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!
In 2016 I took part in Portia Lawrie’s Refashioners competition for the first time when I made a jacket from two pairs of Mr Y’s old jeans, you can read about that one here. I was jolly pleased with it and wear it a lot and obviously I didn’t win although I did get a mention in despatches so I was chuffed with that.
For Refashioners 2017 Portia announced it would be SUITS! Eek, I thought, I’m not sure about that…anyway, nothing daunted, I started thinking about what I might be able to do if I tracked down the right suit. I knew I didn’t want anything too dark or work-a-day so I hoped to find something in a check perhaps. Funnily enough it didn’t really occur to me that it could be something like linen or suede, or a woman’s suit so when the inspirational Blog Tour throughout September started and it featured some of alternative fabrics I did think “oh, why didn’t I do that?” Hey ho…
When it came to inspiration however there was only one person whose tailoring I was interested in and that was Alexander McQueen. The retrospective of his work ‘Savage Beauty’ at London’s V&A museum in 2015 was absolutely mind-blowing-I went 8 times! [I bought annual membership to the museum so that I could go as often as I wanted, it’s fair to say I got full value for my money. I’ve kept up that membership ever since and use it regularly] Whilst I’ve no hope of ever acquiring or wearing McQueen (apart from my treasured silk scarf which Mr Y bought for me at the end of the exhibition) I greatly admire his meticulous tailoring, originality, attention to detail and craftsmanship which has been ably continued since his death by Sarah Burton. [I didn’t blog about Savage Beauty at the time but I wrote one about a fascinating parallel exhibition that was at Tate Britain, you can read thathere]
Portia had set up a Pinterest page of inspiration too so I had a look there as well as internet searches of my own and the book which accompanied the exhibition and is full of wonderful images. So many clever ideas but there would be serious fabric constraints as I only wanted to use one suit, once I’d tracked it down, which meant some things like dresses with elaborate details would be impossible. If I was going to invest quite a lot of time into this it needed to fit me and I’m not a stick insect so I have to be realistic!
I collected ideas and images although some of them were unlikely contenders, for reasons of practicality, quantity of fabric and my own skill level. [I went on a tailoring course at Morley college in London last year and picked up loads of useful skills and the confidence to tackle this head-on, have a look at their prospectus because they offer some great courses] I liked the idea of combining different fabrics and techniques, particularly over or near the shoulders.
I scoured all our local charity shops but didn’t find anything I liked, Mr Y and my Dad didn’t have anything in their wardrobes either. Then, when we were visiting Salisbury in Wiltshire at the end of August, we tried a couple of shops when I spied a black and white checked jacket. It seemed to have trousers with it which didn’t match but these were Prince of Wales check! Looking further along the rail we discovered the right jacket for the trousers was on another hanger-yippee, success! a matching suit in the perfect fabric. It was £25 which was a bit more than I had hoped to pay but the money would go to a good cause so it was a win/win situation really. Even better was the fact it was 100% pure wool and it was a Daks suit from Simpsons of Piccadilly which would have been pretty expensive originally-I definitely lucked out with this one. At £25 though it did mean I would only use one suit rather than buy possibly 2 to mix together. No matter.
So now that I had the suit I needed to come up with a design. I also set myself the rule that I wouldn’t buy anything else so everything had to come from supplies I already had in my workroom. I tried to be a bit ambitious-and different from last year-and initially came up with a few dress designs where I thought I might be able to utilise the trouser legs to make panels and a feature-zip detail.
Before I went too much further though I needed to disassemble the suit to see exactly how much fabric I had. I got out the snips and unpicker and set to (not without trepidation because it was a lovely suit)
The beauty of pure wool is that it presses like a dream and so almost every original crease in the suit disappeared once I’d broken it down into all the parts. Needless to say there was less fabric than I’d hoped for my big plans so I had to modify them a lot. Out went the dress and in came [another] jacket. I’d been looking through my not inconsiderable pattern stash for inspiration and I’d found a dress pattern from 1973 which was amongst a huge number gifted to me last year by a friend. They had belonged to her Mum who was a fabulous dressmaker at Cresta Silks in her youth. Even though it was a dress I was attracted to its striking style lines with a long bust dart that ran parallel to a diagonal under-bust seam, and because it had a centre front seam I thought it was easily adaptable to a jacket. One of the features of McQueen’s work is his unusual seaming and style-lines so I decided to make a toile and see how it went.
