I seem to be constantly attracted to teal/turquoise/duck egg shades recently so this Art Gallery organic cotton jersey for my recent Minerva post looked perfect when it hoved into my field of vision!
I’ve used Art Gallery knit fabrics in the past and the designs and fabric, whilst fairly pricey, are lovely quality. This particular jersey is an organic cotton (with a little Elastane) and very soft, a lighter weight than many so it would be good for children’s and babies clothing as well as adults. I love the print, I think it’s a vaguely ‘Tribal-esque’ graphic stripe and I quickly decided to make a Tabitha T-shirt from Tilly and the Buttons book ‘Make it Simple’ which I’ve made a few times before but to try out the dress hack version for a change this time.
I traced off a new copy of the pattern using the horizontal lines indicated across the bodice specifically for the dress. I’m not long in the body but I thought it looked a little short so I added an extra 2cms to the bodice length. In truth I probably could have added more than that because I feel there isn’t as much blousing at the waist as there seems to be in the photo in the book [If you know, or suspect, you have a long body length then pay close attention to this before cutting your fabric, get someone to take your nape to waist measurement and compare it to the back pattern piece. If necessary then add any extra through the horizontal ‘lengthen/shorten’ lines, and don’t forget to do the front as well!] If you’re wondering why this matters, it will mean that the waist seam sits too high above your natural waist and could look more like Empire line.
I followed the instructions in the book to draft my own skirt pattern which was simple enough, you only need one because the front and back are identical (you’ll need a decent sized piece of paper to do this) I cut the new front and back as complete pieces so that I didn’t have to cut anything on the fold, I also wanted a short sleeve so I traced one off.
The fabric was a little bit curly at the edges so I took my time cutting out, be careful not to pull or drag the fabric at this stage because this could result in twisting of the finished garment. It’s helpful to mark stripes onto the pattern so that you can then match them to corresponding seams more easily. Cutting a single layer of fabric can really help make this more straightforward, and be less wasteful too.
Moving on, the suggestion for the waist casing is to use eyelets or buttonholes. I used a small round-ended buttonhole, whichever method you choose make sure you interface underneath first to stabilise the fabric. I used the quilting guide to help me sew an accurate 2cms seam to create casing. Once I’d sewn it I used a bodkin to thread the ribbon through.
The rest of the construction was pretty quick because I already knew the T-shirt in size 5 was a nice fit, the skirt was a bit ‘hippy’ though so I took some off in that area. Following the drafting instructions the pattern piece is shaped for the waist but, for me, a straight rectangle would suffice.
The length was educated guesswork but I’m very happy with it and it’s not too restrictive at the hem, any longer or narrower and the skirt might need a split in it to allow movement. I have the advantage of using a Pfaff coverstitch machine to hem the sleeves and skirt but a twin needle or a zig-zag stitch will do the job too, and don’t forget to use a ballpoint or jersey needle. I used a narrow grosgrain ribbon in a toning teal to slot through the waist casing to complete the dress. As I mentioned near the beginning I might add just a little more length to the bodice next time but otherwise I’m really pleased with this Tabitha dress, it will be comfortable to wear for everyday and easy to roll up in a suitcase if I ever get to go on holiday again!
Minerva provided me with this lovely fabric to write about, I’m delighted with the quality and I’m especially happy with the dress which is so just comfortable.
My first blog of 2021 features my last make of 2020. After several quiet weeks where I didn’t sew any garments, I had cut this project out a couple of months back but then hadn’t felt motivated to make them at the time…the days between Christmas and New Year was the right time to get my head around a nice involved project though. There has been so much going on in the UK recently, (understatement!) especially in these last few weeks, that I wanted something I had to concentrate on to take my mind off other events outside of my control.
If you’ve read my blog in the past you’ll know by now that I’m a big fan of Trend Patterns but these are the first trouser pattern of theirs that I’ve tried.
I saw Lucy wearing her own version of TPC12 on her stand at the Stitch Festival in London back in early March 2020 (just before everything went weird) and it was the unusual split hem detail that initially I really liked. On closer inspection there are some other nice features too, like the topstitched front seams with optional faux pocket flap, and a button fly. These are the kind of details that attract me to a pattern but I would say before I go much further that this is definitely an intermediate pattern as a result, you will need to be a confident sewer or at the very least game to increase and expand the skills you have already. Before I left the show that day I bought some nice heavier weight plain black linen from Rosenberg’s to make them with.
It was then literally months before I decided to tackle the pattern though. I’m not going to lie, and don’t judge me either, but I had piled on weight during lockdown which I wasn’t happy about and as I got bigger the last thing I wanted to do was make a pair of trousers that emphasised that fact. Eventually however I began dealing with the weight issue which in turn encouraged me to revisit the Utility trousers in the early autumn.
Instead of using the linen for the first pair I bought some grey stretch cotton twill from Backstitch near Cambridge. It’s lovely fabric for trousers and a very good quality at a reasonable price. Because the Utility’s are a fixed waistband I went by my waist measurement at that time (it was shrinking!) so I chose the UK 16 and I could tell that the hip would on the big side but that was OK.
I patiently traced off all the pieces which took a while because there are quite a number of unique pattern pieces that need to be cut right side up (RSU) Labelling them all is of paramount importance so that you don’t end up with unusable pieces of fabric cut the wrong way. Once I had cut the fabric out I left all the pattern pieces attached to the fabric until I had either interfaced them or until they were ready to be sewn. I made both my versions exactly (apart from fit alterations) as the pattern but you could leave off the pocket flap detail by cutting a pair of side fronts, or you could have two pocket flaps by doubling up those pieces instead. An advantage of having so many single pattern pieces is that you might have a more economical layplan because they will interlock better, folded fabric is a much less efficient way of cutting out, a single layer just takes a bit longer.
I said at the start that this is an intermediate pattern in my opinion and that is largely because the hem vents and the button fly are quite involved, although not actually difficult, plus I found the instructions and diagrams were a bit tricky to follow. I didn’t go wrong but they do require absolute concentration. What I’ll do in this blog, so that’s useful to you if you decide to make the trousers, is simplify the order of making down to a basic list which you can use in conjunction with the actual instruction booklet. I won’t give you specific, press here, topstitch there, instructions though, they are in the booklet and the diagrams are very detailed.
My first piece of advice, after you’ve attached all the interfacing to the relevant pieces and transferred all markings to the fabric, is to overlock all the cut edges (except the waist and fly front) first. I don’t normally do this because I prefer to overlock as I go along but it makes more sense here to do it as a batch process, just make sure you don’t trim away too much or lose your notches in the process.
Start by making the ‘pocket’ flap [make up the optional pocket bag if you are going to have one but set it aside for the moment] also, make the back darts and set the pieces aside for now.
Join the front seams for both fronts as far as the vent markers, do not join the fronts to the backs just yet. I found it easier to have only the vent sections to work on flat first although the instructions tell you to join the fronts to the backs. Once you’ve made both the vents except for the final single topstitching to hold the flap in place and are ready to turn up the hem join the fronts and backs at the side seams first. Now complete the topstitching to hold the ventin place then join the inseams, turn up the hem and topstitch to finish. [If you’re using the additional pocket bag I would add it whilst the leg is still open and flat, before sewing up the inseam. I sewed mine on earlier and it got in the way a bit when I was joining the various leg seams]
Pin and partially stitch the crotch seam as per the instructions then apply the outer waistband and press the seam up towards the waistband. [If you want to include belt carriers I would add them before attaching this waistband so that they are caught in the waist seam, the tops of the carriers will be enclosed when you add the facing]
Next, make the right fly section and buttonholes as per the instructions and diagrams. I’ve included a photo of where I stitched through the layers of the right front to hold them all together, I’m not sure if this is quite what is intended but it works-I couldn’t make sense of it otherwise!
