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

Revisiting a ‘vintage’ blouse pattern

I know many of us often sew patterns multiple times because we like them but I’ve taken this to a new extreme recently. I last sewed this blouse pattern Simplicity 8704 when I was around 16 or 17 years old, the date on the back is 1978 so I must have made it while I was still at school! I remember I used a burgundy-coloured viscose (or similar) with a floral print on it and it was definitely one of my favourites as I wore it a lot, probably swanning about in the Sixth Form common room!

There have been several times when I’ve been tempted to revisit it but for one reason or another I’ve put it back in the box for another day but this time I kept it out and went in search of fabric in the stash. Initially I was going to use a really pretty pastel pink lightweight checked cotton I got from Sew Me Sunshine (I can’t see it on the website now though) but when I realised I was going to have to pattern match the deceptively tricky check I thought better of it. I wasn’t in the mood for taking an age over that so I continued to rummage until my eyes fell upon the (also) pale pink linen I acquired from the local Scraps Store last year. I found it in a container full of various unwanted fabrics and there was nearly 5 metres of it so, for a donation, it came home with me! I laundered it at the time but put it away. I thought I might make a dress with it originally but, because it’s such a pale pink, I didn’t want to end up looking like a blob so I left it for another time.

A plain linen blouse appealed to me though and I didn’t have to fiddle about pattern matching so away I went and it was cut out in no time. Even though the pattern was a single size-this is how most patterns were sold until multi-size patterns were introduced-and my size has fluctuated to say the least over the years, amazingly it was still going to be the right size with no alterations.

There’s not much else to say about making it up except I remembered that an @SewOver50 stalwart, Lisa, had shared on her grid the day before that she had used a wing needle to decorate a plain linen tunic she was making which reminded me that I’d intended to find a use for the same effect at some point but forgotten all about it-Thank You Lisa!

The wing needle (I’ve also seen it called an ‘heirloom’ needle recently too) is like a regular needle except it has fine metal ‘fins’ to each side of the shaft which creates a little hole like a tiny eyelet in the centre of the stitch as it forms. A stitch which looks like a little star works best for this effect but you could try experimenting to see if any others look nice

I made a little video of my machine in action.

It’s worth bearing in mind a couple of important points if you’re going to use this decoration. Firstly, you can’t easily pivot at a corner with the needle down in the work-I sewed the collar in three separate moves, secondly you won’t be able to use the automatic threader if your machine has one and thirdly (thank you Lisa for telling me this because I don’t have this feature) you can’t use your automatic thread cutter if you have one.

As well as the collar I embroidered the cuffs, the front raglan seams and down the button placket, although I did this last one after I’d hemmed the bottom and sewn the buttonholes so that it was the exact distance from the edge and the buttonholes.

I love the way the blouse gathers into the collar, which is a two part construction incidentally, the raglan sleeves are straightforward but the gathered cuffs add a nice touch. I found a selection of Mother of Pearl buttons amongst my tidied-up button boxes to add another of my usual quirky details but otherwise that’s it. It’s a reasonably quick make but it was lovely to sew the details of collar construction and the cuffs, there’s an elegant simplicity to it I think. I will either wear it loose over the top of trousers or tucked in, or underneath a pinafore dress maybe?

It might sound strange but it feels a bit like an old friend has come back to visit, and I might even make the placket front version now too!

Until next time, keep sewing!

Sue

Two Minerva makes in one go!

I originally wrote this as a review for the MinervaDotCom blog but I’m not actually sure if it ever appeared. Rather than waste my efforts I thought I’d publish what I wrote here instead.

I’m sure it was a combination of an over-generous stated fabric requirement, my just-to-be-on-the-safe-side ordering and then super-stingy cutting out means that I managed to get not one but TWO sweatshirts out of my Minerva fabric choice this time. At the time of writing last autumn, Minerva were introducing a collection of textured jerseys made in a polyester/ viscose/ spandex mixture which came in a wide range of colours and textures so I opted for a geometric design in lilac to try out. I would suggest that this fabric is not as firm or thick as some jerseys suitable for sweatshirts, it isn’t fleecy on the reverse for example but it has reasonable drape, is soft to the touch and has a fair amount of stretch but not in a ‘really difficult to control’ kind-of way (it isn’t like lightweight jersey for T-shirts for example) it’s actually pretty stable so manipulates well into armholes or cuffs. 

