Obviously this approach harms no one except me and eventually I stopped sulking and relented because they had produced some really nice-looking patterns in the intervening years (and drafted by a professional pattern cutter…)!
I bought the Sienna Maker jacket because I was attracted to the variety of options it had including different lengths, quirky sleeve pockets and a button-up back vent on the short version plus the elements were all largely ‘mix-and-match’. This is something that’s always been quite normal with paper patterns from the traditional Big 4 (they aren’t 4 any more but you know what I mean) Indie patterns seem to often have a tendency for fewer versions in a single pattern and then you’re left to put your own spin on them, or they create add-on packs when they notice what others have been doing for themselves.
Anyhoo, in the autumn of 2022 I was going on a sewing retreat hosted by Sew Me Something in Stratford upon Avon so, using some printed needlecord from Barry’s in Birmingham, I cut out the short version of the Sienna Maker as one of my projects to sew while I was there.
The Sienna Maker is intended to be slightly oversized so I based my size choice on my bust measurement (39”) and went with a US14. I’m more than happy with the fit and there’s room for a layer or two in cooler weather (it isn’t lined though so this does make it a little trickier to get sweaters down the sleeves)
I found the instructions and diagrams really thorough, it’s rated as an advanced garment and I would agree with this because you’re dealing with some unusual or more tricky techniques, plus the fabric will probably be stiffer or thicker than most dressmaking fabrics. A good degree of accuracy is needed to create a sharp collar and lapel for example but I thought the diagrams and instructions for this area in particular were very good. It’s helpful to be clear which is your right and left because the two longer coat styles don’t have symmetrical details on the fronts so if you’re in any doubt (especially if the fabric is the same on both sides) put sticky labels onto the pieces until they are sewn together.
There is a lot of encouragement to create the garment you want by including various suggestions for seam finishes for example. I used a mixture of bias binding (Hong Kong finish) and simple overlocking but you could use flat fell seams for some of them if you wish. I’ve had a look and the Closet Core website has loads of tutorials for different techniques and methods so you might find something helpful there if you’re a bit stuck.
I made my own bias binding for both jackets, and for the short version I topstitched and made buttonholes in a contrast bright pink. I bought some fabulous metal buttons from the amazing selection at Textile Garden you’ll be spoilt for choice! You could also use heavy duty poppers instead.
Fast forward to April 2023 and I was heading to a different retreat with my Sew Over 50 photo shoot pals to a wonderful place we’ve found in Derbyshire.
When I bought the pattern I had always intended to make a longer version too, I just hadn’t found the right fabric. Eventually I settled on the 12oz organic sanded twill cotton from Merchant and Mills in the Stanley Tan shade after seeing it made up as a jacket by a friend. I decided (and I hope I don’t live to regret this…) not to prewash it, my rationale being that there was quite a lot of fabric so it could end up streaky from the washing machine. Also, because it’s a coat, it won’t get laundered very often anyway and I could get it professionally cleaned when necessary.
I opted to make the longest version with the belt and D-rings so there are no fastenings this time, it has a deep front overlap which personally I feel crosses over to the wrong side, I would normally cross right over left so it feels a bit alien. As before, the instructions are excellent, there are a couple of areas where you really need to concentrate like making the opening on the front for the belt to pass through. My top tip would be to make sure you have transferred all the pattern markings carefully before you do any sewing because the two fronts each have different features, I used lots of tailor’s tacks!
In spite of the distractions of sewing with my friends I took each part of the process slowly to make sure I had everything in order and a really nice quality finish. Once again I made bias binding from a blouse I no longer wore but liked the fabric, it has a new life inside the coat where I can see and enjoy it for far longer than as an unloved blouse.
The coat has an attached belt which slots through D-rings on a tab to fasten (which I already had due to a major cock-up when ordering trims for a ruck sack pattern, but that’s a story for another day…) There are some very thick layers in few places but my Pfaff handled them superbly, I used a chunky jeans needle throughout.
The suggested finish is to topstitch all the facings and collar but I decided against this and I spent a quiet evening herringbone stitching them all in place. If you are going to machine topstitch I strongly suggest tacking (basting) the stitching line so that you have an accurate line to follow on the right side, this should hopefully reduce the need to redo areas where you may have wobbled off course.
I hope I will get as much use from the new longer Sienna Maker as I’ve had already from the short version, it will be too warm on sunny days but for our unreliable weather I’m sure it will be great. I didn’t want a heavy full-length coat and so just-above-the-knee suits me fine. Incidentally, there’s a large interior breast pocket and I didn’t include the back hem split. The fabric is beautifully soft but weighty, it has a suede-like finish, pricey but superb quality.
Delighted as I am with my new coat I can’t help feeling that there’s more than a hint of four candles and Arkwright’s stores about it but no matter, in my head perhaps I should rename it the Ronnie! [one for my British readers there…]
I’ve got a couple more Closet Core patterns in the pipeline over the summer, I made a Mile End sweatshirt last autumn and I’ve also bought the Nicks dress which I’ve got fabric lined up for already plus I’ve just invested in the Kalle shirt so I must be impressed with the quality of the patterns!
Well, here we are at the end of another year which has not been without its challenges again. We’ve been learning to live with Covid 19 as a fact of life but 2022 has been tumultuous in terms of other world events, including the beginning of the war in Ukraine, multiple Prime Ministers here in the UK, the Platinum Jubilee and then the death of Queen Elizabeth, and a worsening cost-of-living crisis, to name but a few.
You haven’t come here to read my personal thoughts on any of these though, there are many who have or will continue to comment more eloquently, passionately or noisily, than me and my blog is for me to detail my sewing.