Make the left fly front and attach the waist band facing, I’ve included the photo below of how this should look from the inside (yes I did use jazzy overlocking thread just because…)
Sew the remainder of the crotch seam to complete it, then sew the entire crotch seam again about 1-2mm away from the first stitching line.
Sink stitching-to complete the waistband-is simply the industry term for ‘stitch in the ditch’.
Obviously there are points where you would be advised to try the trousers on to check the fit as you go so you could do this by pinning on the stitching line (parallel, not at a right angle!) to avoid unpicking. The advantage of having a split waistband on the centre back seam (like good quality men’s trousers) is that you can fit into the small of the back more effectively.
So that’s, hopefully, a simplified method for you, it isn’t that I think the instructions aren’t good, it’s just that I got a bit confused between what was written and which diagram to follow, and that’s why I wrote it down in a clarified form as I made the second pair.
The fit of the first pair is technically not that good but they are soooo comfortable. The waist was a good fit initially although I’ve lost more weight since then so it’s very roomy now. The major issue (and I’ve read this in a few reviews) is that the crotch length is very long and looks quite droopy. You can see this in the photos of my grey pair, and this makes the cropped leg length look a bit too long as a result. For the second pair in the black linen I redrew the pattern down one size and also folded out 3cms horizontally at hip level on every pattern piece to reduce the rise. The second pair are a much better fit but that won’t stop me wearing the grey pair, it doesn’t particularly bother me that they are overly generous because the shaped waistband can’t fall off my hips anyway. Yes the grey pair are very baggy but that’s fine.
The black linen pair are a better fit at the waist, there’s still plenty of room (too much room?) over the thighs but I don’t mind that. Maybe I’ll shave a little off the next pair, or maybe I won’t…
Overall I’m a big fan of the Utility trousers and I’ll probably make more, now that I’m getting better with the fit. The design details are worth the effort but it is a project you’ll want to take some time over, I had to turn off the radio so that I could concentrate completely and I read aloud each instruction several times to ensure I was going the right way. I sewed matching topstitching but you could use a contrast thread, or maybe you could line the waistband and button stand with contrast fabrics? Apart from the pocket bag if you add one there are no other pockets so you could add some in the side seams quite easily I would have thought, or patch pockets on the back perhaps? I quite fancy a pair made in chunky cord too…
I hope you find this useful, or I’m happy to try and help if I can.
The Festive season is often a reason to make, or buy, a special new outfit to wear for office parties or Christmas Day but this year’s Festive season things will be very different for most of us. I don’t want to be entirely negative though so, as part of the Lamazi blogger team, I thought I’d make something which is a little bit Christmassy but will double up as a ‘regular’ winter dress too.
I’ve chosen the cord velvetfrom Danish Design in a gorgeous shade of aubergine-I’m always a sucker for purple-but it comes in several other beautiful rich shades including a sumptuous gold and a stunning teal too. I picked this fabric because it’s a medium weight stretch jersey and has soft pile which makes it lovely to the touch. I’ve made a dress but you could easily make tops or wide-legged pants in it, or babies and children’s clothes too because it’s washable and crease resistant.
Whilst I love a complex make to really get my teeth into I felt this wasn’t a garment which warranted lots of time. Making a special Christmas once-worn garment wasn’t appropriate any longer so I wanted something quite simple but adaptable and for that reason I’ve picked the Somerset T-shirt by Maven Patterns. I’ve made a few of these now, the bones of it are beautifully simple, it has a self-neatened bateau neckline, a slightly fitted silhouette and four sleeve options. I’ve chosen the Bishop sleeve with a long cuff but I’ve hacked the sleeve to make it even fuller, and I’ll lengthen the body to create a dress finishing below the knee.
The Somerset has excellent very full instructions with lots of tips and advice to get a good finish. There’s a useful sheet to write all your information including body measurements and fit alterations, and a fabric stretch gauge to check you have enough stretch for the pattern to fit properly. You can also list the needle type and size you’ve used, stitch type and length and anything else you might want to remember for another time.
To increase the size of the sleeves I took the bishop sleeve pattern and drew 5 vertical lines from each of the notches from shoulder to hem. Each segment will become slightly wider as it gets nearer the bottom edge so make sure they are even in size.
Cut a piece of spot and cross or tracing paper bigger than the pattern as it is, mark a grainline running right down the paper and then lay the pattern piece on top of it, matching the grain on the pattern to the grain line you’ve just drawn. Next, I carefully cut up to the top of the marked lines taking care not to snip right through at the top, keep it attached by a tiny amount to act as a pivot point. [If you don’t want to cut your original pattern piece I suggest you trace off a new one to use instead] Then you splay the hem edge apart by a few centimetres each, I added 2.5cms between the each of the ‘side’ segments and 5cms to the central one. By doing this you’re adding fullness at the hem but not altering the sleeve head. You could put additional fullness to the sleeve head by opening the top edge too if you wanted. I lengthened the sleeve by 5cms too so that it would have plenty of blousy fullness into the cuff.
Trace around the new shape using a tracing wheel or pencil and cut out the new piece transferring all markings. One final change I made was to add a bias grainline because I knew I wanted to play with the stripe direction of the rib on the fabric.
I had pre-washed my fabric and partly tumble dried it on ‘low’ before letting it dry completely on the clothes airer, it seemed to survive the experience just fine.
I made an arbitrary choice of how long to make the dress by simply holding the tape measure at my shoulder and seeing where it came to at about mid-shin! I attached another piece of spot and cross to the bottom of the front and back pattern pieces and drew on the skirt length I wanted, plus a generous hem. I knew I would have to make some adjustments to the hip and thigh during the fitting stage, just make sure that the hip and thigh measurements are plenty big enough because you can always remove some, it’s much harder to add later!
The ‘cord’ runs across the width of the fabric and I wanted the rib to run down the length of my dress which meant I had to fold the fabric across the width. Try not to twist the fabric if you have to fold this way, I marked a single rib by following it across the width with pins so that I can see it clearly. Fabrics like corduroy, velvet or velour have a pile or ‘nap’ which will shade so if you cut some pieces facing one way on the grain and some pieces running the other way then you will end up with a garment that looks like it’s been made with two different colour fabrics, even though you know that isn’t the case. If you’re unsure what quantity of this type of fabric to buy go with the ‘with nap’ amount on the pattern information and follow the one-way layplan to cut out.