I already had a pattern I wanted to try, the Maxine sweatshirt by Dhurata Davies that has interesting diagonal seams across the front which have pockets in them. This actually made cutting out a whole lot more tricky than I anticipated because the ‘check’ design of the fabric I had picked turned out not to be square but rectangular so matching the lines was a real challenge. In some areas I’ve failed so my advice would be “don’t choose a pattern that has too many intersecting seams or style lines” because you could end up tearing your hair out when you can’t get it to match! Once I’d committed though I decided to press ahead and settle for ‘almost but not quite’…not my usual route but there we are.

When it became apparent that by folding and cutting really carefully I’d have oodles of fabric left over I pulled out a very simple sweatshirt pattern Simplicity 8529 and cut that at the same time. You might recognise this pattern as the Toaster sweater by SewHouseSeven if you think it looks familiar. If you fold the selvedges in towards the centre so that you have two folds then it’s often possible to get more pieces out of less fabric, any sleeves, yokes or facings can be cut out of what remains.

I currently have a Pfaff Coverlock 3 on loan to me so I used it to sew up much of the two tops on it’s 4-thread overlocker setting but you can easily sew this fabric on a regular machine, just use a ballpoint or stretch needle and set your machine to a very elongated zigzag if you can (regular stitch length and a narrow width) or a ‘lightening’ stitch if your machine has it. Unlike some jerseys or sweatshirting you’ll definitely need to neaten the seams though because I found the fabric frayed and went fluffy at the cut edges quite badly as a result of the woven nature of the surface design. Use a zigzag stitch on the edges if you have limited options, or pinking shears. 

the cut edges fray like this a little bit.
the Pfaff Coverlock 3.0, it’s been a fantastic machine and the quality and versatility of its stitching has been superb.

The ‘Maxine’ is a great design which stands out in a crowded field of many other sweatshirts and the well-written instructions and diagrams are very clear and simple to follow. The tricky area could be the point at the centre where the seams intersect, I simply made this more complicated for myself by choosing the geometric design! And of course it has pockets! I’ve made another version of it since the lilac from a remnant of linen/wool which you can read about here.

Maxine sweater in linen/wool mix from Merchant and Mills
this is a slightly truer version of the colour

The Simplicity/Sew House Seven pattern has a very simple ‘grown-on’ collar and self bands on the cuffs and hem. I cut and made this one up in less than two hours and it shows off the textured surface of the fabric very well. 

Simplicity 8529 with cuffs and hem band finish, I like this top so I think I’ll make another next winter but do the longer straight version.
You’ll notice that neither top is long but I’m happier to be able to make two shorter but perfectly wearable tops rather than one longer one with fabric left over which wasn’t enough to use for anything else.

I would suggest that this fabric will make very comfortable loungewear like track pants, tees, sweatshirts, dresses and children’s wear. I don’t know what the other designs in the range are like but if you are pattern match averse then this particular one might not be for you! I thought at the time it would be interesting to see how well a fabric with a raised surface texture like this wears and now that several months have elapsed I’ve found that it catches quite often and has started to pill quite significantly which is disappointing given the price per metre.

My thanks to Minerva for providing me with the fabric to write about, this is a significantly different version of the blog post which may, or may not, have appeared on their website. I did try to find it but their search function doesn’t make it very easy to find specific posts.

Until next time,

Happy Sewing,

Sue

#so50visible challenge 2020

It’s back! After the success of the first #so50visible challenge in 2019 we thought you might like to do it again, especially the thousands of you who have discovered @sewover50 since last year and who might have missed joining in.

In early 2019 we set you a challenge to find a pattern which featured an older model (at least 45+) and make it. If you thought this would be easy then you would have been mistaken, because once we had started looking more closely we realised that this was going to be much harder than it sounded.

Rather than me reinvent the wheel again here I suggest you take a read through the extensive post I wrote at the time, and its follow-up, so that you have some understanding of the challenge we set and how the whole idea came about. There is also a VERY extensive list of as many patterns as we could source at that time.