The original collar opened at the back for the zip so I made a new pattern so that it opened at the front instead. I also had to change the front and back ‘skirts’ by dividing them evenly in half because the pieces would be too large for the fabric quantity I had. I also wanted to be able to cut various pieces on the bias to make it more interesting so they had to be smaller to achieve this.
By using an open-ended zip I minimised the amount of fabric needed for the front opening, there was no need for an overlap and there’d be barely enough anyway. I also knew that if I could use the original sleeves I would be be able to use all other available fabric for my design.
Amazingly I was happy with the toile and decided to press ahead with the design as it was. I could get the new front panels out of the original, and even managed to include the breast pocket and all the under-linings. However I couldn’t work out a way of satisfactorily utilising the pockets and flaps so they got left out. In the end I couldn’t use the back as per the toile, which had darts and the pattern piece was too large to fit as it was, so I turned the darts into princess seams instead and then those pieces came out of the original back after all. There was a tiny hole in the back but I repaired it with iron-on interfacing and no one would be any the wiser. I’d wanted all the peplum pieces to be on the bias but in order for them to be a reasonable match some had to be on the straight instead.
I won’t pretend that every seam has perfectly matching checks but given the fabric constraints I’m really pleased with the outcome. I carefully made the jacket up, a very enjoyable process, and because it was being fully lined I didn’t need to neaten any of the seams inside, they could just be pressed open. I remembered my tutor Daniel at Morley saying “steam is your friend” and wasn’t afraid to use it often, in conjunction with my tailor’s ham and a pressing cloth.
The trickiest part of the construction was making the original sleeves a little shorter for my arms and to fit into the new armholes. I roughly measured the sleeve head and compared it to the armhole. There was a fair difference so I needed to reduce the sleeve width by sewing up some of the under-arm seams to about elbow level (they are two-part sleeves) I tacked one sleeve in and tried it out. It looked pretty satisfactory without any further adjustment so I did the same to the other one as well. I tried to ensure that the checks matched as best I could too. Again I tried the jacket on to make sure I could move my arms and that I was happy with their length. After I’d machined them both in I reused the pieces of canvas and domette which I’d taken out of the original sleeve heads. These are part of tailoring construction which help give a good rounded shape to the sleeve head and are basted in place by hand onto the jacket seam allowance itself. I also planned to reuse the original shoulder pads later on.
Once the sleeves were in I could think more about the decoration I wanted to add. One of the recurring features I like about McQueen’s tailoring is his use of lace appliqué and embroidery. Amongst my stash of fabrics I have some beautiful black Guipure lace which was left over originally from the bridal shop where I used to work creating and making the most beautiful wedding and evening gowns. I’d used some of it on my elder daughter’s Prom dress 10 years ago but there’s still some left over so I had a little play. I put the jacket on Doris and draped pieces of lace over the shoulders to see what looked best. Part of the beauty of Guipure is that you can trim it into shape without it fraying or falling to bits so once I’d positioned it where I wanted I could trim it to neaten the shape. I love the swirls!
Looking at these photos you can see the other decorative technique I decided to use, embroidery.
I’d seen a very recent McQueen design which had red lacing on and I wanted to incorporate something similar probably in the form of hand embroidery instead, particularly because the fabric has a fine red stripe running through it.
I had a few practices first at simple running stitch, sashiko-style, and I tried a sort-of feather stitch but it looked pretty rubbish and uneven as I couldn’t get it right or consistent so I tried a couple of stitches of the many that my 25-year-old Elna 7000 machine offers.
I liked the feather stitch but decided it would be over-doing it so in the end I settled on the saddle stitch which would normally be used to top stitch but I was going to run it along some of the red stripes in the fabric for emphasis. [If you’re not sure which stitch this is on your machine it’s the one where the picture looks like 3 rows of stitches side by side. It’s actually 3 stitches on top of one another when it sews thus making an effective top stitch]
I decided to follow a few of the red stripes on the front and back, the front ones all run vertically and the back ones are just on one side in a cross formation. I considered putting them elsewhere too but decided there was enough.
Once I’d finished all the decoration I put the shoulder pads and the ‘plastron’ back in (this is a piece of heavy canvas which is part of the underlinings of tailored jackets and which helps give it a smooth line over the chest) The plastron needed to be trimmed slightly to fit inside since it had come from a man’s jacket. Finally I’d managed to salvage just enough fabric in one long strip to make a very narrow facing inside the zip. I turned up the hem first basting it in position and then herringbone stitching it by hand.