Once I’d cut all my pieces I followed the making instructions which are very comprehensive. If you have a walking foot for your machine I strongly recommend you use it because velour like this has a ‘pile’ and has a tendency to ‘creep’ as you sew so you might find that it starts off with all the edges matching but by the time you get to the other end the two fabrics are no longer matching. I also strongly recommend you tack any seams you are unsure about. You could use a million pins but by the time you’ve done all that you could have basted it in place which does the same job and usually more effectively. I was able to coverstitch the neck and the skirt hem on the Pfaff Coverlock 3.0 I have on loan as a brand ambassador but it works just as well by overlocking the raw edges and twin-needle stitching them down, or zigzag and twin-needle, or two rows sewn singly if you don’t have a twin needle. When it comes to pressing a fabric like this, if you don’t have a special needle board (and few of us do) then you should press on the reverse at all times. You could place a towel on your pressing surface and lay the fabric on top so that the pile of the cloth is against the pile of the towel which will help protect it. Use a pressing cloth as well. These tips will also apply to regular corduroy or any non-stretch fabrics with a pile too.
The bell of the sleeve is gathered using shirring elastic which helps to retain some of the stretch required for the cuff.
Once the sleeves were in I sewed up one side seam directly on the overlocker and then pinned the other side seam to fit myself. This was because I didn’t know if I’d need a split at the hem to be able to walk in the dress and I didn’t want to end up with loads of unpicking!
I looked at the fit in the mirror first of all and the sewn side seam was quite wavy, this could be cured by either adjusting the differential feed on the overlocker so that it doesn’t happen, or you could stitch the seam on the sewing machine and then overlock the edges [This is what I opted to do because I could see I had to take a fair bit off the side seams anyway to achieve a fit I was happy with] Then I put the dress on inside out in front of the mirror and pinned out the excess. I turned it right side out and tried it on again to check the fit, then finally sewed both side seams on the sewing machine, I used a ‘stretch’ needle, a ballpoint or jersey needle performs the same task. Either use a short straight stitch or a straightened out zigzag, make some samples to see which works best for your particular fabric.
Lastly, the cuffs go on and the skirt is hemmed.
And that’s pretty much it, it pops straight over the head so no tricky closures, because of the stretch it didn’t need a split, and that means there’s room for Christmas lunch and it won’t look like a dish rag after spending the afternoon curled up on the sofa watching Christmas telly!
I have to say that I’m really happy with this dress because it ticks all the boxes I wanted it to. It’s comfortable but it looks Christmassy, it looks great with opaque tights, heels and jewellery, but also with boots, a chunky belt, a roll neck top underneath for extra warmth or a cosy scarf…and did I mention it’s comfortable! #secretpyjamas It also has the advantage of rolling up and going in the corner of a bag or suitcase and coming back out again not needing a press. Bonus!!
At 160cms the fabric is very wide so a little will go a long way, and because it’s so soft it would be lovely for children’s wear too. It needs a little bit of careful handling but a lot of that is in the ground work. Make sure you lay it up and cut it accurately to minimise unnecessary stretching or distortion (try to keep it flat on the table or lay it up on the floor) pin or tack the seams so they don’t move about and press carefully as you go and you should be fine.
It’s been an incredibly tough year for so many and I wouldn’t blame you for not feeling like making anything new to wear. However, if crafting and creating bring you joy and respite then you could view it as a gift to yourself, and when you choose to buy from small companies like Lamazi and Maven then you are helping them too.
Thank you to Lamazi for providing me with the fabric for me to write my review, and I hope you find it helpful.
Over on the @SewOver50 account recently I shared a few of my favourite ways to finish hems or raw edges, although course it is absolutely NOT a definitive list by any means. I thought I would expand a little here on the blog using more photos of projects I’ve made in recent years. They are in no particular order either and if I wrote a blog post about the whole garment then I’ve linked it so you can read more if you want to.
Obviously there are the usual hand-finished hems using slip hemming stitch or herringbone stitch for example, which I use a lot too, but I thought I’d share a few alternatives which you might not know, or haven’t used for a while.
I’m beginning here with a faced hem…
The next one is an interesting hem finish which is very useful especially if you want a quality finish on evening or bridal wear. It uses something called ‘crin’, crinoline or horsehair braid (it doesn’t involve actual horsehair any longer though!) I’ve used it here on an organza skirt for the Dior New Look-inspired evening dress I made 4 years ago. As well as a crisp finish I wanted the hem to have distinct body and wave to it so this was the ideal technique. Crin comes in various widths, this was 5cms, lots of colours too because it’s more commonly used these days to trim hats and fascinators.
If you’re making a wedding dress for example and mounting all the skirt pieces onto another fabric, when you use crin on the hem (or bias binding for that matter) by hand-sewing the hem all your stitches will be invisible because you can catch them just through the mounting fabric. This is a couture technique so if you look at red carpet dresses with no visible stitching at the hem this will be how they achieved it. You can apply it as appropriate to any garment that you’ve mounted to another fabric though.
The next couple of photos are where I’ve used bias binding to neaten a hem. I find this a really useful technique if you need the maximum amount of hem because you can sew a very small seam allowance. It’s good if you’re letting down hems to gain length too, on trousers or children’s clothing for example.
If you have fine fabric why not consider using your overlocker if you have one on the rolled hem setting? Refer to your manual for specific instructions how to adjust your machine and make samples first to ensure it’s going to be satisfactory for your particular fabric. You’ll frequently see it used on chiffon or georgette but I’ve used it successfully here on fine cotton lawn, jersey and a stretch velour. If you don’t have an overlocker you can probably achieve a similar finish on your sewing using a rolled hem foot ideally and a small zigzag stitch-as always I would urge you to experiment to see what is possible. Some of the simplest machines can still give you an interesting variety of finishes.
I find the next couture/tailoring technique very useful on sleeves as well as coat, jacket or dress hems. I’ve used it here on my Tilly and the Buttons tester-made Eden. I wasn’t taught this method as such, I discovered it for myself whilst doing alterations taking up sleeves for people. I haven’t ever encountered it in pattern making instructions but I think it’s an excellent way of stabilising the cuffs of coats and jackets.
For this next finish I’ve used a triple straight stitch to create the effect of top stitching on the hem, and several seams, of this Simple Sew Zoe hack I made last summer.
If you have the foot attachment and stitch capability for your sewing machine you can always try blind-hemming. I must admit I don’t use it that often, and only then on completely straight hems. There is a bit of a knack to it and I tend to only use it on a busy print which will disguise any botched bits (yes really!) or if I’m tight for time compared with any other method. It’s not quite the same quality of finish you will see on RTW clothes though which uses a specific machine to blind stitch the hem.
I think it’s worth mentioning that I like to use bias binding to neaten necklines (and armholes) too. I particularly like this as a way of avoiding using a neck or armhole facing which can be notorious for constantly rolling into view or flapping about annoyingly. The version you can see in the following two applications is a strip which I’ve folded in half lengthways first, the raw edges are matched and sewn. The seam is trimmed slightly and snipped if necessary, then turned so that the edge is enclosed and finally topstitched close to the folded edge to secure. In both the following examples I have sewn the binding on the wrong side of the fabric so that the binding turns to the outside to be visible and decorative but you could just as easily sew it to the right side so that it turns to the inside of the finished garment.
I’ve have included another variation of binding on a hem to show you how it can be combined with other techniques to achieve a quality finish. I used it here on a sheer organza which was mounted onto a backing fabric of slipper satin. This meant that when I turned the hem up the hand-stitching was invisible from the outside because the stitches only went through the mounting fabric.
The next technique is more usually the choice of the pattern designer than the dressmaker, although if you know a little about pattern cutting you might be able to do it for yourself. This is an example of a deep grown-on faced hem on the Trend Patterns Square dress which I’ve made twice. It works brilliantly on this dress because the hem edges are straight (square!) plus it gives real weight to the hem which is another satisfying detail.