Since last year I’m cautiously optimistic that the situation seems to have improved somewhat. Sandy and Judith have been diligently saving in Highlights over on the Instagram account many of the new patterns that have been released in the the last twelve months which feature older models-male as well as female. Some of these patterns are by companies which have been consistently good at using a variety of models of all ages whilst for others this is a first toe in the water, which is great to see.

It seems that a lot more companies are actively using older women amongst their choice of models now (although a few still think we all want to wear the frumpier selection of what’s on offer-very wrong!) For the most part though, of the pattern companies who are choosing older models, they realise that we can be stylish, creative, outspoken individuals who do not have a shampoo and set once a week, don’t want to be stereotyped and who have money to spend on quality products.

I’ll list as many of the new patterns as I can but, if you’re tempted to join in with the challenge, I would strongly urge you to take a look at those I’ve already listed because each website will include that brand’s new patterns anyway.

Among the new ones we know of are, in no particular order:

Cashmerette-Washington dress and Rivermont Top and Dress

The Maker’s Atelier-there is wide range of patterns to pick from including several new designs Shawl Collar Dress, Shawl Collar Coat, Over-sized shirt dress, Blazer and Wrap Dress

Style Arc-Sheryl stretch or woven pants, among others.

That Wendy Ward-brand new book ‘Sewing Basics for Every Body’, the Kim jumpsuit and the Dylan Peacoat particularly

Helen’s Closet-Donovan skirt

Rebecca Page-slim-fit Cargo pants

The Sewing Revival-the Fantail Top and the Stitchbird dress are the most recent but all their adult patterns qualify

Wardrobe by Me-Men’s overshirt

Sew Liberated-Lichen Duster coat

Grainline Studio-Uniform Tunic

Pattern Union-Lulu top

Tilly and the Buttons-new Make it Simple book various styles

Thread Theory-Newcastle Cardigan

Tessuti-Tamiko pants and Berlin jacket

Naughty Bobbin-Sizzler sundress

Colette Patterns-Ariel dress

Sinclair Patterns-Jessica bodycon dress

Simplicity and Butterick have improved considerably since last year and we have been told that they are actively including more mature models in their catalogues now, let’s hope this is the case. There are now a reasonable number of patterns to choose from (too many to list here individually) so browse their website or catalogues to see if there’s something that appeals.

Tuesday Stitches-Citrus leggings, amongst others

Seamwork Magazine-Lucy jumpsuit, there are bound to be others

I’m going to leave it there because I’ll never quite know where the end of this list should be! I would urge you to look through pattern company websites, books and catalogues for your inspiration if you’re keen to participate. I would also add that there are quite a number of small pattern companies who are hugely supportive and involved in our community but they either don’t use older models, or they use illustrations, so we can’t include them for this challenge. That said, we are very appreciative of every repost, share and use of the #sewover50 hashtag that any pattern company gives to a SewOver50er, they are always welcome and it helps to keep our little, occasionally slightly wrinkled, faces in the public eye to prove that we’re still here, and have no intention of keeping quiet.

We’ve got prizes again too so thank you to our list of sponsors (so far) who are offering a selection of patterns, and Wendy Ward is offering a copy of her new book too. Winners will be chosen at random after the challenge closes. You’re welcome to share works-in-progress but only completed garments shared with a photo of the original pattern after the closing date will be eligible to win a prize.

Stay in touch with the Instagram account while the challenge is on because that’s where you will find any new information as it crops up. Make sure you use the new #so50visible20 hashtag although the original #so50visible is OK too. If a pattern company reposts your outfit (which obviously we really hope they will!) use the #so50thanks hashtag too. Keep an eye on their Stories feed too because sometimes they forget to tag us, or the tag doesn’t work for some reason.

The #so50visible20 challenge begins on March 1st and runs for the whole of the month so what are you waiting for? Share a photo of your garment along with the source pattern, have a look in saved highlights on the IG account for various ideas how to do this, it doesn’t have to be a brand new garment this year but it should be a new photo of it, not one you’ve shared before. You could even use a flatlay this time, particularly if you don’t like putting yourself in the frame. Have a look at #so50flatlay for ideas on this. There is no limit to the number of entries you can put in either.