I’d found some black lining fabric in my stash so cut out the jacket lining (excluding sleeves because they had their own original lining in) and sewed it together. Red lining would have been nice but I didn’t have anything suitable and I’d have broken my own rules to buy some. Because the facing strip was so narrow I wanted to smarten up it up a bit so I dug out some black braid which I stitched down the edge of it-it looks much better now if the jacket is open.
Next I hand stitched all the linings in position at the hem and around the armholes so that everything was enclosed. The final thing I decided to do was change a couple of the cuff buttons so I swapped one on each wrist to red ones.
And that’s all there is to it…..
I’m afraid I’ll never make much of a model and the backdrop was a choice of either a brick wall or a flower bed! The photos aren’t by Testino (Katie actually) but I hope you’ll get an idea of how the jacket looks, it’s a distinctive but wearable one-off.
I’m so chuffed with my finished jacket and, better than that, I really enjoyed the planning and making very much. I felt I got back in touch with lots of the skills I’ve acquired over many years of sewing, some of which helped me to plan it carefully within the constraints set both by Portia and the ones I set myself, and others meant I could stretch my making skills further than they tend to get stretched these days which is no bad thing.
Initially I wasn’t sure if this would be a refashioning challenge I could rise to but I’ve surprised myself with the outcome. I’ve now got a jacket which I’ll be really happy to wear and I shall enjoy telling anyone who cares to listen exactly how it came about. I don’t know the story of the suit before I bought it but I feel like I’ve given it a new narrative now by reinventing it in a new form….and that might even be something McQueen himself would have applauded.
As ever many pictures are my own but the rest are sourced from the internet.
Have you made a suit refashion this year? I’d love to hear about it, or tell me your thoughts about mine…(risky hehe)
This is an edited version of the original post from 4 years ago. Not all the pictures are here but I hope you get the gist of the jacket refashion. Sue
I’ve never been a great one for up-cycling really, I guess as a former sample cutter I always enjoy the challenge of cutting something new out of fresh fabric in an economic or inventive way. I think that’s probably the same reason I’ve never bothered with quilting or patchwork-cutting fabric into small pieces and then reassembling it in a different order-not for me I fear. Mind you, back in the day we were less concerned about ‘reduce reuse recycle’ than we’ve since, thankfully, become.
Anyway, at the beginning of August, Portia Lawrie announced that her Refashioners 2016 competition for this year would be to turn jeans into…something else, anything you like! Last year’s theme was shirts and I saw plenty of imaginative ideas where mens shirts became dresses, skirts, different shirts and the winning entry was trousers!
Anyway, I was pondering vaguely on the theme (almost entirely driven by the amazing prize-package that was on offer, the prospect of fabric/patterns/sewing books is enough to stir me into action) and thinking that I didn’t actually have any old jeans in the house to cut up-my girls wear way too many stretchy skinny jeggings to be useful and Mr Y is a keen believer in wearing things to infinity and beyond!
However, as luck would have it, Mr Y was having a rare ‘turn out’ and what should I find but TWO pairs of almost identical jeans…except they weren’t denim jeans, they were corded drill (looks like corduroy but not fluffy) Would they do? a quick email to Portia who said she thought they would. Excellent-green for go!
The next issue was that they weren’t even blue, they were very similar, very well washed shades of stone/sand/beige…you get the picture? Then I remembered I had a packet of unused Dylon machine dye in indigo-score!
So I set about unpicking the offending trousers…this took rather a long time to be truthful and made a huge mess with all the threads everywhere on the carpet in my workroom, Threadquarters.
I didn’t have a clear idea of what I wanted to make but I knew that the more useable fabric I could harvest the better. Once I’d taken everything apart I had four legs with side seams still intact, two waistbands with pockets attached and two zips removed. I popped the whole lot in the washing machine with the dye and 500grams of salt, you run the hottest cycle and then, when it’s complete, you run the whole cycle again with detergent. This is to remove any excess dye and also wash the machine out too (although the next proper wash I did was a dark one just to be on the safe side) I was pretty pleased with the outcome. The two pairs were by and large virtually the same colour now, interestingly the top stitching on both hadn’t dyed as the thread must have been synthetic, and the zips hadn’t either. That was a pity because I thought I might have been able to use them but they were just different shades of brown now-yuck.