I began the year with sewing a few garments for the book written by Juliet Uzor to accompany the spring series of the Great British Sewing Bee. The series didn’t air until the late Spring so I wasn’t able to share these photos at the time. In total I sewed five garments which featured, some of which were Juliet’s original designs and others were pattern challenges from the new or previous series of GBSB. Obviously when I’m making these samples I’m sworn to secrecy and I’m rarely told anything more about them anyway until the book comes out. I really enjoy sewing for this though and whilst there are time pressures and it has to be my best possible sewing that’s a challenge I’ve enjoyed rising to. [I’ve sewn for a few books now so I know what’s expected] I have to say that I have no idea how the Bees manage to complete the pattern challenges in the time allowed because they took me a jolly sight longer than a couple of hours!!
Immediately I finished these garments I became a Backstitch Ambassador and sewed up my first Merchant and Mills Ellsworth shirt. You can read my review of it here, it’s proven to be the most popular post of the year.
Next I sewed a Paper Theory LB Pullover from a herringbone tweed wrap which I made a few years ago and then never wore, this became the first of 4 LB Pullovers this year. It’s occurred to me that I haven’t blogged this top yet so I need to put that right in 2023. The trousers are another pair of Eves in soft corduroy and they featured in a Sew Over 50 post I wrote early in the year with many of your favourite trouser patterns in.
I also hosted a couple more of my Herts Sewcials before the lawn bowls season started again and we had to stop until early October. They have been such a source of fun and sewing camaraderie and I hope to announce some other sewing days later this year. It all takes time to find a suitable venue, make bookings, advertise etc etc though
I was (finally) struck down by the first of two bouts of covid in late February which meant I had to miss out on the The Stitch Festival show in London and being in the first ever Sew Over 50 lounge. This was particularly gutting because I had organised the whole rota of people who had generously volunteered to ‘woman’ the space over the four days and I couldn’t share all the fun and chat, and the fashion show which I could only watch unfolding on social media from home.
I sewed a Tilly and the Buttons Nora cardigan using another of the fabrics I bought from 1st for Fabrics and it’s been in regular use on chilly days (I’m wearing it again right now)
I diversified a little after that when I made a fabric roll to keep our ‘good’ cutlery in. It’s only ever lived in a box with bits of tissue and an elastic band around the items so I finally got around to making something more suitable. I used a couple of fat quarters and some Liberty off-cuts in the stash, plus some wadding to go inside. The embroidery function on my machine was very handy for making the labels for each pocket too, all in all a very satisfying make.
I used a ‘vintage’ 80’s blouse pattern in my collection to sew a shirt dress for our delayed holiday to Antigua in March. We should have gone in March 2021 to celebrate Mr Y’s 60th birthday but world events scuppered that. In spite of my having Covid just two weeks before we were due to go I was cleared to fly at the last minute and thankfully we all made it there-and back-without further problems.
I had been wanting some kind of vest or tank top for a while and then Charlotte Emma patterns released the Clove Vest which was exactly what I wanted! I bought, printed, stuck together and sewed one in double-quick time and I have been using it ever since. In fact I’ve just made another using small leftovers of another project so it’s a good way to use remnants up.
From Yorkshire we continued north to Scotland where we had the huge pleasure of staying with Sew Over 50 Supremo Judith Staley. The OHs went off to play on trains while Judith I went first to the V&A in Dundee and the following day we visited the Great Tapestry of Scotland which we would both highly recommend.
In April I organised a quick, low key, visit to Walthamstow market where I caught up with friends old and new. Not too many purchases on my part, I’m more of an enabler…
I delved into the remnants box and found enough of this linen to make a short-sleeved Fantail Top by The Sewing Revival, I love the gathered elastic hem detail on this pattern. Using fabric I bought at Walthamstow I sewed this shorter, wider pair of Eve trousers.
I returned soon after to Walthamstow and the William Morris gallery to catch the small-but-perfectly-formed exhibition of Althia McNish’s work. Until I listened to the very first Haptic and Hue podcast nearly 3 years ago I had never heard of this wonderful textile designer. I’m very glad I know about her now because her designs are so full of life, colour and vibrancy.
I hadn’t sewn anything for Lamazi as a blogger for a while but I was able to make this McCalls 8090 using their beautiful own design Tencel Lyocell ‘Garden of Dreams’. It has the most gorgeous handle and drape, and I love the vibrant colours of the print. It worked beautifully for this pattern and I’ve worn it loads, plus I’ve layered long-sleeved tops under it this autumn/winter, and with tights and a cardigan over the top too. I really must write this pattern up as a proper blog post in 2023!
In late April myself and my fellow Love Sewing modelsfinally FINALLY got to Thirkelow in Derbyshire for our sewing retreat. I can’t tell you how many times this got pushed back and pushed back because of the pandemic and we were all just so thankful to be together as planned and have a wonderful time chatting, sewing, walking, laughing, eating and drinking at last. We booked for 2023 before we even left, and 2024 is in the diary too!
Another departure was a waistcoat for Mr Y, everything except the buttons (ironic when you see how many buttons I have) came from the stash. I first used the pattern over 20 years ago for some wedding ushers.
I don’t think these Marcy Tilton trousers have been my biggest success…I’ve met someone since who was wearing them and they looked great so if I size down by at least 3 sizes (or more) they won’t look so voluminous, I hope.
I spend a good deal of time sewing this jacket for my dear friend Sue for her son’s wedding in July, we bought the stunning fabric from Misan in the Goldhawk Road. It all got rather more complicated after she broke her wrist on holiday and I had to make the whole outfit because she couldn’t get to the shops!
I was asked by a friend if I could replicate a dress she had seen last year online so eventually I was able to create this dress partly utilising an existing 1980s pattern and partly by pattern cutting other elements myself. Our measurements are very similar so I dug this cotton fabric out of the stash and made a version for myself first which Lynn then tried on as a toile. Astonishingly it was all perfect so I made her own dress without any need for further fittings!
I’ve made a second version for myself using some very inexpensive fabric from Walthamstow. This time I made a new cropped bell-shaped sleeve and altered the front to add a shirt collar.