We can’t wait to see how SewOver50ers rise to the challenge, the more we keep this in the public eye then the more chance we have of seeing older faces featuring on pattern covers, in magazines, in sewing books. And part of the worldwide fun of this challenge is seeing makes for the opposite seasons to the one we might be living in because, let’s remember, we’re a global account, and that’s a really big deal!

Until next time,

Sue

Your Sew Over 50 go-to tee-shirt patterns

We asked you another question on @SewOver50 in October-which were your favourite go-to, never-fail, T-N-T T-shirt (tee shirt?) patterns and naturally you came up with a veeeeerrrry long list. I’ve trawled through them all and simply listed them here with a link (if I found one) for each so you can check them out for yourselves. As blogs go, it’s a bit of a dull one but you might it useful and maybe find your next new favourite pattern amongst these. Needless to say there are probably another one or two hundred more patterns which you think ought to be on this list!

I’m not recommending or endorsing any of these patterns personally, they have all been suggested by you, the enthusiastic followers.

Melissa Breton Tee-Thrifty Stitcher -relaxed drop-shoulder tee with 3/4 sleeves and a bateau neckline

Plantain-Deer & Doefree pattern (if you sign up on the website) loose-fitting tee with a low scooped neckline and 3 sleeve options.

#1366 Cynthia Rowley Simplicity-loose fitting top

Mandy Boat Tee-Tessutifree pattern boat neck drop-shoulder Tee with 3/4 sleeves

Ola-Tessuti-tunic top

#3338 Kwik Sew-I can’t find this one, possibly discontinued?

Astoria-Seamwork-cropped length, fitted long-sleeve top

Classic Tee-Love Notions -close-fitting tee with 3 neck options and 3 sleeve lengths

Laundry Day tee-Love Notions-fitted tee with 3 necklines and 5 sleeves options

Basic Instinct shirt-Secondo Piano-classic simple tee

Freya Agnes Coco-TATB-Tilly has a range of jersey tops and dresses with a variety of necklines and sleeve options.

Moneta-Colette patterns-Moneta is a dress pattern in stretch fabric with a fitted bodice and a couple of sleeve options.

#2805-Jalie Patterns-t-shirt with 4 sleeve and 4 neckline options. It has a huge range of sizes

Statement Tee-Ottobre magazine 2017/2 various options so check the website

Wardrobe Builder Tee-Wardrobe by Me (not many instructions apparently) close fitting tee with 3 body lengths, 5 necklines and 6 sleeve-lengths!

Uvita-Itch to Stitch-dropped shoulder bateau-neck tee with 2 sleeve lengths

Pamela’s Perfect Tee-Pamela’s patterns-longer length fitted tee with several neckline and sleeve options

Green Tee-Greenstyle Creations-longer length fitted tee with scoop or V neck and lots of sizes

Lark-Grainline-a popular pattern with 4 neckline options and 4 sleeve lengths.

Stellan Tee-French Navy Nowfree pattern a boxy tee, not sure how many sizes.

The Astair tee-another boxy tee also from French Navy Now with sleeve variations and a patch pocket.

Renfrew-Sewaholic another classic tee with several sleeve lengths and various necklines

Kirsten Kimono Tee-Maria Denmark-close-fitting cap-sleeved tee

Carine Tee-Elbe Textilesfree pattern cropped tee

Lane Raglan-Hey June-scooped neck raglan tee and sweatshirt pattern

Jade-Made by Rae-scooped neck tee in a wide size range

Concord-Cashmerette-lots of options in curvier sizes

Molly Top-SOI City break eBook classic drop shoulder tee

Eva-Pattern Union-a simple close-fitting tee with long or short sleeves.

Geneva Tee-Named raglan tee with long sleeves

Ruska-Named-Breaking the Pattern-tee shirt/dress with various options

Ultimate T-shirt-Threadcount free gift pattern from a back issue of Love Sewing magazine

Panama-Alina Design-tee shirt with dress-length options

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left @spoolriversewing main centre @sewcialstudio right @sewingalacarte
left @sewcialstudio right @mrs_moog
bottom left @damselfly.ca @_mysewingdiary @rocketcitysewing and @seams_sew

Needless to say this is in no way an exhaustive list but they have all been used, and recommended, by you. There are some freebies which might be worth a try, as well as pricier options.