Pin hemming is a technique I’ve used for decades on fine fabrics. You can replicate it using a rolled hem foot attachment on your machine although it can be trial and error which size works best for you with variable results. I have two different sizes of foot, 2mm and 4mm and I can’t get on with either, I’ve since been told that 3mm is the optimum size for most fabrics but I’m not prepared to risk another mistake when I know I can achieve a good quality result this way instead.
Simply put, I turn over the raw edge by approximately 5mm and stitch very close to the folded edge. Carefully trim the excess close to the stitching line and give it a light press. Then turn again and stitch a second time on top of the first row of stitching. This particular example is from the Trend Bias T-shirt dress I made a few months ago.
If you read about my pattern hack of the Simple Sew Cocoon dress you will see how this variation of hemming came about. I added a large chunk of fabric to give extra length to a dress that would have been too short without it. This method is probably best on a straight hem, you could use it on sleeves too.
This next one is a very much trial and error. I used an edging stitch on my Pfaff sewing machine to hem this Broderie Anglaise blouse which I made recently.
I’ve used a variation of a faced hem recently when, instead of bias binding, I used straight strips of fabric to turn up a straight hem on a dirndl skirt. There will be a blog of this particular garment coming soon…
To finish with is a very simple method of rolling a fairly narrow hem. Overlock the edge first using three (or even two) threads then carefully turn it once and then again so that the overlocking is enclosed inside. If the fabric is quite ‘bouncy’ and won’t stay in position you could press the edge over once first and then roll it the second time. Whilst the result is wider than pin hemming it is narrower, and possibly quicker and more accurate, than a simple turned hem.
This last suggestion is from a project which will be blogged very soon. I cut 6cms wide bias strips which I used to create a self-neatening hem on a pair of pyjama shorts.
I hope you’ve found my suggestions useful or thought provoking, is there something here which you’ve never encountered before, or that’s made you think how you could use a technique you already know in a different way? The idea is to show you a few ways of finishing hems, or raw edges, in new and interesting ways. I’ve not included the usual hand stitching methods because there’s nothing new to think about, although please let me know if you use these methods in a more unusual application. Just because the pattern instructions tell you to finish the hem a certain way doesn’t necessarily mean you have to do it that way…although think it through carefully just in case the really is a reason!
It’s back! After the success of the first #so50visible challenge in 2019 we thought you might like to do it again, especially the thousands of you who have discovered @sewover50 since last year and who might have missed joining in.
In early 2019 we set you a challenge to find a pattern which featured an older model (at least 45+) and make it. If you thought this would be easy then you would have been mistaken, because once we had started looking more closely we realised that this was going to be much harder than it sounded.
Rather than me reinvent the wheel again here I suggest you take a read through the extensive post I wrote at the time, and its follow-up, so that you have some understanding of the challenge we set and how the whole idea came about. There is also a VERY extensive list of as many patterns as we could source at that time.
Since last year I’m cautiously optimistic that the situation seems to have improved somewhat. Sandy and Judith have been diligently saving in Highlights over on the Instagram account many of the new patterns that have been released in the the last twelve months which feature older models-male as well as female. Some of these patterns are by companies which have been consistently good at using a variety of models of all ages whilst for others this is a first toe in the water, which is great to see.
It seems that a lot more companies are actively using older women amongst their choice of models now (although a few still think we all want to wear the frumpier selection of what’s on offer-very wrong!) For the most part though, of the pattern companies who are choosing older models, they realise that we can be stylish, creative, outspoken individuals who do not have a shampoo and set once a week, don’t want to be stereotyped and who have money to spend on quality products.
I’ll list as many of the new patterns as I can but, if you’re tempted to join in with the challenge, I would strongly urge you to take a look at those I’ve already listed because each website will include that brand’s new patterns anyway.
Among the new ones we know of are, in no particular order:
Cashmerette-Washington dress and Rivermont Top and Dress
The Maker’s Atelier-there is wide range of patterns to pick from including several new designs Shawl Collar Dress, Shawl Collar Coat, Over-sized shirt dress, Blazer and Wrap Dress
Style Arc-Sheryl stretch or woven pants, among others.
That Wendy Ward-brand new book ‘Sewing Basics for Every Body’, the Kim jumpsuit and the Dylan Peacoat particularly
Simplicity and Butterick have improved considerably since last year and we have been told that they are actively including more mature models in their catalogues now, let’s hope this is the case. There are now a reasonable number of patterns to choose from (too many to list here individually) so browse their website or catalogues to see if there’s something that appeals.
I’m going to leave it there because I’ll never quite know where the end of this list should be! I would urge you to look through pattern company websites, books and catalogues for your inspiration if you’re keen to participate. I would also add that there are quite a number of small pattern companies who are hugely supportive and involved in our community but they either don’t use older models, or they use illustrations, so we can’t include them for this challenge. That said, we are very appreciative of every repost, share and use of the #sewover50 hashtag that any pattern company gives to a SewOver50er, they are always welcome and it helps to keep our little, occasionally slightly wrinkled, faces in the public eye to prove that we’re still here, and have no intention of keeping quiet.
We’ve got prizes again too so thank you to our list of sponsors (so far) who are offering a selection of patterns, and Wendy Ward is offering a copy of her new book too. Winners will be chosen at random after the challenge closes. You’re welcome to share works-in-progress but only completed garments shared with a photo of the original pattern after the closing date will be eligible to win a prize.
Stay in touch with the Instagram account while the challenge is on because that’s where you will find any new information as it crops up. Make sure you use the new #so50visible20 hashtag although the original #so50visible is OK too. If a pattern company reposts your outfit (which obviously we really hope they will!) use the #so50thanks hashtag too. Keep an eye on their Stories feed too because sometimes they forget to tag us, or the tag doesn’t work for some reason.
The #so50visible20 challenge begins on March 1st and runs for the whole of the month so what are you waiting for? Share a photo of your garment along with the source pattern, have a look in saved highlights on the IG account for various ideas how to do this, it doesn’t have to be a brand new garment this year but it should be a new photo of it, not one you’ve shared before. You could even use a flatlay this time, particularly if you don’t like putting yourself in the frame. Have a look at #so50flatlay for ideas on this. There is no limit to the number of entries you can put in either.
We can’t wait to see how SewOver50ers rise to the challenge, the more we keep this in the public eye then the more chance we have of seeing older faces featuring on pattern covers, in magazines, in sewing books. And part of the worldwide fun of this challenge is seeing makes for the opposite seasons to the one we might be living in because, let’s remember, we’re a global account, and that’s a really big deal!
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.
The @sewover50 account is nothing if not helpful. When Cathy messaged Judith and Sandy recently she said she was ‘nearly 60, keen as mustard, but where do I start?’ Well she picked a very good place to start…hold on, that’s the Sound of Music but you know what I mean.
So Judith and Sandy turned it over to you and you really didn’t let us down (as if you ever would…) I’ve trawled through all your comments and collated as best I can all the wise and helpful advice you’ve contributed here. I’m not sure how coherent it will be but here goes…
First up is simply get to know your machine-assuming you have one [choosing a machine is a whole other post] if possible have a lesson on it at the shop you bought it from, definitely look through the manual and watch the DVD; familiarise yourself with threading it and winding a bobbin; learn to change the needle; practice sewing straight parallel lines before moving on to curves and pivoting corners. You could draw lines onto paper and practice that way (don’t use the needle on fabric after that though, it will probably spoil your fabric by being blunt) one contributor said she taught her child by using dot-to-dot puzzles from a book-one page at a time presumably, not the whole book under the needle…. Learning to manipulate and manoeuvre fabric is something which comes in time with practice, you’ll get there and rushing won’t actually help…take your time.