After my second bout of Covid (thank you MR Y) June saw us able to travel on a long-planned trip to Tuscany in Italy. We had a wonderful stay in Florence which included a visit to Bacci Tessuti which was chock-full of beautiful fabrics. I bought myself a lovely piece of fine linen and Mr Y treated me to two pieces of Liberty Tana lawn. I also bought a remnant of Pucci silk/cotton which was just enough to make a short version of my own Dexter pattern.
And then in August I turned 60…
At the end of September was the event many of us had been waiting months for, it was the very first Sew Over 50 Frocktails event held in Edinburgh and hosted by both Judith and Sandy! I suggest you pop over to the blog post I compiled afterwards to get the full rundown with loads more pictures.
The beginning of October saw my Herts Sewcials recommence again. I didn’t have a project to sew until the day before, there was lots to organise and I became so indecisive! At the last minute I settled on the Portobello Trousers by Nina Lee in a bright pink crepe and what a good choice they were, I’ve really enjoyed wearing them!
Next up I headed to London and the autumn Knitting and Stitching show, not once but twice!
In October I treated myself to a Sew Me Something retreat in Stratford upon Avon which was so enjoyable and I met some lovely people while we all sewed together.
I also started a Closet Core Sienna Maker jacket while I was in Stratford but I didn’t finish it until after I got home. I’ll blog this one in the new year, I’m really pleased with it though and, weather permitting, it’s had a good number of wears so far. After this I also compiled a Sew Over 50 blog post rounding up lots of your favourite casual jacket patterns
This gorgeous lawn was one of my purchases from the K&S show, as soon as I saw it I knew it would be perfect for another M&M Ellsworth.
My next Backstitch blog came at the end of the year when I sewed this cheerful saffron Ingrid by Homer and Howells.
Nearly there, honestly….I constructed another ‘tree’ for the local Christmas Tree festival at the beginning of December, she was called ‘Etoile de Noel’ this year because almost everything came from recycled toiles
A bit more crafting before Christmas with these Festive oven gloves, I found a tutorial on’t t’internet which helped with fabric requirements and measurements but actually you could copy a pair if you have them.
And so to the final two makes of 2022, first was another LB Pullover, this time in ruby red velour-so comfy!
This wasn’t absolutely everything I sewed in 2022 but most items are there, not all of it was for me by any means. It looks like I need to write up a few more reviews though, they have definitely not been happening so much in the previous twelve months. In November and December I did some teaching for Backstitch which was very enjoyable, I’ll be doing some more in 2023 too. There will be new exhibitions to look forward to in London including one featuring the work of Gabrielle Chanel in the autumn.
Thank you for following my activities this year, it’s been great to meet more of you in real life and I hope we’ll get the chance for more meet-ups again in 2023. I don’t have any sewing resolutions for next year, we’ll just have to see how it all unfolds I reckon.
Until next time, happy sewing
PS as I was writing this the news about the death of fashion great Vivienne Westwood came through, I wrote a post reviewing her autobiography which I would highly recommend if you want to learn more about her.
The previous Sew Over 50 posts I’ve compiled for your favourite T-shirts and flat-fronted trousers have proven to be extremely popular reference sources for you so I thought it might be useful to add another pattern type to the series.
This time I’ve chosen to focus on the short(ish) casual jacket, which I discovered has a wide variety of names depending on where you live (or which generation you are from) including jeans, utility, shaker or chore jacket. You know the sort, often workwear-inspired with plenty of pockets, it can be thrown on instead of a cardigan or a heavier coat, it might be a little more chic than a sweatshirt, or it might not. In fact it could be pretty smart depending on the fabric choice or maybe it’s super casual, definitely no longer than hip length though. So already lots of options but those were the basic criteria and then I threw it open to all of you for your own recommendations.
I started my research by going to the #So50Jackets hashtag. You can usually then select images by choosing between ‘top’ or ‘recent’ categories. Top will be the most popular images with loads of likes, probably as a result of the number of followers that an account has or it’s a really cool garment and the algorithm will skew its visibility. I tend to select recents because the images are exactly that, more recently sewn (or at least posted) which is helpful if you want some seasonally appropriate inspiration.
I soon discovered there are a few big hitter styles which are very popular with the sewing community just now so I’ll start with their details and then follow with all the other suggestions which came in from you via comments on my Sew Over 50 post in October. Whenever possible I’ve given the maximum size available, or bust/hip measurement which were correct at the time of publishing this post.
Grainline Tamarack: a simple shape but extremely popular because of it’s quilting possibilities. Sizes up to UK 30 (US 26) up to hip 58” The Grainline Thayer would also fit the bill but with more pockets.