Until next time,

Happy sewing

Sue

Pfaff Coverlock 3.0

It’s been almost a month since I was loaned a Pfaff Coverlock 3.0 to try out so thought I would give you a ‘half-term report’ on how I’m getting on with it.

First thing to say is that it’s quite a beast! It’s a very substantial piece of machinery and so is fairly heavy as a result. That being said, this is normally the case with coverstitch machines because they are generally bigger than overlockers so the weight isn’t unusual. It does have a good-sized and comfortable carrying handle though.

Ok, so, the Coverlock 3.0 is a combination machine in that it is both an overlocker and a coverstitch machine. I’m sure you already know that an overlocker will trim and neaten raw edges and often sew the seam as well if you have 4 or 5 thread version. What you may not know is that a coverstitch machine doesn’t trim any edges, it will sew two or sometimes three rows of top-stitching on the outside of a garment whilst covering the edge of the fabric on the inside with loops of thread to ‘cover’ it. It has the advantage of being stretchy too. If you’re still not sure what I’m talking about have a look inside the hem or cuffs of a RTW jersey garment and you should see.

The first thing I had to do was not only rethread the machine as it didn’t arrive pre-threaded but I also needed to change it’s function from coverstitch to overlock. A major part of what I want to assess for you is how quick and straightforward it is to go between the functions. This is partly why I didn’t plunge in with a review as soon as I got it because I didn’t think it would be balanced or fair. Indeed, I will certainly write another review in due course after a decent amount of time and usage has occurred.

Yay! I threaded it successfully!!

Because the machine was merely delivered to me without any demonstrations I’ve needed to use the instruction book a fair bit. If you have difficulty following written instructions and/or diagrams this may not be ideal for you but there is a (silent) DVD included with very clear animations of exactly what you need to do for each of the stitch variations possible. [I didn’t find this straightaway though so I muddled through with the booklet! I’ve also since found a few very helpful You Tube videos which were useful]

I’m not going to lie, it does take a bit of time to make the changes because you’ll need to remove and reinsert the needles to different positions as well as thread the machine in different ways depending on the function. This will eventually take me less time and I’ve added Post-it notes to the relevant pages in the book so that I don’t have to keep searching for the two I’ve favoured most. The machine is capable of up to 23 stitches using 2, 3, 4 or 5 threads and up to 3 needles. So far I’ve only used the 4-thread overlock and the coverstitch but I will endeavour to use more, including the flatlock, and report back.

I decided on making a hacked version of the Tilly and the Buttons Nora top which I’ve made a couple of times before as I didn’t want any nasty complications by attempting an unfamiliar pattern with a new piece of machinery!

The beautiful jersey with an amazing ‘tie-dye’ print is from Lamazi fabrics and was my choice as a July/August maker of the month [it could be you if you tag them on Instagram] I cut the sleeve to approximately 3/4 length and also cut two cuff pieces which were again approximate, initially about 20cms in length and then my wrist measurement at one end and my mid-forearm measurement at the other. I added a couple of centimetres for seam allowance to all sides.

I’d definitely say you need to do a bit of forward planning if you intend to use both the overlock and coverstitch functions on a project because of the swapping between the two. For example, on my Nora I needed to coverstitch just the cuffs and the hem, everything else could be sewn either directly using the 4-thread overlock or on my Quilt Ambition 2.0. I opted to sew the top together first and complete the hems at the end, in the usual way although there may be times when it’s better to hem first, we’ll see.

I’ve been very impressed so far with the quality of the different stitches.

If you’re merely changing the thread colours it can be done in the same way as regular overlockers by snipping the threads near their spools, tying on the new colour and pulling each of them gently through, plus rethreading the eye of the needles. On one occasion when I altered the function I completely rethreaded but the stitch was much too loose-what had I done? It was all done correctly and yet it was way too loopy. I checked the manual for hints on troubleshooting but it didn’t make much difference. I was starting to pull my hair out when I realised I had threaded the machine without lifting the handle out of the way-the threads MUST go under it or they don’t sit in the tension discs! (Had I watched the helpful YouTube video first I would have known this…) Another thing I learnt the hard way was when the spool holder kept falling off the back of the machine and I was ready to chuck it out of the window I noticed it has to be slid sideways to click securely in position-doh!