Get used to ‘driving’ your machine, can you adjust the speed manually? Sometimes the foot pedal has a switch you can change. Have it on a slower setting if that’s possible, otherwise it’s all down to your foot control which again will come with practice. Make sure you’re sitting comfortably right in front of the work area so you have a clear view of what you’re sewing, do you need an extra light? a daylight lamp or a daylight bulb in an old one can be really helpful. If you have the option to leave your machine out so you can use it at any time this will allow you to sew whenever you get a chance and not have to keep getting it out and putting it away.
Gradually compile yourself a ‘stitch bible’ of what your machine can do, use pieces of plain fabric (two layers) old sheets or a duvet cover are perfect for this, then use a coloured thread so that everything shows up clearly. Even if your machine can only sew straight and zigzag it’s still possible to make buttonholes and neaten seams. If there are other feet or attachments what are they for? They might be useful as you progress, the zip foot will probably be an essential although they are usually the most basic type unless you’re buying a high-end machine. Learning a few seam finishes without an overlocker will help you make longer-lasting garments too. You might like to make examples of gathers or darts and other seam types to create your own reference resource which you can always go back to. It might sound ‘old-school’ but whatever works for you is fine.
Ready to think about what to sew? Things like tote bags, aprons or cushion covers are an excellent place to begin because they will enable you to practice sewing plenty of straight lines with a few corners and/or curves. You can include patch pockets, possibly a zip, add trims, embellishment or applique for interest. Everything will help you to become more confident using your machine. Having a bash at making costumes for kids is another great way of getting more confident, you don’t have to be so precious about the materials you use, the fit might not be spot-on but you’ll have fun exploring new ideas. Or what about accessories or clothes for dolls or toys? Kids clothes can be lovely to make but they can also be very fiddly if you’re making something tiny with little armholes for example. Stick to little T-shirts and leggings to begin with perhaps.
This brings me onto another area: you’ll find masses of free patterns online especially for simple things like bags and aprons, sewing magazines always feature these types of project along with well-photographed step-by-step guides. As you progress there are also free patterns for all sorts of other things including garments, many pattern companies will have one or two free ones which, if you’re happy with it, will hopefully encourage you to buy from them too. The Mandy Boat tee by Tessuti is only 3 pattern pieces and really simple to construct for example. With regards to fabric choices it’s probably sensible to stick to a woven fabric like cotton poplin or lawn, or a stable knit like Ponte Roma to begin with, they don’t wiggle about when you’re cutting or sewing, chiffon and slippery satin will have to wait just a bit longer. Another contributor suggested choose a pattern with no more than 5 pieces to start with, what about pyjama shorts or an elasticated waist skirt for example? A really simple dirndl skirt doesn’t need a pattern at all, just gather widths of fabric onto a waistband.
So you’ve got the machine and you’ve got the pattern and now you need to sew it. You don’t need masses of equipment to start off with but I would suggest that you invest in decent quality pins, scissors and a tape measure for starters [I’m set in my ways here because I never use rotary cutters or weights]
Look out for classes locally-is there a fabric shop nearby? what about a college offering part-time courses? There are so many online tutorials that you could learn entirely via the internet and never pay a penny. There are also specific online courses which you can pay for, these are probably of a higher quality and consistency as a result, whichever you opt for you can access them at any time wherever you are in the world. Many indie pattern companies create sewalongs for their patterns so you can follow at your own pace, Closet Case and Tilly and the Buttons are just two for example. Others like Sew Essential, Stitch Sisters and GuthrieGhani (all in the UK) have created easy to follow tutorials, often for specific techniques and processes which can be really helpful. That’s all online but there are plenty of excellent books to help, a really good one is the Reader’s Digest Complete Guide to Sewing which has been in print for years but has such clear illustrations and instructions that it’s useful as ever. It covers SO many different techniques and examples of garment and fabric types, many that you’ve probably never even heard of! Seamwork magazine and Tilly’s book ‘Love at First Stitch’ were also suggested as excellent sources of clear, concise patterns with instructions, there will be many others which might be equally useful.
Other sources of support and advice (apart from SewOver50 obviously!) are Facebook groups-McCalls patterns have one which offers ‘massive global support for fellow sewists of all abilities’, there are area-specific ones too which you might prefer if they are more local. These forums could be especially helpful if you live miles from anyone else who sews. If quilting or patchwork are more what you want there many groups or guilds for these, I was also told about the American Sewing Guild and the Australian Sewing Guild.
If you like Instagram try using a specific hashtag for a pattern #lbpullover #wikstenhaori for example. You’ll get to see what it looks like on real people of all figure types which can be so helpful before you start. There are loads of SewOver50 ones too including #so50dresses, #so50tops or #so50visible for example. Or listening to a podcast like Love to Sewwhile you sew can be both entertaining and informative.
Another suggestion was to take a good look at the ready to wear clothes you would buy to see what the fabric is like, does it drape well or how has it been cut, or does the style even suit me? These days you can try things on and take sneaky photos in the changing rooms so that you’ve got a clearer idea when you’re planning your makes. It’s also a really good idea to make a ‘toile’ or ‘muslin’ so that you don’t spoil your ‘good’ fabric with errors that can’t be rectified, why not use a old duvet cover or sheets? It’s always a good idea to make a toile in a fabric which is similar to the fashion fabric you intend to use. This is because all fabrics behave differently with different properties which might not work appropriately. Make sure you read the pattern envelope carefully for fabric-type advice, or ask in the shop where you’re buying it; get a sample from online shops to avoid costly mistakes.
As you improve you could treat yourself to a complete sewing kit which include everything you need-pattern, fabric, trims, notions etc to make a project, or what about a subscription box?
What about trying refashioning? Take an old or unloved garment and reinvent it as something new. Or you could unpick a worn out garment to make a pattern from and recreate it in new fabric.
Don’t forget that sewing and fitting are two different things and there’s no quick and foolproof way to learn either, it just takes time. Don’t make the mistake of thinking that the size you buy in the shops is the size that you cut out-check your own measurements! Better to cut a little big and take it down than try to add extra (the voice of bitter experience!!) You will make mistakes but don’t beat yourself up over them, do a step at a time and don’t worry about step 7 or 11 or whatever until you get to it. By all means browse through the instructions before you start (especially before you cut anything out though!) to familiarise yourself, gather your favourite books or other information if you’re going to need clarification of a technique. Above all, enjoy the process, this is your time and you’re investing in yourself even if the project isn’t ultimately for you. Don’t be put off by those who finish projects quicker than you, they’ve probably been doing it for longer than you. Blanca of @Blakandblanca said “thoughtful making gets the best results” and I agree. Even those of us who have sewn for decades were beginners once and I certainly still make mistakes, to quote Einstein (approximately) “a person who never made a mistake never made anything” or something like that.