The Sewing Revival-Mallard: a classic single-breasted silhouette which features a collar and outsized pockets with flaps. Fits bust up to 47”/hip 50”
Papercut-Stacker: a utility button-up in a cropped boxy fit, fits up to 46.5” bust
Butterick #5616: another popular pattern but you’ll need to look beyond the awful sketches and photos on the packet, the line drawings will give you a far better idea of the possibilities. Fits up to UK 22(US18) no measurements given
Style Arc-Adelaide: simple silhouette with various pocket/cuff/options plus a full lining pattern too. Fits up to bust 58” hip 61”
Pauline Alice-Ninot and Ayora: Ninot is a boxy shape with a Peter Pan collar and welt pockets, fits up to bust 42.5” whilst the Ayora is a short reversible quilted jacket and fits up to bust 47”
Itch to Stitch-Causeway: a bomber jacket with elasticated hem and princess seams which can also be made fully reversible. Fits up to bust 49.5” depending on cup size
Sew Different-Swing jacket: this is a relaxed throw on jacket with no fastenings, there are large pockets incorporated into the front diagonal seams. The largest size will fit up to a 50” bust/52.5” hip
Helen’s Closet-Pona: another softly tailored jacket with no fastenings, it has wide lapels, patch pockets and roll-back cuffs. Fits up to bust 54”
Deer and Doe-Lupin: a short jacket with back yoke and waistband, welt pockets and a draped collar. Fits up to 45” bust
Fabric-Store.Com-Paola: a free PDF pattern if you register, it’s workwear-inspired with a straight boxy shape, 4 pockets and flat fell seams. Sizes up to US 28/30 (no measurements given)
Love Notions-Metra: another soft blazer shape with shawl or wide lapel options, princess seams with welt pockets. This pattern is intended for stable knits and will fit up to bust size 57.5”/ hips 59.5”
Pattern Union-Felix: this is more of an edge-to-edge French style jacket than workwear, it can be made in 3 different lengths and will fit a maximum bust size of 54.5”
Tessuti-Ines shirt: this shirt pattern would translate well into a jacket simply by using a weightier fabric. Fits up to UK 22
Tessuti-Lyon jacket: a semi-fitted ‘cardigan’ style which is ideally suited to boiled wool. Also fits up to UK 22
McCalls #7729 another traditional jeans jacket with lots of ideas for customisation, fits up to UK 22
Fibremood-Madou: an adaptable loose-fitting shirt/jacket pattern with a wide size range fitting up to 57.5” bust
Cashmerette-Auburn jacket: a classic short length single-breasted blazer specifically designed for the fuller figure. The Princess seams help to give an excellent fit for up to 62” bust
Patchwork and Poodles-Patchwork chore coat: this jacket is specifically designed to make using pre-quilted fabric and as such is a simple shape. It is relaxed fit rather than oversized. It can be made up to bust size 56-58”/hip 58-60”
So there you have more than twenty suggestions which came directly from the followers of @SewOver50, there are undoubtedly many other suitable patterns, in fact there were several that were suggested which I could not trace so I assume they are now out of print or discontinued. I’ve given you descriptions and links for every pattern rather than loads of individual images so click on the links to see what each one looks like. Don’t forget to check if there’s a hashtag for the pattern too, if so there will be plenty of inspiration to be had from that.
If you sew any of the patterns here make sure to include the #So50Jackets hashtag as well as #SewOver50 (@SewOver50 in Stories) A lot of the companies mentioned here will acknowledge our existence but several resolutely do not (presumably run by immortals?) I found it interesting that so many of your suggestions are now from Indie pattern companies and not the Big Four as some might expect. Times change rapidly and we are moving with them, I think it’s proof that whilst we may be a little older we are still happy to keep up with trends in fashion whilst doing it very much our way. SewOver50 will continue to push for greater recognition of older sewers and makers at any opportunity because we know we all have something positive to offer the home sewing community as a whole.
Simplicity have long been one of the most familiar big names in the home sewing paper patterns market but many of us are now choosing to use PDF patterns instead for a variety of reasons. Simplicity have recently decided to dip a toe into the waters and release a small collection of patterns as PDFs for the first time.
I was first invited to try one of this new range of PDF patterns way back in high summer but for a variety of reasons it’s taken until mid-October to get completed.
Simplicity have released a range of ten basics which are available now from Sew Direct including several tops, a skirt, a dress and a jumpsuit, plus two children’s patterns and a free clutch bag pattern.
I chose the tie-front robe jacket SP110 which appealed to me as a cover-up in place of a cardi or sweatshirt and, because it was July at the time, I picked a pretty, drapey Atelier Brunette viscose crepe in a pale ivory print kindly provided by Minerva. The robe jacket is a very simple silhouette with a wide grown-on 3/4 length sleeve, the neck is finished with a band and the tie waist is elasticated across the back.
For me, it depends how many pages a PDF has whether I print it myself or send it away (my usual cut-off is anything over 30 sheets, more than that and I’m not keen on the printing and assembling) However, we had been experiencing postal strikes here in the UK and I needed to get started so I printed at home this time. I think the paper in my printer was a bit out of alignment because not all the pages were printing as accurately as they should have been but fortunately I could see what had gone adrift as I assembled the pages and was able to rectify it. Make sure you print the test page and check carefully that all borders are present and accurate, don’t simply check the test square measurement and wander off into another room while it’s all printing out… With A0 printing this shouldn’t be an issue.
The pattern includes all sizes from UK6 to UK26 (up to 48” bust) which are broken down into two size bands (there isn’t a layering option to isolate which sizes you choose to print unfortunately) The robe jacket consists of just six simple pattern pieces.
The instructions sheet/booklet design is attractive and uncluttered with clear diagrams and straightforward step by step instructions. For the more novice sewer there is a glossary which includes all the sewing terms that will be used throughout, and a page explaining pattern markings. This being a US-originated pattern, all the seam allowances are only in inches so you may want to write your own metric equivalents on the page somewhere before you start, to avoid confusion.
This is a quick and easy make, not much more than half a day probably, and everything comes together well. I thought the instructions and diagrams were clear, well explained and thorough without being over-complex. Overall a relative beginner should be able to manage this pattern. I like to print my instructions in booklet form but I should have increased the font size a little as I struggled occasionally to see the diagrams. I think the diagrams are actually very good, I simply didn’t print them large enough. If you are reading them from a tablet or lap top then this isn’t so likely to be an issue.
My only ‘problem’ now is that I have a summer garment as we head into autumn/winter. I intended it to be a light cover over summer dresses and tops so I’ve tried to style it for the season as it is now. I made a UK14 but possibly should have gone up a size, I feel self-conscious about how it looks around my midriff. It falls exactly on my natural waistline (I’m 5’5” tall) rather than above it like the models who are probably 5’8”-5’10” minimum. Hey ho, I didn’t get the tall gene but I did get the yoyo weight one instead! Basically, I’m pleased with the garment overall but less pleased with how it looks on me just now. I’m determined to get use out of it though but it will probably not be much before next spring.
