 1cm either side of the shoulder notch.
It’s important to keep the sleeve level when you add the extra width so draw a line at a right angle to the grainline, then move the pattern piece 1cm in each direction using the line as the axis.

Ok, so I mostly followed the instruction with a few minor changes because of my alterations. One thing I did first of all was to stabilise the back shoulder seams and the left side seams where the zip was going to go with iron-on interfacing because I don’t want them to stretch out of shape. I chose to leave the back darts in although I possibly could have eased them out as it’s a stretch fabric.

stabilised side seam before the zip goes in.

After joining the shoulder seams I added my neck binding. I folded the strips with RS out along the long edge-I didn’t join them to each other at this stage-then, starting at the V, I stitched just that section into place. This way you can sew just a small part, snip into the V and pivot at the corner more accurately. When I was happy with this I sewed the rest of the binding on leaving just the CB part unsewn, then I could join the two strips in the right place and finally attach it to the neckline. Finally I neatened the edge all the way around and then topstitched it down close to the seam to stop it rolling. 

The next part is the shirring which really isn’t difficult so don’t panic. First wind shirring elastic onto an empty bobbin BY HAND stretching it very slightly as you go, put it into the machine in the usual way (you may wish to check the manual if you have an older machine in case there is anywhere else you need to thread the elastic through) Use your matching colour thread on the top in the usual way and lengthen the stitch slightly, it doesn’t need to be zigzag or anything though. Definitely try out a test piece first and don’t forget to secure the start of each new row so that the stitching doesn’t come undone. I don’t secure the other end at this stage though in case I find I need to pull the threads up any more later. You should be able to sew 8 rows of stitching parallel to each other to complete the strip. The fabric will naturally pucker up pretty well but when you’re done stitching hover the iron with plenty of steam over it and you’ll find it gathers up some more as a result. Finally knot the ends of the threads to secure.

Then you need to attach the gathered band onto the lower part of the bodice making sure it’s evenly divided as you go.

Attaching the shirred waist section to the upper bodice.

Attach the skirts (I’d sewn the pocket bags on to each side seam before doing this. I just use my handy cardboard template which I made ages ago, I just trace around it directly onto the fabric and cut out.) 

Next the zip goes into the left side seam. I sew it here out of habit as I’m right-handed and find it easier to do up that way but put the zip in whichever side works for you. After neatening both side seams separately first I sewed up the top of the side seam by about 4cms from the armhole edge. I used an invisible zip and inserted it in the usual way, making sure the waist seams matched, and then joining the rest of the side seam once I was happy with the zip insertion. I sewed up the other side seam and I was ready to tackle the sleeves.

The sleeves are set-in so I made the elasticated cuffs on the flat first using straight strips of jersey the same length as the curved cuff edge. With the strip open and RS together I sewed it once. 

Then I folded the strip in half and sewed it on the overlocker to create a channel.

 This will turn downwards to form the cuff which I slotted wide elastic through, securing at both ends. 

Finally, I sewed the underarm seams to create the sleeves which are inserted into the dress as per the instructions. 

All that’s left to do is the hem which I sewed on the coverstitch machine which is on loan to me by Pfaff at the moment. 

I’m really pleased with how the dress has turned out, it’s very swishy and has a slightly 1940’s vibe to it. I like the extra length on the skirt and the sleeves look fab. I was a little alarmed when I saw the large scale of the print but actually I really rather like the bees now. One thing I’m not keen on (and this is down to the manufacturer and not the supplier) is that they have printed a black background design onto a white base cloth. Because the cloth has a pile it means that anywhere there are joins there is a slight hint of the white showing through which is not ideal. The velour isn’t too tricky to work with as the pile is a bit flatter than velvet but it does still ‘creep’ a bit in places so if you’re in any doubt that pins aren’t enough to keep it all in alignment make sure you tack (baste) seams together. If you have a walking foot I would definitely advise using it. 

Lots of pictures swishing about!

I hope this will help you to feel inspired and perhaps have a go at ‘hacking’ a pattern for yourself. This was a very simple one but if you look at my Simplicity blouse hack you can see just how carried away it’s possible to get!

Until next time, happy sewing

Sue