After a lot more thinking, and sketching, I settled on a jacket for myself because I took the view that if I was going to spend such a lot of time on this with not a lot of realistic hope of winning I wanted to at least have something I’m happy to wear!
To work! I had a rummage in my-ahem-extensive collection of patterns to see what I had that might be basis to use. Most jackets I’ve made were years ago so they’re all a bit 80’s tailored but then I came upon a pattern from the 1970’s that my neighbour had given me when she was having a turn out (more recycling?) The jacket in itself wasn’t something I’d wear but I loved the curved bust dart in the front, it was collarless and edge to edge and the back was in two pieces.
All this meant that it could be a go-er. I spent a while fiddling with the pattern pieces and the trouser legs to see what was going to go where. Because I wanted a shorter length jacket that helped, the front would fit on to include the original side seams and the back would go above that with a modification, and the sleeves would come out of the other legs. They were all mostly on grain which pleased me a lot. (When things aren’t cut on the grain or on the bias they can go very wobbly when sewn up)
I forgot to mention that I decided to trace off a new spot and cross copy of the original as it was quite tatty, and I was shortening it anyway.
Because the back wouldn’t fit on without overlapping the front I chose to add a panel in the back so that it became four panels. This isn’t difficult, I just drew on the new seam line where I wanted it, added seam allowance of 1.5cms and a balance mark to the back panel section and cut it off. The remaining new side panel then needs the 1.5 cms added back on plus another 1.5cms for its own seam allowance. The photo should clarify this a little.
Once I’d got the panels sorted I could pin them onto the fabric.
I tried as much as possible to keep things on a proper grain line so that they behaved when I started sewing them together. Out of the other legs I cut the sleeves which I positioned so that the original seams ran straight down them. One of the things I liked about the pattern was the little elbow darts which would give them a cheeky feature.
Another rummage in my stash found me an open-ended zip in blue, I’d decided to tidy up the inside-and make it a bit more individual-with pretty bias binding. I managed to cut front and back neck facings out of what I’d got left from the sleeve leg.
Sewing the jacket together was very straightforward after that. I top stitched most of the main seams in part to match them to the originals and to link it all together, this meant I had to put the sleeves in on the flat rather than set-in but they look ok.
Because the zip was too long it gives an interesting finish to the neckline where there’s a section at the top that doesn’t do up, which I like. I wanted to use the pockets too but I didn’t want them spoiling the outside clean lines so I devised a way of having them on the inside.
The lower facings (cut from more scraps) fold up to neaten the bottom edge of the jacket.
I ran out of the red binding but I found about a metre left of the binding I made to go on my favourite dress so I used that instead. I understitched the lower edge in a fluoro-pink thread (just because) and then slip stitched the facing in place by hand so that it didn’t show through on the front. [I put binding on the cuff edges too so if I turn them up it’ll be visible]
I think the internal pockets might be quite useful if I ever go poaching!!
The only bits I didn’t find a use for in the end were the waistbands. I thought I might have used them on the lower edge but in the end I decided I didn’t really want the band on it and I wasn’t sure poor my machine could cope with the number of layers that it would have to sew through.
So there you have it, my entry to The Refashioners 2016. I’m really pleased with the outcome, it’s a tad big but that’s fine and it’s totally wearable. I used jeans that were headed to the charity shop (or even the bin), a gifted vintage pattern, binding I already had and a zip from my stash, a win all round I think. Needless to say I didn’t win the big prize but I did get an honourable mention in dispatches.
The jacket got its first outing in the wild, on the way to the first Sewing Weekender in late August 2016. I’m very happy with it and I’ve had loads of wear out of it. I think it achieved my aim of not looking too much like a thing that’s been made from something else and being not very good in the process. I’ve never really aspired to being designer so I know there will be far more original ideas than this but I want a garment that is wearable and useful to me and no one else. I hope you agree…although you probably wouldn’t say if you don’t!
If you’re reading this in 2020 (and what a very strange year this has been!) you might have seen me wearing the jacket for my first trip back to the V&A museum in almost 6 months, the wearing of face masks being compulsory. I’m wearing it with a linen Trend Patterns Bias T-shirt dress which I included in a review here. The exhibition is Kimono: Kyoto to Catwalk which I also reviewed earlier in year. My hair has grown quite a bit too!