I have a small quantity of the fabric left so, if there’s enough, I may consider adding it to the bottom under the waistband. This shouldn’t be too difficult because the waistband is straight and it would then give a little peplum which I might feel more comfortable with. It wouldn’t be too difficult to add a longer skirt to turn it into a coat as an alternative.
Being a PDF means you can buy the pattern to use immediately, and all the others in the Simplicity PDF range from Sew Direct. I was paid a modest fee for my pattern review and generously provided with the fabric to make it from Minerva. All views expressed are of course my own.
Well that was another weird year wasn’t it!? I’m not gonna lie but I’ll be glad to see the back of 2021. For every good event there seemed to be two or three stinkers which I found made it really hard to see positives anywhere. I know that there were some good things though and I’m incredibly grateful to have the life that I do so I don’t want to dwell on the downside, let’s move into 2022 with an air of cautious optimism!
I entitled my round up for 2020 as ‘sewing in a time of pandemic’ and I’m so glad I didn’t know then that 2021 was going to be ‘part two!’ Anyway, I’ve collected a few photos to round up my sewing and other events I was able to get up to during 2021 although I’m not sure if they are particularly chronological…the length and colour of my hair at any given time will give you a bit of a clue!
I was looking for new sewing challenges early in the year during the next long lockdown and Mr Y was the lucky recipient of a few items including this Carmanah sweatshirt by Thread Theory. The fabric was kindly provided for me as I’m part of the Lamazi blogger team.
I was selected to contribute some articles offering sewing tips and advice for an online sewing project in the early spring but after just two such items they just stopped contacting with me or replying to my emails. Bit rude I’d say, I’ve no idea what was wrong because they never had the courtesy to tell me, and I’ve no intention of wasting more time on them frankly.
As you know if you read my posts I like to reuse patterns if they have lots of options so I’ve sewn several variations of a number of Sewing Revival patterns during the year, including the Fantail top below which I made in an ancient remnant in my stash which I believe somebody once paid 90p for!
I wrote just three specific Sew Over 50 blog posts in 2021, the first was a summing up of lots of ideas and inspiration for how to sew more sustainably which the followers of the Sew Over 50 account contributed. There was a lot of it and it definitely worth a read.
I was a guest editor on the Sew Over 50 account in the autumn when we chatted about mannequins in our sewing practice. Many of you contributed some brilliant and insightful comments, I wonder how many people have gone on to buy a dress form, or use the one they have differently, or more often, as a result?
Sew Over 50 stalwart Tina generously shared with us the many resources she has gathered together over the last couple of years for sewing and adapting patterns and clothing after a breast cancer diagnosis. It has been one of my most read articles on the blog since it was published in the autumn and I know Tina is happy for followers to contact her via Instagram for any advice or support she can offer them. For me, she very much represents the positive aspects of being a part of this worldwide community.
One of my favourite ‘in person’ events in the sewing calendar, Sew Brum, quietly took place in the autumn and my lovely mate Elizabeth kindly put me up overnight and we had some quality shopping and sewing time together. Our friend Melissa even joined us for a couple of hours for a Zoom sew! Plus I ran in my first (and so far, only) Park Run too! phew, it was a busy and almost-normal 48 hours.
I finally made a jumpsuit (or two) at the end of the year, it’s the Cressida by Sew Me Something Patterns.
For quite a while I had wanted to organise an informal sewing event and they were finally able to happen in October and November with #HertsSewcial It was such a joy to be reunited with my Sew Over 50 stalwart friends Ruth and Kate, along with meeting several other online friends like Bev and Elke in real life for the first time. We had so much fun sewing and chatting together, the time flew past far too quickly and I very much hope I can organise some more in the New Year, current situations permitting.
And my final sewing treat of the year was being able to meet up with Judith Staley in her hometown of Edinburgh!! It was much too brief but absolutely better than nothing, we had so much we could have talked about but that will have to wait until our oft-rescheduled and much looked forward to sewing get together next spring…fingers tightly crossed!
My final personal make of the year was another Maven Somerset top in this celestial jersey I bought at the Lamazi open day. It’s festive without screaming CHRISTMAS!
And so ends another year of sewing and other stuff, as well as the new garments I’ve sewn for myself there were many other occasions when I wore, and re-wore, favourites which didn’t need to be photographed! I fervently hope 2022 brings better times for everyone and that we can adapt to our new or changed ways of living. Sewing will continue be a big part of my life and I hope there will be some new and exciting projects and opportunities during the year. There are so many wonderful people in this community and the support and encouragement that swirls around has been so important during another trying year-I hope I will get a chance to meet up with more of you in person during the next twelve months.
Until then, thank you for reading my wafflings, happy sewing and a very happy New Year,
I haven’t shared a museum or gallery visit with you in such a long time (for sadly obvious reasons) but, at last, I’ve been to one that is probably worthwhile to write about because you may have time to visit it for yourself if you’re within reach of London!
‘Beautiful People: the boutique in 1960’s counterculture’ is the latest exhibition to open at the Fashion and Textiles Museum in Bermondsey, London. I went a few days after it opened and there was a lovely ‘buzz’ to it because a good number of people were there (but not too crowded by any means) and a great backing track of familiar Sixties music to accompany it.
Boutiques were an entirely new concept at the start of the Sixties, before then young people were pretty much obliged to dress exactly like their parents and shopping for clothes, if you didn’t sew your own, was a very dull affair in traditional gents outfitters or snooty ladies dress shops. All of that began to change when Mary Quant opened Bazaar, her first London boutique and many others soon began to follow suit (pardon the pun!) Clothes shopping became a fun and sociable activity, trendy boutiques with exciting interiors, pumping music tracks and fast-changing, attractive merchandise became more commonplace.
Both young women and men started to break away from the constraints of very formal fashions prior to the early Sixties and young men in particular embraced much less starchy ‘masculine’ designs with many bright colours and shapes and new fabrics coming into their wardrobes. Women of course were already embracing miniskirts with wild enthusiasm.