Thank you to every single person who contributed their thoughts and advice on the original post, I can’t possibly attribute each one I’ve used unfortunately but I hope everyone, especially nervous beginners, will find this post useful. If there’s anything else you’d like to add you can leave a comment at the end. Incidentally, I wrote a blog post a couple of years ago where I detailed a few starter thoughts when it comes to getting yourself ready preparing and cutting out your projects. I’m a stickler for accurate cutting because if that is correct to start with, and then something goes a bit wonky, you’ll have some idea if it’s your cutting or the pattern (and there’s been a lot of talk about accuracy or otherwise of pricy Indie patterns recently!)
I haven’t attempted to put too many links in here because you’re all over the world so what might be appropriate for the UK probably won’t be where you are. Hopefully you’ll get some generally helpful ideas as a springboard though.
It’s been almost a month since I was loaned a Pfaff Coverlock 3.0 to try out so thought I would give you a ‘half-term report’ on how I’m getting on with it.
First thing to say is that it’s quite a beast! It’s a very substantial piece of machinery and so is fairly heavy as a result. That being said, this is normally the case with coverstitch machines because they are generally bigger than overlockers so the weight isn’t unusual. It does have a good-sized and comfortable carrying handle though.
Ok, so, the Coverlock 3.0 is a combination machine in that it is both an overlocker and a coverstitch machine. I’m sure you already know that an overlocker will trim and neaten raw edges and often sew the seam as well if you have 4 or 5 thread version. What you may not know is that a coverstitch machine doesn’t trim any edges, it will sew two or sometimes three rows of top-stitching on the outside of a garment whilst covering the edge of the fabric on the inside with loops of thread to ‘cover’ it. It has the advantage of being stretchy too. If you’re still not sure what I’m talking about have a look inside the hem or cuffs of a RTW jersey garment and you should see.
The first thing I had to do was not only rethread the machine as it didn’t arrive pre-threaded but I also needed to change it’s function from coverstitch to overlock. A major part of what I want to assess for you is how quick and straightforward it is to go between the functions. This is partly why I didn’t plunge in with a review as soon as I got it because I didn’t think it would be balanced or fair. Indeed, I will certainly write another review in due course after a decent amount of time and usage has occurred.
Because the machine was merely delivered to me without any demonstrations I’ve needed to use the instruction book a fair bit. If you have difficulty following written instructions and/or diagrams this may not be ideal for you but there is a (silent) DVD included with very clear animations of exactly what you need to do for each of the stitch variations possible. [I didn’t find this straightaway though so I muddled through with the booklet! I’ve also since found a few very helpful You Tube videos which were useful]
I’m not going to lie, it does take a bit of time to make the changes because you’ll need to remove and reinsert the needles to different positions as well as thread the machine in different ways depending on the function. This will eventually take me less time and I’ve added Post-it notes to the relevant pages in the book so that I don’t have to keep searching for the two I’ve favoured most. The machine is capable of up to 23 stitches using 2, 3, 4 or 5 threads and up to 3 needles. So far I’ve only used the 4-thread overlock and the coverstitch but I will endeavour to use more, including the flatlock, and report back.
I decided on making a hacked version of the Tilly and the Buttons Nora top which I’ve made a couple of times before as I didn’t want any nasty complications by attempting an unfamiliar pattern with a new piece of machinery!
The beautiful jersey with an amazing ‘tie-dye’ print is from Lamazi fabrics and was my choice as a July/August maker of the month [it could be you if you tag them on Instagram] I cut the sleeve to approximately 3/4 length and also cut two cuff pieces which were again approximate, initially about 20cms in length and then my wrist measurement at one end and my mid-forearm measurement at the other. I added a couple of centimetres for seam allowance to all sides.
I’d definitely say you need to do a bit of forward planning if you intend to use both the overlock and coverstitch functions on a project because of the swapping between the two. For example, on my Nora I needed to coverstitch just the cuffs and the hem, everything else could be sewn either directly using the 4-thread overlock or on my Quilt Ambition 2.0. I opted to sew the top together first and complete the hems at the end, in the usual way although there may be times when it’s better to hem first, we’ll see.
If you’re merely changing the thread colours it can be done in the same way as regular overlockers by snipping the threads near their spools, tying on the new colour and pulling each of them gently through, plus rethreading the eye of the needles. On one occasion when I altered the function I completely rethreaded but the stitch was much too loose-what had I done? It was all done correctly and yet it was way too loopy. I checked the manual for hints on troubleshooting but it didn’t make much difference. I was starting to pull my hair out when I realised I had threaded the machine without lifting the handle out of the way-the threads MUST go under it or they don’t sit in the tension discs! (Had I watched the helpful YouTube video first I would have known this…) Another thing I learnt the hard way was when the spool holder kept falling off the back of the machine and I was ready to chuck it out of the window I noticed it has to be slid sideways to click securely in position-doh!
The next two projects I made I didn’t use the coverstitch function as both the sweatshirts had cuffs and waistbands but I constructed much of them using the 4-thread overlock stitch. I used fabric provided to me by Minerva and they will appear on their blog in the new year. One of the patterns I used was the gorgeous Maxine sweatshirt given to me by it’s designer, Dhurata Davies. I’m going to make another one soon so I’ll write an individual blog on it then. [I got both tops out of 2.5m of fabric!]
For the final project I want to talk about here I took a different approach. It’s an Amy top by Brilliant Patterns and which I’ve made a couple of times before. I had a 1m remnant of loop-back cotton sweatshirting which I bought from Sew Me Something at a show for £8 and by shortening the sleeves very slightly, cutting the neckband in two parts and joining it I got a WHOLE sweatshirt out of the one metre!!
This time I set the machine up with a wide 2-needle coverstitch and I used my regular sewing machine to sew most of the seams. What I did at each stage of construction was to press the seams flat and top stitch them using the Coverlock. This meant that there would be two rows of top stitching on the outside and the raw edges were covered on the inside. This was generally OK although as I’ve yet to ‘get my eye in’ with lining up the foot against a seam or other visual marker a couple of them do waver more than I would usually like. It turns out there is a large removable flat bed included to increase the working area (it was tucked down inside the box and I’ve only just found it!!) this will support your work while you sew but it does take up a bit more room.
So to sum up (for now) I’ve been impressed with the quality of the stitches I’ve used so far on the Coverlock 3.0 and I will definitely look for opportunities to try others whilst I have it. I’ve yet to be convinced about swapping between the stitch-types but obviously, as I get more familiar with it, I should get faster at changing between them. There are few processes which have to be gone through to make the changes but I’ll probably work out an order or procedure to follow to speed it up. If you are short of space a combination machine might be useful, they aren’t cheap though. You’ll almost certainly use the overlocker stitches more of the time so possibly changing occasionally to coverstitch will be sufficient. I would definitely say you should have a thorough demonstration of the machine so that you know what is involved and what it is capable of. Unlike washer/driers which don’t do either job very well this machine does both functions to a very high standard.
Thank you to Pfaff for giving me the opportunity to try out their machine and if you have any questions about my experience so far then do ask.
So, has anything changed yet in the use and portrayal of older sewers and makers in dressmaking in the media? I think the simple answer is still “no, it probably hasn’t much” but before we feel completely downhearted about it I think we should reflect on what has been happening and how we can continue to try and move things forward. Love Sewing magazine in the UK wrote an article about the situation and 10 of us featured in the photo-shoot that resulted…how about a follow-up article Love Sewing? Grainline have released a new pattern which features an older woman modelling it, are there any others doing this yet?