Again, apologies for the gaps in the original photos but I hope you get the general idea of this refashion.
There are a quite number of blogs and websites out there that can give you ideas and inspiration for this kind of project and Portia’s own is as good a starting place as any, she’s a great advocate of refashioning with so many clever ideas and in 2020 this is still very much the case.
I followed the progress of this pattern with interest on Instagram when it was originally released nearly two years, it was fascinating to see how Claire-Louise Hardie (the Thrifty Stitcher!) developed and finessed the various elements of it as she sampled it, up to the point that she was ready to release it for sale. It has attractive style lines with princess seams in the front which curve into hip pockets, the back also has princess seams and there’s a horizontal seam just below the natural waist. The collar curves up smoothly against the neck and the back collar has a ‘sunray’ of five darts spreading out towards the shoulder blades which I particularly like. The cuffs each have 3 similar darts, the details on this pattern has simple but so stylish.
This post was originally published last year by Minerva who generously provided me with a nice firm Ponte Roma in a plain navy to make the Dawson in, it would also work very well in a boiled wool, felted wool, Melton, not a loose tweed though as they can start to fray and you’d lose the details too much in the weave. Anything fairly structured and stable would effectively show off the style lines. You could get some interesting effects with checks or stripes if you want a challenge! I’d wanted to make another version for a while because I’ve had really good use from the navy one, I hadn’t got around to finding any specific fabric for it but then I hit upon the idea of using a single old heavyweight cotton curtain that used to keep the drafts out by our front door. It had long been replaced for this task but I just had it folded up underneath the heat-reflective mat that I use on my cutting table. In order to maximise the fabric in the curtain I undid the deep hem and the sides, and removed the tabs at the top. I gave it a wash to clean it but also to, hopefully, stop it shrinking later on.
Areas like the pocket edges and the neck need stabilising with some iron-on tape or strips of interfacing as per the instructions, especially if you use a knit fabric like Ponte. I would recommend stabilising the shoulders with seam tape or scraps of ribbon to prevent stretching too. I used a specific needle for stretch fabrics and you could use the ‘lightening’ stitch to sew with if your machine has it, or a very straightened out zigzag. If you do use boiled wool the layers could be quite thick, use a straight stitch but you may need to lengthen it a little more than usual.
The pattern comes in eight sizes which are not numbered in the conventional way, CL opts for letters instead, so you work from your own body measurements to choose which size should fit you. I cut and sewed a size F originally which was quite generous, for the newer version I’ve cut the next size down. I misjudged how generous the ease is in the garment so I usually wear the Ponte version layered up over jumpers or sweaters on warmer cool days if that makes sense. At the end of the day it’s intended as a casual coat so don’t make it too small as you’ll always be pulling it closed across you. The sleeves are nice and roomy too, I’ve noticed some coat/jacket patterns can be a bit snug around the bicep for me which is a bit dispiriting, I’m hardly a muscle-bound hulk! Just check before cutting out if you’re happy with the sleeve length too, I probably could have added just 3-4cms because it feels the tiniest bit short on me.
The pattern goes together beautifully and all that tweaking in the sampling stage is borne out in the final version. I found the instructions pretty clear, they are mostly photographs and there are some really useful hints and tips which will come in very handy if you aren’t that experienced in your dressmaking yet. Make sure you transfer your markings for the pocket pivot point for example so that you get a crisp finish for the corners.
You could top stitch all the darts down, possibly in a contrast thread if you like, but because the Ponte had a slight stretch I didn’t do this on mine. I did top stitch down the front facings though and caught them down in a couple of places on the inside to stop them flapping.
For the ochre version I topstitched more of the seams, I confess that I was incredibly slovenly and used up various threads in my collection so not all the stitching is the same colour…oops! Incidentally I didn’t use top stitch thread, instead I used the triple straight stitch which looks very similar although it is quite thread-hungry (hence the non-matching!)
This time however I didn’t top stitch the front facings down, I adopted a different approach. As it’s an unlined coat so all the innards are visible I used some ribbon to anchor the facing down in a couple of places. I chose to do this because I know from experience that when you’re sewing through several thick layers the triple stitch (which is a set length on my Pfaff and not adjustable) it can lead to puckering which doesn’t look so nice. Try a sample before you go ahead if you aren’t sure, that’s a LOT of slow unpicking if you don’t like it after all.