Moving on through to the main part of the exhibition, it is set out with examples of garments from a number of the boutiques which were most notable during the Sixties. Often they are in high-cost areas of London such as Chelsea or Knightsbridge, and were owned and run (with varying degrees of financial competence and success) by the wealthy offspring of British landed gentry. The information notes made me laugh because they describe how dark, noisy and shambolic a lot of these shops were, with stock all over the place, inconsistent supply and poor quality of the stock, they weren’t intended to be welcoming if you were the ‘wrong sort’ of shopper! Some were barely shops at all, just a space to hang out with your friends that had a few clothes draped around it (like a teenager’s bedroom…) If Daddy was underwriting the venture it didn’t much matter how successful it was!!
Moving upstairs there are even more examples of the fashions from the decade, it was interesting to see the more fluid shapes here with possibly 1930s and 40s influences, certainly different from Mary Quant’s simple colour-blocked shapes at the same time.
To sum up, this is a show that any generation can enjoy because there are so many great clothes on show. I’m not old enough to remember much of the Sixties but that didn’t matter-I enjoyed overhearing some of the women chatting who clearly were there though! The show is on now until March 13th, booking is recommended although I didn’t and took a chance on the day. FTM is a small independent museum and I always enjoy a visit there, White Cube art gallery is a few minutes walk further down the road plus there is a glass blowing studio nearby which is open to watch the artisans at work so there’s much to enjoy in the area. It’s so close to the river too which is a bonus.
It’s wonderful that museums and galleries are now reopening and they need our support if we can offer it as we emerge from the pandemic. The ones I’ve visited so far have felt safe and not too crowded, numbers are limited and booking is definitely advisable if you’re making a special trip, and the opening days may be more limited too so check their websites.
Did you keep any of your old college course work? I am by nature something of a hoarder but even I was surprised when an unpromising cardboard folder came to light recently while we were having a grand clear out. It said “Russia 1980” on the outside so I was excited to think that it contained some memorabilia from my school trip of that year [The trip caused some local controversy at the time because that year the USSR had invaded Afghanistan just a matter of weeks earlier and some people felt we should no longer go. Our Head Mistress, the doughty Miss Pagan, was having none of it so we went regardless! Many countries boycotted the Moscow Olympics later that year in protest…about the invasion, not because my school trip went ahead]
I digress, upon opening the folder I found it contained nothing of that trip at all but it did contain many of the sketches and designs I produced whilst at London College of Fashion between 1983-85 including the final project when I produced two ‘mass market’ bridal outfits. Well what a trip down memory lane they proved to be! It was a period of my life when I was so happy with what I was doing, I’d finally found the right course for me (technical garment construction and not just design) I had a great bunch of college mates, I loved it.
I’m sharing the sketches partly because then I’ve documented everything for my own reference and enjoyment, but also because I hope there might be things of interest to others as well. Fashion-wise the early eighties were a time of puffball skirts and massive ruffles, enormous sleeves and ra-ra skirts, wide collars and even wider shoulder pads! Princess Diana was the style darling of the fashion magazines and whatever she wore became a trend. Last year I shared lots of press clippings and photos from my early working career which you can still read here.
What follows are the design and development sheets for an evening wear module [you can see now why it’s my first love when it comes to making] We had to design variations of similar dresses and gowns to illustrate how a garment could be adapted and simplified to cater for it’s appropriate market.
For my final project I opted to make two bridal outfits, I’m guessing they were mid-range and the jacket and skirt was probably intended as a register office outfit whilst the ‘Laura Ashley” dress and jacket was probably for a simple church wedding or registry office. I had a real client for the suit which was my then-boyfriend’s sister. This was handy because she paid for the fabrics for it, the jacket and skirt were white crepe-back satin and the blouse underneath was a soft green georgette. I think my ‘brand’ was possibly Jacques Verts who specialised in smart workwear for the modern working woman (definitely power shoulder pads with everything) or mother-of-the-bride type outfits with matching everything, dresses, jackets, hats, bags, shoes, the lot.
Laura Ashley were hugely popular in the Eighties with their feminine and floral styles, they also produced a range of dresses for brides and bridesmaids at reasonable prices so that will be why I picked them as my brand for this project.
Well, there we are, another wander back into the past for some Eighties fashion extravagance. You’ll see why I probably won’t embrace the current trend for wide collars because I did them the last time around (although fabulous sleeves will always hold an attraction for me) we were all busy being New Romantics but that Steve Strange eye make-up was difficult to pull off with glasses!
It’s been such a tough time for so many and being a part of the wider sewing community has been a very real lifeline for many people. Those of us that enjoy making our own clothes already realise the obvious benefits this can give us; total freedom to choose types, colours and patterns of fabrics as we wish, the ability to emulate high-end or high street fashion at the price-point we can afford and the skill to make clothes fit our own particular body type, to name but a few. It shouldn’t then come as a surprise that the wider world, whilst searching for activities to entertain and occupy them during the long weeks and months of lockdown, discovered (or rediscovered) that home sewing can be creative, absorbing and rewarding which is a VERY GOOD THING! Who knew there was a link between doing a creative activity and a more balanced sense of well-being??
To be honest it doesn’t matter what that activity is, or whether you’re really any good at it, the fact that it can take your mind away to other less stressful places for a time is what matters.
But at the start of the year none of that was of much interest to most. I was extremely fortunate in January to go on a cruise to the Caribbean so I made a couple of new things to fills ‘gaps’ but mostly I took old favourites…cue multiple photos of 3 versions of The Maker’s Atelier Holiday shirt on heavy rotation! One new item was the Trend Square dress I made in fabric given to me by Dibs from Selvedges and Bolts the previous year, I got a lot more wear later on in the summer.