The next two projects I made I didn’t use the coverstitch function as both the sweatshirts had cuffs and waistbands but I constructed much of them using the 4-thread overlock stitch. I used fabric provided to me by Minerva and they will appear on their blog in the new year. One of the patterns I used was the gorgeous Maxine sweatshirt given to me by it’s designer, Dhurata Davies. I’m going to make another one soon so I’ll write an individual blog on it then. [I got both tops out of 2.5m of fabric!]

For the final project I want to talk about here I took a different approach. It’s an Amy top by Brilliant Patterns and which I’ve made a couple of times before. I had a 1m remnant of loop-back cotton sweatshirting which I bought from Sew Me Something at a show for £8 and by shortening the sleeves very slightly, cutting the neckband in two parts and joining it I got a WHOLE sweatshirt out of the one metre!!

This time I set the machine up with a wide 2-needle coverstitch and I used my regular sewing machine to sew most of the seams. What I did at each stage of construction was to press the seams flat and top stitch them using the Coverlock. This meant that there would be two rows of top stitching on the outside and the raw edges were covered on the inside. This was generally OK although as I’ve yet to ‘get my eye in’ with lining up the foot against a seam or other visual marker a couple of them do waver more than I would usually like. It turns out there is a large removable flat bed included to increase the working area (it was tucked down inside the box and I’ve only just found it!!) this will support your work while you sew but it does take up a bit more room.

I like the two-part upper back of the Amy.
The hem is level at the front and a dipped curve at the back.

So to sum up (for now) I’ve been impressed with the quality of the stitches I’ve used so far on the Coverlock 3.0 and I will definitely look for opportunities to try others whilst I have it. I’ve yet to be convinced about swapping between the stitch-types but obviously, as I get more familiar with it, I should get faster at changing between them. There are few processes which have to be gone through to make the changes but I’ll probably work out an order or procedure to follow to speed it up. If you are short of space a combination machine might be useful, they aren’t cheap though. You’ll almost certainly use the overlocker stitches more of the time so possibly changing occasionally to coverstitch will be sufficient. I would definitely say you should have a thorough demonstration of the machine so that you know what is involved and what it is capable of. Unlike washer/driers which don’t do either job very well this machine does both functions to a very high standard.

Thank you to Pfaff for giving me the opportunity to try out their machine and if you have any questions about my experience so far then do ask.

Happy sewing

Sue

My Simplicity pattern hack for The Eve Appeal.

How often do you alter or adapt a pattern when you’re making it? By that I don’t mean the usual things like adjusting the fit to suit your height or bust measurement, I mean really alter it significantly with things like changing the sleeves or completely changing the length. 

I’ve always enjoyed doing exactly this because it’s a way of making a garment completely original and all your own even if loads of other dressmakers are sewing and sharing their versions of a particular pattern. These days this process even has it’s own name-pattern hacking. You can read a couple of my previous blog posts where I’ve hacked patterns to give you some other ideas, here and here.

When I was invited by The Fold Line to take part in the Simplicity Patterns/Eve Appeal campaign this year I knew it would be something I’d enjoy and could really get my teeth into. There are a range of patterns you can choose from and for every one sold Simplicity will make a donation to the Eve Appeal. I picked a blouse pattern #8658 to use because I could see its potential for changes, not least because it’s shown in stripes on the envelope and I knew there was fun to be had playing with the directions of them. I chose a really lovely blue striped shirting with a little bit of stretch generously provided by Minerva and while I waited for it to arrive I did some sketching of ideas. The raglan sleeve is in two parts running down the top of the arm to the wrist so my first idea was to have the stripes running in different directions, which led on to having the lower, bell-shaped part of the sleeve cut on the bias. 