I finished the hem by hand using a herringbone stitch rather than machining it for the same reason that I didn’t top stitch the front facings.
I think the Dawson is a well-drafted and executed pattern from an independent designer (and CL’s art work features herself so it squeaks into the #so50visible category!) The Minerva Ponte Roma works well for the soft tailoring, using my old curtain gives the slightly cocoon-shape a little more definition. It shouldn’t be too difficult to do an FBA if you need to either. I’m much happier with the fit of the ochre one, but I love the navy and will still wear it regularly too.
Because the Dawson is a loose cocoon shape it would make a beautiful evening coat in a glamorous brocade, to go over the top of your evening outfit, denim would look great too (Have a look at my Simple Sew Cocoon jacket in denim here)
I guess this was also a useful exercise in upcycling, the curtain was years old and not being used for it’s original purpose so I thought why not give this a try. If I found I wasn’t mad about wearing the colour after all I know it’s 100% cotton so it would dye, I might come unstuck with the polyester sewing thread though which would take up the colour differently-it’s hardly Saville Row standard though! The Dawson took barely two metres of fabric (the front facing is helpfully cut in two parts which helps reduce the fabric usage, and of course you could always use a contrast fabric anyway) it doesn’t instruct you to use interfacing on any of the collar or facing parts but I did, just to stabilise the fabric a bit.
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!
The Sidewinder pants are my third make using a pattern from The Sewing Revivalfollowing on from several versions of their Heron dress and Bellbird top. I’ve already written reviews of them which you can read about here and here, plus I made a new version of the Bellbird at the recent Sewing Weekender in Cambridge, organised by The Fold Line.
The Sidewinders are a very simple pull-on trouser pattern with a tapered leg but their USP is the diagonal side seam which gives them such an interesting ‘twist’. They are flat-fronted with an elasticated back waist and of course there are pockets in the seams too. There are variations at the hem too as you can choose plain full-length, 7/8ths with turn-ups like mine or use wide elastic to gather the hem into cuffs. As you can see from the artwork they could be very casual or dressed up with heels, fabrics with a bit of body but some drape and softness are suggested. Like the other Sewing Revival patterns these are PDFs so you can buy, download and print your pattern any time, or have them printed for you on A0.
As I’ve come to expect with SR patterns the instructions and illustrations are very clear and personally I’ve always found their sizing very good too. I cut the large based on my measurements although I did decide to shorten the leg length very slightly as I didn’t want them ‘pooling’ around my ankles too much, the idea is that they sit above the ankle bone. The instructions tell you what length of elastic to cut for the back waist which you can then adjust to suit.
For the first pair I used some Royal blue crepe fabric which was leftover from the Trend Asymmetric dress I made last year. If you’re using a plain fabric these trousers are surprisingly economical to cut and if you’re short of fabric you could cut the pocket bags and waist band facings from other fabrics too. You could have fun with stripes or checks to give them a bit of a Vivienne Westwood vibe but you’d need more fabric for that. What about using ribbon or piping down the side seam for emphasis?
Construction is very quick, I’d say that this could be a half-day project if you aren’t getting fancy with pattern-matching. I really like the way that the waistband is a facing because when it folds over the top it secures the pocket bags in place, you only need to neaten the lower edges of them. The elastic gets slotted through the back channel which extends slightly around to the front beyond the ‘normal’ side seam position. Once this is stitched in place you sew down the facing at the front. This line of stitching isn’t near the edge, it’s approximately 3.5-4cms away depending on the width of your elastic so use a guide of some kind to keep it parallel, I always use the quilting guide which comes with my machine or you could use Washi tape or similar stuck onto the bed (I’m not keen on this personally as I wouldn’t any sticky residue near my fabrics but I know others use this method)
As I said earlier I’ve made both versions with a small turn-up so once I’ve turned them up I stitched through seam lines of the inner and outer leg seams to hold the turn-up securely in position.
You’ll notice from the grey version that I contrast top-stitched in pink either side of the outer leg seams to give some emphasis to the diagonal seam, I like how it goes ‘off’ at the hem.
Janine at The Sewing Revival generously provided me with the pattern for the Sidewinders and I’ve been more than happy to write a review because I love these trousers! I’m planning to make more for the winter and I’ll definitely give a gathered ankle pair a try too.