Within a couple of weeks of getting back, Judith Staley and I hosted the very first Sew Over 50 meet-up in London. We very much hoped, and expected, that it would be the start of many more such meet-ups between followers of the @SewOver50 account all over the world but it wasn’t to be…not yet anyway.
If you’ve been reading my blogs for a while you’ll know that as well as meeting up for sewcials with fellow sewers I really enjoy my visits to exhibitions and galleries. At the end of February I caught up with Janet Poole who is a fellow Lamazi blogger at the Stitch Festival in London, I had such a lovely day shopping and chatting with her, and her friend Great British Sewing Bee winner Juliet too. We didn’t realise it then but we were very fortunate to be able to attend the event at all and I wouldn’t be surprised if others who went didn’t catch the-virus-that-shall-not-be-named because it was so crowded.
About a week after this I was able to go to the stunning new Kimono show at the V&A and, although we didn’t know it at the time, that was to be the final outing for several months…
So then we entered the first long lockdown and that’s when sewing (and some baking) became my primary occupation. During this time I had some blogging commitments for Simple Sew Patterns and Lamazi fabrics to complete. For my first Lamazi post I made a Trend patterns Bias T-shirt dress which was a tough make, not because the pattern was difficult but because I was making the dress for a wedding that never took place. And worse than that, I was making the Bride’s gown too so I still have an almost-finished dress waiting for the day that the wedding can happen.
I know I’m very blessed in that I have little to actually complain about in my life but that does not mean that these months of lockdown didn’t take their toll mentally so, when the call to help make scrubs came, it was something I could actually do! Eventually I made 10 sets, I believe they were headed to a maternity department in a London hospital.
I continued to keep busy by doing a few refashioning projects because the desire to make new things that weren’t going to be worn outside the house was just too depressing. I love the act of making clothes, the planning, the cutting out, the sewing, because that was taking my mind off what was happening in the real world but how could I justify making new clothes that I had little use for? Even dressmaking was starting to become a negative because I felt guilty about it. By doing some refashioning projects using things I already had, other than new fabric, I made a few items including pyjamas for my final Simple Sew post and another pair using the PJ pattern in the Great British Sewing Bee book written by Alex and Caroline of Selkie patterns and for which I had made a couple of samples. I used 4 old work shirts of my husband’s which were very well worn! I also made (eventually) two pouffes as well which took care of loads of scraps and off-cut furnishing fabrics and were extremely satisfying! I also refashioned a very old and redundant heavyweight cotton curtain into a Dawson coatigan by Thrifty Stitcher.
Early on in lockdown I had the pleasure of talking to Maria Theoharous for her Sew Organised Style podcast on a couple of occasions. I’ve set up a separate page so you can access this to be able to listen to her inspiring SewOver50 guests every week. One of our chats revolved around how we each arrive at our fabric choicesfor specific purposes or projects, I wrote this topic up as a post which you can read here, and I also wrote a further post which came from when I was guest editor on the @SewOver50 account and we talked about our cutting out processes-did we cut and make one thing at a time, or cut several things and have multiple projects on the go? Scissors or rotary cutter? Pins or weights? It was wide ranging and fascinating with so many excellent ideas and practices. I hosted another discussion about a variety of hem finishes later in the year and you can read that one here. Incidentally, by the end of this year @SewOver50 has reached an incredible 25,600 followers!!
One of my stranger tasks this year was to carry out a socially-distanced dress fitting on a doorstep! Before lockdown started I had been commissioned to make a dress for a work colleague of my daughter Katie. Thankfully I’d opted to make a toile of the bodice which I’d fitted just before lockdown kicked off so I managed to get the dress to a good stage of completion. However, I got to a point where I definitely needed her to try it on because even if she couldn’t wear it for the event she had hoped to, it would be nice for her to take delivery and wear it around the house!! So I went to their place of work and handed the dress over at arms length to Tracey to put on in the staff toilet, then she came out onto the porch where Katie, under my direction, pinned the dress for me. I took a few photos for reference too. From that I was able to finish and deliver the dress and my client was delighted with it…phew
One of the regular sewing highlights of the last 4 years for me has been the Sewing Weekender which generally takes place in Cambridge, UK in August. The organisers took the bold decision to put the whole event online instead which meant that many more people could ‘attend’ from all over the world. Myself and Judith Staley were delighted to be asked to contribute a video message each which was very nerve-racking but it turned out alright in the end. I published a transcript of mine here, along with the original video (you’ll notice that I had abandoned my signature pink hair by this time because, quite frankly, what was the point of bothering!) The Online Weekender also raised a significant amount of money which was divided between 4 charities.
As lockdown started to ease in the summer I was able to get out and about a couple of times. I joined an al fresco rag-rugging workshop in Hertfordshire run by Elspeth Jackson of Ragged Life which was so enjoyable, and I visited a couple of exhibitions in London including the Kimono show again, plus Andy Warhol at Tate Modern and Tricia Guild at the Fashion and Textiles museum both on the same day. Since then though things have been shut down then reopened, then shut down again. My heart goes out to everyone who is trying to run a business or an organisation that relies on visitors through their doors to make them viable, their future is very uncertain.
I’ve made a few other garments during the autumn which I’ve been really pleased with including the Prada-inspired shirt dress and a pair of Utility pants by Trend Patterns (not blogged yet) but I feel I’ve run out of steam with my sewing right now and I never thought I’d say that. My own teaching classes restarted for a total of 5 weeks in October but they’ve stopped again. I know some have adapted by using Zoom or other platforms but it just wouldn’t work for me, I feel dressmaking is too hands-on and needs real assistance for tricky bits, holding things up to the camera isn’t good enough sometimes. And being part of a group and all that shared enjoyment is a huge part of it too. I’ve had fairly regular online catch-ups with some of my lovely sewing friends and that has been a joy, albeit not as good as seeing them in the flesh.