Since Judith Staley started the account in August 2018 it has gained over 12,000 followers and that number continues to climb steadily. I believe part of the reason for this is because people are discovering that it’s a very inclusive account where everyone in it is happy to share advice or tips, to encourage others, where the colour of our (slightly wrinkly) skin is not relevant, our physical abilities and the size of our waistlines likewise. We share our wide and varied takes on patterns both from the so-called Big 4 and Indie designers and, even though we continue to be frequently ignored by them, we will still mention which pattern it is and tag the company anyway. Generally we aren’t sore about it…There have been some successes with reposts by a few pattern companies on their Stories or feed which, if @SewOver50 is tagged, we’ll see. Make sure you always tag the account or use a recognised hashtag-they are all listed saved in Highlights on the account but by using #SewOver50 or #So50Visible for example Judith and Sandy will see you. If they repost your mention they will use the hashtag #So50thanks to acknowledge our appreciation to the pattern company involved. It’s a virtuous circle really, we buy the patterns, we sew the patterns, we share our make, the pattern company sees it and likes it, we buy more patterns! See? everybody is happy and so it goes on. We have the cash and we want to spend it on your product but if we don’t think you’re interested in us because we aren’t young/slim/pretty/etc etc insert as appropriate then we won’t buy your product any more because there are many other ways we can spend our hand-earned money instead.
Personally there are a couple of companies that I don’t bother to tag any longer because neither of them acknowledge or repost a make by anyone under the age of about 35, let alone mine. I mention the pattern and the brand so that others know which design it is but I don’t ’tag’ them. You might think this is petty but I find it very irritating that everyone these days says “tag us so we can see your makes” but then they don’t offer a ‘like’ or a brief comment to acknowledge or ‘reward’ you. I do realise that some accounts have tens of thousands of followers which makes it difficult but it can’t be impossible, and meanwhile we just continue doing free advertising for them. Somehow some companies seem to exist in a vacuum which is unsullied by their actual customers… How about a new hashtag? #NoLikeNoMention or #NoLikeNoTag?
Anyway, moving on…we’ve been asking recently on the SewOver50 account if you have experience of pattern reviewing, pattern testing or blogging about your makes? How was this for you? How did you get started, were you approached or did you volunteer to a call out of some kind? Any or all of these would be a really good way of continuing to have older faces in the mix.
Obviously I do all of the above because that’s why I write this!
So, looking at the first area ‘pattern reviews’ There are several ways you can get involved in this. Firstly decide on a pattern you think people would be interested in hearing about-you may base this on your experiences with it which might be great or they might be terrible! Either way, if you think you’ve got something to add to the conversation then get writing. There are two places which immediately spring to mind to do this and they are The Fold Line online community which is UK-based, and the Pattern Review which is in the US. BOTH are fully accessible from anywhere in the world so this doesn’t mean they are exclusive to those areas, you just might find more ‘voices’ from one or the other. They are VERY different from each other starting from the way they look, The Fold Line feels a little more ‘youth’ oriented and ‘modern’ in its look, I find it more visually appealing and easier to navigate whereas the Pattern Review I found a bit cluttered visually but I’m sure it’s whatever you are used to, I know it’s really popular and there’s a very broad range of people posting on the site which is great. Both have options to leave pattern reviews and share photos of your makes, I’d say that Pattern Review has a larger back catalogue of reviews by virtue of being around longer than The Fold Line. I like that PR has a series of questions available to guide your review which can be helpful and keep you focussed if you aren’t sure what to write, Fold Line is all in your own words. On both you can give an ‘out of 5’ star rating. We’re trying to encourage more of you to leave reviews and these are two places you can do that, it will keep our beautiful older faces in line of sight! Do you know of or use other sites? Let us know either in the comments here or on the IG account so that we can all share and participate. Judith has asked a few stalwart SO50 supporters for their experiences and impressions of using various pattern review sites so look out for those on Instagram this week too.
Personally, I write my own reviews here on the blog as well as The Fold Line although I include a lot more technical stuff than I’d put elsewhere. Most of my reviews are on patterns that I want to write about because I have something to say about them, and a few are because I’m part of a ‘blogger network’ such as Simple Sew patterns. I’ve always endeavoured to be a ‘critical friend’ when it comes to a pattern review and I don’t always give 100% glowing reports, if I encounter problems or errors I will point them out and I’ll try to give alternative methods or techniques if I can. I don’t find the kind of ‘review’ which just says “yes, this is pretty and I love it” very helpful. Preferences are obviously very individual but why do you love it? does it go together well? are the instructions clear? do you need to fiddle around to get a good fit? What sort of fabric works well? All these things matter and that is what many sewers want to know before committing to buying a potentially-expensive new pattern.
I also write reviews of fabrics which I’ve been provided with free of charge by various companies including Sew Me Sunshine and Minerva Crafts. I’m not embarrassed by this because I take a lot of time and effort to write comprehensive and helpful reviews of the product, a couple of metres of fabric is a very modest reward for many hours of work for me. At this point in time I’m not paid to write by anyone.
Love Sewing magazine here in the UK includes a reader every month who sew up their own version of that month’s free gift pattern and then they feature in a professional photo shoot. I was lucky enough to be invited to do this nearly two years ago and it was great fun, if a little nerve-wracking to start with. You may know of other magazines which do this so why not email and offer yourself to them?! Another way of featuring in magazines is to try tagging them if you share photos of your makes (best if you’re using their free gift pattern or another item which was originally in their mag as they’ll be more interested) you might get used on their ‘reader makes’ pages-it’s always fun to see your face in a magazine and sometimes there’s a ’Star Maker’ prize too. Most magazines and pattern companies have a Facebook page as well as Instagram which are easy ways to share your photos, Twitter is much less about images so I tend not to use that. Make sure your photo is of a decent quality though-clean the lens, or the mirror, check the background-are there pants drying on the radiator behind you? You don’t need to be David Bailey or have a fancy camera but if it’s not a clear picture of your make they won’t use it. Again, the SewOver50 account gave lots of tips for taking successful photos using your phone and they are saved in Highlights.
Pattern testing is another area you can volunteer for and could be your opportunity to put your skills to good use. Keep an eye open for tester callouts on IG, or have a look at company websites for a sign-up list but bear in mind that you’ll almost certainly be doing this for purely altruistic reasons, almost no one pays or rewards testers in any way other than a free copy of the finished pattern after release. (This is a bit of a contentious area-should we be more adequately rewarded?- which I’m not going into here) You’ll probably provide your own fabric and donate your time and be helping small companies to improve their products. When I’ve done this in the past the better companies give you a set of questions which is helpful because you can direct your answers to specific areas they want to know about, plus add comments of your own. They should want to know things like ‘do the seams match’ or ‘are there notches missing’, ‘could the instructions be clearer or worded differently?’ I take pattern testing seriously and it can be frustrating and time-consuming when there are problems or errors, there are now rather a lot of inexperienced people releasing patterns which are ill-thought out and inaccurate. I’m more picky about volunteering now as I’m not keen on wasting my time, I get invited to help by some companies which is flattering. You’ll be more or less expected to ‘advertise’ the pattern when it gets released which is fine if you’re happy with what you’ve made, and the very small companies are usually very appreciative of this because they generally have little or no advertising budget so they rely on people like us making and sharing.