I thought the back needed to be a bit more interesting than just a centre back seam with a button and loop closure so I altered it to include buttons and buttonholes. The blouse is over-the-head anyway so I don’t need to be able to open the buttons to get it on. The neckline is finished with bias binding but why put it on the inside when you can make a feature of it on the outside? 

Strangely I never saw it as staying just a blouse, it was always going to become a dress but how to do that? I like long floaty skirts so I sketched out quite a few variations of gathered, pleated and flounced skirts, all with pockets in the seams somewhere. I had decided that the bodice should be higher at the front than the back which obviously would affect the skirt levels but I eventually left that decision until the bodice was made up and I could see it more clearly on the stand.

I thought I’d do some of my initial adaptations and make it up as a blouse first to check the fit. The back is easy to change because it already has a CB seam so I merely added 5cms to the edge to allow for a grown-on button-stand. The original stitching line will remain as the CB and that is where the buttons and buttonholes will get positioned. I traced all the pattern pieces I needed onto spot-and-cross paper although the envelope does include a large sheet of squared tissue paper for you to use to make your own changes if you don’t have spot-and-cross. [You could use cheap wide greaseproof paper if you have it, I used to use broadsheet newspaper taped together when I was a student but that’s getting harder to find!]

Having traced the two parts of the sleeve once I then retraced them again (I didn’t want to cut up the first ones, I may want the sleeve full-length at some point) just the top parts to a length a bit above my elbow, around bicep level, not forgetting to add seam allowance to the new lower edge. Next I pinned the FULL-LENGTH sleeve pieces together along the stitching lines vertically so that I could trace off a new single piece for the lower sleeve. As well as the regular straight grain I added a bias grainline too because I’d be using that with the stripes. You could add extra fullness to this part by cutting and spreading if you wish, it would make a very voluminous bell-shaped sleeve.

I cut a size ‘medium’ according to both my body measurements and by referring to the finished garment measurements printed on the pattern. Using some lovely printed poplin from Stitch and Knit, a new fabric and yarn shop near me, I made up the blouse. Part of my plan on the dress was to highlight the seaming with topstitching so I did this on the blouse too although I used a fun ‘circles’ stitch in a contrast colour which echoed the design on the fabric. I didn’t cut the lower sleeve on the bias though because it wouldn’t make any obvious difference to the look of the print. I tried out my idea of French binding on the outside of the neck edge and that looked good too. 

Overall I was very happy with the fit of the medium so I didn’t need to make any changes to sizing. This meant I could retrace the front and back bodices to my chosen length which was approximately Empire-line or a few centimetres below my under-bust line. To decide where this was first I pinned the front and back parts together at the side seam on the stitching line and then attached it all to the stand. You can then see more clearly where you might want to draw the horizontal style lines from front to back, especially if you want a sloping line. With these lines drawn on you can trace off the new, shorter parts and check them on the stand and on yourself too. This is important because I thought I’d made the line a little too high so I added some more length to the bottom, 5cms in all I think. 

This might all seem like a lot of tracing off and you could just indicate on the pieces where your various cutting lines are (or wing it!) then transfer your markings direct to the fabric. As I planned to rotate the back so that the stripes were horizontal I wanted accurate pattern pieces. 

The bodice parts cut on the various grains to utilise the stripes.

After cutting the bodice section in striped fabric I first reinforced the buttonstands with iron-on interfacing up to the fold line. Next I attached the appropriate sleeve parts and top stitched the seams, then joined the shoulder seams so that I could bind the neckline. I’d cut a long bias strip of fabric 5cms wide which I folded lengthwise wrong sides together and pressed to get a crisp edge. Next place the bias on the WRONG SIDE of the fabric with its folded edges to the cut neck edge, this is because you will flip the binding to the outside eventually where it will be visible. Once you have pinned the binding in place you will know exactly how long it needs to be so then you’ll need to neaten the ends by turning them RS together and stitching. Fold them back out and pin in place, it should be level with edges of the buttonstands. Stitch the binding in place using a 1cm seam allowance, trim and snip as required then flip it to the right side and topstitch in position around the neck. The photos of the blouse version should make this clearer.

Once you’re certain of the length stitch the end of the bias like so.
It’s clearer in this image that the RIGHT SIDE of the bias is first attached to the WRONG side of the fabric, and that the end is neatened to finish level with the fold.
It should look like this when it’s finished.