After a few weeks of sewing for others, writing (and then completely rewriting the Sew Over 50 birthday blog post because I lost ALL 4000+ words!!!!) and being away from home it’s lovely to get back to a bit of sewing for myself and sharing my thoughts with you. I’m so happy that I discovered The Sewing Revival as a result of our first Sew Over 50 challenge at the beginning of the year, did you find any new patterns brands as a result too, that was certainly our hope.
Just a quick update of two exhibits which are in London at the moment in case you’re planning a visit to the capital.
At the Wallace Collection in Manchester Sq just behind Oxford St there are currently many beautiful examples of the shoes made by Manolo Blahnik over the course of his long career. He is a frequent visitor to the museum and over the years has used many of the rooms and their paintings and artefacts for inspiration. It’s easy to see this as you move around the upper rooms in this building which hosted many fashionable parties in its elegant salons. The shoes are displayed within beautiful glass domes and they have been placed in specific rooms and settings by Blahnik himself.
Even if you’re at the Wallace Collection primarily for the shoes don’t neglect the rooms themselves because there’s lots of varied and beautiful art to display including several Rembrandts, Gainsborough and Sir Joshua Reynolds portraits, and The Laughing Cavalier by Frans Hals (more of a smirk really…)
So, lots and lots of shoes, some-most-were very impractical, bought by women who don’t have to walk far or travel on public transport…This exhibition is on until September 1st and is free to enter which has to be a very good reason to go.
Also free is the exhibit on the second floor of the Alexander McQueen store in New Bond St, it’s intended for students but as a keen dressmaker I think that counts too.
We had attempted to visit here several weeks ago but it was closed because they were filming so do be aware there’s a possibility it might not be open for some reason. Check the shop opening hours too.
I was practically hyperventilating as we climbed the spiral staircase (with anticipation not lack of exercise!) I have been a long time admirer of Lee Alexander McQueen’s work and that of Sarah Burton since his untimely death in 2010 so to be so close to the garments, samples, inspirations and working processes is an extraordinary opportunity. I visited the Savage Beauty exhibition at the V&A in 2015 a ridiculous eight times and I’m not ashamed of it!! Part of what I admire is that McQueen himself was the whole package-he designed incredible garments which pushed boundaries but he could also cut patterns, sew garments by hand or machine, he was a true visionary.
You’re not left to your own devices once in the exhibition space, there is a member of staff to show and explain anything. Maria was there when we visited and she explained that she works in the Atelier most of the time and at others she is at the exhibit to help visitors to understand and appreciate what they are seeing. Whoever is there if you visit make sure you ask questions to get the most from it.
On the rails are examples of vintage garments which were deconstructed to their bare bones, analysing the techniques underneath in order to create new and original garments.
For example the beautiful black embellished jacket and trousers were inspired by several vintage and antique mens frock coats and jackets, the exposed canvas, pad-stitching and quilting were reinterpreted with a modern twist, including beautiful jet-embellished lace applique. [Take a look at my previous post when I refashioned a two piece suit into a McQueen inspired jacket.]
Some of the inspiration for the fabrics came from an antique Jacquard fabric samples book found in a Parisian flea market.
As well as the black suit there is also a completely contrasting dress which has it’s origins in the John Everett Millais painting of Ophelia (in Tate Britain) the pioneering photography of Julia Margaret Cameron, a Victorian wedding dress and original Victorian corsets which, like the jackets, have been taken apart to analyse their construction.
In addition to the actual dress there is a full-size and several miniature versions made in printed paper which are like beautiful sculptures.
There is also an outfit with a hand-painted leather jacket and asymmetric knitted dress underneath, it turns out that our guide Maria was responsible for painting it (in gouache apparently)
In addition to the new garments there are a few from previous collections including the iconic high-collared corset made in 1997 by Mr Pearl.
If you’re interested in the ‘bones’ of garments and knowing some of the processes which lead to their creation then you’re bound to find this a fascinating exhibit to visit-I felt incredibly privileged to be able to see the garments so close and to have someone like Maria explain firsthand what we were seeing. As I said earlier, the exhibits will change regularly, this one is due to continue for a few more weeks and then a new one will be installed in September, we asked what it might be but Maria was sworn to secrecy!
Overall, two fascinating short term exhibitions which are worth a visit if you get the chance.