Mr Y was the lucky recipient of a few handmade garments too during 2020 when I made him another two Kwik Sew 3422 shirts, and not one but two Thread Theory Finlayson sweatshirts! I’m happy to say he’s delighted with all of them and I’ve got plans for another sweatshirt for him in the new year.
I’m working on my own pattern which I’ve self-drafted so hopefully that will be something positive for the new year but I need occasional assistance from more expert friends and that’s making it a drawn-out process which would have been so much more fun person-to-person.
One final project I was commissioned by a friend to make was a Christmas chasuble for her to wear as she presides over her Christmas services in church. A chasuble is essentially a fancy poncho which the priest wears over their other vestments and Wendy wanted me to create one with a Nativity scene on it. She sourced the base fabric with my advice, and a printed quilting cotton Nativity which was sent from the US. This was square so I carefully cut it into approximate thirds with the central third featuring the stable scene and the star for the front, another third with Bethlehem for the back and the remaining third I cut into two parts to use on the stole, which is the long scarf priests wear around their necks. All of these I attached by appliquéing around the black outlines (I was literally making it up as I went along!) Wendy is delighted with the finished result (thankfully) and I’m sure she will enjoy using them during the Christmas season.
As I finish writing this (2 days before Christmas) we have no idea what lies ahead…some countries seem to be slowly recovering whilst the UK as a whole seems to be sliding further and further into disaster, or maybe not? I should try to think more positively as scientists have worked tirelessly to make a vaccine which will gradually be rolled out. Personally I’m a long way down the list for it but that’s absolutely fine, we must protect the most vulnerable first.
This has probably ended up not being a-not-entirely-coherent post but that’s kind-of appropriate I reckon! Wherever you are and whatever the new year brings for all of us I’d like to thank so many of you for reading my posts, sending me lovely or encouraging messages. Being a part of the online sewing community and Sew Over 50 in particular has been an absolute joy and a lifeline at times. We need to lift each other up more often, call out injustices when we see them but not to the extent that it becomes bullying of individuals, that isn’t right either. 2020 has been a year of huge upheaval, I plan to restart 2021 with fresh sewing plans to help me to feel more positive about it…it’s going to be a bumpy ride!
Considering it’s a raincoat this is a project that came out of a clear blue sky! In other words, I had no plan to make a raincoat until, that is, I spied this gorgeous showerproof Missoni fabric on Dibs’s Selvedges and Bolts website. I’m not normally a sucker for impulse purchases of online fabric but this one with it’s eye-catching colours just had my name on it!
Once I had it in my hot little hands I had to come up with a design for a jacket. My starting point was a vintage pattern for a kagoule-type top which is probably from the late 50s-early 60s but there’s no date on it sadly. As was typical of patterns from that period it’s a single size, medium, which I already knew was OK because I’d used it once before about 4-5 years back. I also have a cheap-as-chips packamac which is a nice style but turned out to leak like a sieve! I would use this as my sample to follow how components like the zip and a storm flap on the front go together for example. There were a few other patterns which gave me some ideas including The Maker’s Atelier Utility Coat and from these various sources I sketched a few drawings to come up with a design I liked.
As the fabric was expensive I only bought two metres so I had to progress carefully for each step. I made a new pattern for most pieces because the new version would be mid-thigh length and have a full length front zip opening to be covered by a storm flap, plus I repositioned the shoulder seam forwards to minimise possible leakage through the seams. I altered the side seam shaping a little by curving them out slightly, to give a bit more room for bulky jumpers/sweatshirts. I reused the original hood and sleeve patterns, plus I settled on two pleated patch pockets with separate flaps on top. To reinforce the shoulder area I made an inner lining pattern which acts as an internal yoke.
I read up a few general tips for sewing shower proof fabric before I started-I didn’t need it to be waterproof so I didn’t tape each seam but I did lengthen the stitch slightly, to reduce the number of puncture holes through the fabric which could potentially let water in. I also used a fine Microtex needle to reduce any friction there might be whilst sewing too. This fabric is different to other woven fabrics because of it’s special coating so any mistakes which have to be unpicked would leave holes. It’s possible to press it carefully but not too hot or you could melt it. Use a pressing cloth over the top and warm the iron up incrementally on a scrap piece until you’re happy with the temperature.
It took me a little while to source the hardwear I needed, many suppliers of zips had the length but not the colour, or the colour and not the length! Eventually I bought two open-ended zips of different colours from Jaycott’s. I couldn’t seem to find any suitable coloured round elastic online so eventually I settled on narrow grosgrain ribbon from VV Rouleaux for the hood and back waist detail instead, plus I sourced some small spring cord-lock toggles to secure the ends where needed. I found the lining for the hood and the shoulder yoke amongst fabrics I already had.
I sewed the jacket up in ‘bite-size’ chunks of time rather than pushing on through-mostly because I was often waiting for something to arrive in the post before I could do the next part. As I wasn’t following a particular set of making instructions I was winging it to a large extent, the order of making was often influenced by another section of the garment having to take a priority at certain points.
It would have been better if the sleeves could have been just 4-5cms longer-I’m not sure why they seem short because I’m sure they weren’t on the original sweatshirt-perhaps the big difference in fabric types was a factor? Anyway, no matter, I added a small section of elastication to the top of the cuff to bring it in slightly to help prevent drips seeping back up my arms if possible! I should add that normally I would pattern-match the print but I didn’t see any need to do that for this jacket.
Because this is very much a ‘make it up as I go along’ garment I used some of the ribbon to neaten the neck/hood seam and jolly nice it looks actually!
For an unplanned garment I’m very pleased with the outcome, I love the colours and I hope it will be useful, it folds up pretty small so I can shove it in a bag if I’m going out and don’t want, or need, to take a heavier coat. It’s very much one of a kind! In normal times I wouldn’t have been sourcing everything online, I enjoy browsing in real shops for haberdashery and trims, but not just at the moment.
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!