You can sew the buttonholes at this stage too if you like or leave them until the end. I’d bought the most gorgeous metal buttons from Duttons for Buttons in Harrogate, Yorkshire, the only problem was that the loop on the reverse of them isn’t central which is why the top button looks a bit off kilter, it had to be sewn like that so that the top band remained level.

I attached the lower bias-cut sleeve parts next, sewed up the side seams and elasticated the cuffs., as per the instructions (yes I did use them occasionally!)

I still couldn’t decide what to do with the skirt so I tried a couple of ideas out with fabric scraps to mock-up various looks. The shirting is quite fine so it gathers really nicely without a lot of bulk, if I’d used pleats I would have had the complicated task of working out the pattern pieces to fit accurately onto a curved and dipping lower bodice edge and that was a challenge too far-especially as the stripes would have had to match too!  

flat all the way around-too much stripe matching for this one!
gathers all the way around.
Smooth front with side gathers, which is what I finally settled on.

Eventually I settled on a bit of a technical cop-out by using two simple rectangles which gathered onto the lower edge of the bodice instead of making shaped skirt pieces, apart from the central areas where they would be flat. This meant that the hem followed the same line as the bodice, higher at the front than the back, but the side seams will pitch slightly forwards as a result. It isn’t the end of the world but rather that than make the dress too complicated for you to try copying for yourself. And of course I put pockets into the side seams, with the stripes running on the opposite grain. I have a cardboard template for the pockets which I made ages ago and I just draw around it directly onto the fabric as required. (Basically I drew around my hand onto card, plus a bit of extra space, plus a seam allowance and a straight edge on one side to sew to seams) 

I placed the pocket bags 10cms down from the top edge on each of the side seams.

One final twist I added at the end was to insert elastic around the hem to give it an unusual silhouette. I turned up the hem 5mm and pressed it in position then I pressed it up again by 2.5cms. I topstitched top and bottom leaving a small gap through which I inserted 2cm wide elastic about 1 metre long. The casing could double as the hem if I choose to take the elastic out in the future. 

Mr Y and I went to Kew Gardens on a beautiful day in September and I took the opportunity to pop into the ‘Ladies’ and change into my dress for a photoshoot with more interesting backdrops than my back garden!

I hope this has given you a few ideas that you could try for yourself, this pattern is an ideal blank canvas and it has a few suggestions included which you could try first of all. There are so many possibilities you could attempt, and some of the other bloggers involved may have used this pattern too so it will be interesting to compare their own takes on it. I wanted to mess about with stripe direction, this would also work if your fabric has a strong one-way design. You could highlight the seams using piping, ribbon or other trims, what about an exposed zip down the back? you could leave the seam on the top of the sleeves open and secure it at intervals with little buttons? Obviously you don’t have to turn it into a dress but you could play with the length or put straight horizontal seams across, maybe at different levels to each other? It could potentially be a scrap-buster too…so many possibilities! If you’re going to add style lines which aren’t already there don’t forget to add seam allowance to the edges of them, include a notch or two if necessary so that you know which pieces you’re matching together.

You might have tried and trusted patterns at home which would be ideal springboards to new ideas, or by buying this pattern you will be helping raise valuable funds for research and support of those suffering with female gynaecological cancers.

Whatever you decide to try, enjoy the exploring the possibilities, don’t use expensive fabric to start with if you’re not sure you’ll like the result, look in your workbox to see what trims and embellishments you could use, contrast top stitching is one of my favourite, and most simple, ways of making something unique. There’s a whole series of other bloggers who will be taking part in this challenge in the coming weeks and months so why not take a look at what winner of the Great British Sewing Bee 2018, and pattern-hacking queen, Juliet has done for starters, or Abi of @whatabimakes and Rachel @thefoldline have added their spin to patterns in the range now too.

You can find further information about the patterns used here too

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and for more information about The Eve Appeal try here

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Think outside the box, what’s the worst that can happen? you’ll ‘waste’ a bit of fabric, or you could discover hidden designing talents, just have fun and do your bit for charity at the same time.

Happy Sewing!

Sue