Finally, you could have a go at exactly what I’m doing now-blogging! I started to write here four years ago as a means to document what I was making more than anything and it’s diversified a bit because I also review exhibitions and books too, or places and events I’ve visited that have a sewing context. [The word ‘blogging’ or ‘blog’, if you didn’t know, comes from ‘web log’, a form of keeping an online diary.] I don’t have a massive following, or sponsors, like some but I know many people appreciate my plain speaking and honesty in my pattern reviews. Vlogging is a ’thing’ too but I’m not interested in that, I prefer to write and I’d bore myself (never mind you!) wittering on about my latest fabric haul or whatever. There are lots of places that ‘host’ blogs, I use WordPress for which I pay a modest monthly fee but there are many others, some free, some not. If you follow other bloggers, which providers do they use? Do some research to find the site that meets your needs, if you want more bells and whistles later on, can they be added? How much will it cost? You could just write a Word Doc and copy and paste it into a Facebook page. I have a Facebook page for Susan Young Sewing but I must confess I barely use it, I don’t find Fb as engaging as Instagram. Incidentally, The Fold Line has a useful Facebook forum which is where all the discussions take place, and you can sign up for their weekly newsletters which is a round up of all sorts of up-to-date sewing and dressmaking goings-on.
So, to sum up, there are a variety of ways we can continue to get our lovely faces featured so that we aren’t overlooked and the more of us that do it the harder it will be to ignore us! Judith will be sharing ideas and personal testimonies by other Sew Over 50 ‘activists’ during the coming days and weeks so keep a look out for them. If you’ve got a story you want to share with us make sure you use the @SewOver50 tag so that it gets seen [although with our growing numbers this is getting harder so DM if it’s really important] Let’s keep plugging away together, older women have wider choices and opportunities than ever before and it’s so much better if we can endeavour to support each other in reminding the wider world that we’re here and we aren’t going to go away quietly.
I hope we can continue to inspire, support and encourage one another using SewOver50 as our touchstone because we’re bloody brilliant!!
It’s always nice to be asked isn’t it? Doesn’t especially matter what but anyway, it is. So when I was asked if I would help in the testing process of TATB’s new pattern for a jacket/coat to be released in the spring I was both flattered and happy to help.
I know I have a regular moan about some Indie pattern designers but TATB are one of those who I think do a very good job. The presentation (recently with refreshed new look packaging) and the quality of the drafting and the instructions is, in my opinion, of a very good standard. Tilly doesn’t usually chuck out loads of patterns one after another, they are often in pairs and spaced out through the year.
As is quite often the case with testing there was originally a fairly tight turnaround to return feedback so my first problem was to source the fabric, and quickly. I’m not a great one for buying fabric online unless I’m confident the description and other information is accurate, or I know exactly what it is. This time though I didn’t have time to explore my regular fabric shopping haunts in London and so I had to search t’internet to see what I could find. I’d hoped to get some kind of waterproof or waxed fabric but the ones I found were either very expensive, too boring, too childish (a lot of dinosaurs and unicorns!) or not suitable for the purpose. Next I looked at wool and wool-blends and many of these were also much too expensive as well but in the end I found a really nice felted wool from FabWorksOnline so I ordered that. I was very impressed with the speed it arrived too! It’s a fully lined jacket and I’d got some silky pale pink cloque in the old stash which I didn’t think I’d use for anything else, and I had a cream-coloured open-ended zip which I thought ‘that’ll do’ so I was good to go. One version of Eden is lined with jersey, you might want to consider putting a silky lining in the sleeves, although you could still put jersey just at the cuff ends if you want the contrast roll-up effect.
After a bit of a hold up the pattern arrived but when it did I hit the ground running. In all of Tilly’s other patterns I make myself a size 5 but after checking the finished measurements for the jacket I opted for a 4 this time.
I’m not going to give you a verbatim run through of the pattern here, this time I’ll highlight areas where I used specific techniques which I think work well for this kind of garment.
There are two style variations of the Eden, either a simple longer-length duffle coat style with toggles, or a shorter jacket with ’storm flaps’ and bellows pockets which is the one I opted for. We were asked not to make any drastic pattern hacks during testing but I chose to add 5cms to the overall length of the shorter style, it was shorter than I would wear it but the other was too long.
The next thing I did differently was to use the lining fabric on the underside of the flaps instead of the wool, to reduce the bulk of them when they go into the seams. If you’re using a thinner fabric this step isn’t so necessary but I knew that once all those thicknesses were layered up into the sleeve seams it would because very bulky.
The next thing I changed (and which hasn’t been altered on the final pattern) is the shaping at the cuff of the sleeve. This is because if you have a deep turn-back but the sleeve continues down straight ie. getting narrower all the way down, when you fold it back it doesn’t lie flat against the inside of the sleeve seam. Look at the photos below and you’ll see what I mean.
My other suggestion for the cuff is to use a strip of iron-on interfacing to stop it from stretching, being baggy and to give it some body. This is a technique I’ve picked up after doing numerous sleeve-shortening alterations for people because this is what you will commonly find inside RTW coats and jackets to stabilise it.
I’ve also learned from doing alterations that a few hand stitches inside the cuffs, and also the lower coat hem facing will help hold them in position so that they don’t drop down and spoil the look of your finished jacket. It’s tricky to describe what sort of stitch this should be, it’s a kind of slip-stitch a bit like you might find on handmade curtain hems. The sleeves are raglan so they are easy to insert.
The instructions for putting the zip in are good and the photos are a help here too-there will be an online tutorial although at the time of writing this I’m not sure if it’s available yet. Putting the lining in isn’t actually that complex but it does take time and concentration, and a bit of brute force. Don’t make the opening in the sleeve lining too small because it will make it very difficult to pull everything through, especially if you have stiff or thick fabrics. The gap gets sewn up and is then down inside the sleeve eventually any way. If you’re in any doubt about accomplishing this part my suggestion would be to get the lining sewn by machine to the edges around the front (zip) and hem, pull the lining through and then slip hem the lining to the cuffs by hand.
I chickened out of putting snaps on my jacket even though they would look nice. I haven’t used them on anything else and I didn’t want to spoil my Eden so near the finish line! I opted instead for very large silver press studs which I sewed on by hand.
I finished my Eden in December and I’m really pleased to say that I have worn it loads over the winter months. I’m very happy with my size decision too because there is still plenty of room for jumpers to layer up underneath, I think the next size up would have been too big. I also think the grey and pink look really pretty together as well.
I hope you find the techniques I’ve mentioned helpful, although I don’t think they were carried through to the final pattern, TATB obviously felt that their own methods and descriptions were good enough and maybe I’ve over-complicated things but overall I’m happy with the finished garment. It’s categorised as for ‘improvers’ and I think this is a fair analysis, it would be too complex for a novice sewer although with online tutorials and determination anything is possible!
As you can see from my photos my colour palette is a little more ‘mature’ shall we say than the TATB samples but I think that also proves that it’s a nice casual style which will actually work in lots of fabric and colour combinations. I enjoy the process of testing although there are times when it’s frustrating, I assume I’ve been approached because of what my experience can bring to the party and that isn’t always borne out in the end but it can be rewarding and personally I always take a lot of time over it and try to use my skills and experience to help, advise and improve when possible. I probably won’t be asked again now so I hope you find this post helpful…