New Trend pattern TPC26 plus tips for handling a tricky fabric.

Firstly, I probably need to give you a quick explanation of why I’m making a fancy frock during the lockdown because it must seem rather incongruous.

This is my first post as a Lamazi Fabrics blogger and before the Covid-19 pandemic reared it’s ugly head I had offered to make an outfit using a slightly ‘tricky’ fabric in order to share a few hints and tips for sewing with it. I selected the beautiful Tencel/Cupro ‘Bark’ fabric in Lavender because we were going to a wedding in late May which would be the perfect chance to make a something using this special fabric. Very sadly that wedding is now postponed indefinitely but I’m making the dress because I’ll still need something to wear when it’s rescheduled. 

The fabric has a lovely weight and handle which makes it drape really well. It’s has a bark-like finish and is different on each side, you could use this to your advantage if you want to create an interesting visual effect by having some pieces with one side out and some using the reverse side. 

I made life harder for myself by choosing the new Bias T-shirt Dress by Trend patterns (generously gifted to me by them) in which EVERY piece except the sleeves are singles and strange shapes which means you cut everything out on a single layer of fabric right side up (RSU). Unlike most patterns, when you are cutting pairs of parts you can usually flip a piece without too much difficulty, however if you do that for a piece which must be cut RSU you would have completely reversed the print/design to the wrong side when you try to sew it up. This Tencel/Cupro has a nice look whichever side you use but my advice is to be really careful on printed fabrics before reversing any piece labelled RSU. 

Next, when cutting slippery or fluid fabrics (unless you have a lovely big cutting table) you’ll need to handle them as little as possible (by which I mean pulling them about to get them into position) which might be easier said than done. I know that cutting out is most people’s least favourite part of sewing but it’s so important to take time and care at this stage. If you’re cutting out on a table with straight sides use the edges as a visual marker to get the end of your cloth at a right angle to start with, ensure the weft (across the fabric) is nice and straight as well as the warp, pull a few threads to find the grain if necessary. If you have more cloth than will fit on the table in one go you could try having the excess rolled on a cardboard tube if you have one to keep it under control rather than sliding off the table all the time. 

Because my pattern has large awkward-shaped pieces cut from a single layer I had no option but to cut out on the floor! This can be physically quite tiring so you might want to get help if you need to. This is slippy slidey fabric so an extra pair of hands could help you lay it up nice and straight, again, rolling the fabric onto a long cardboard tube would also help keep the fabric taut and straight as you lay it out on the floor. This is not a fabric to use weights and a rotary cutter on unless the whole lot fits onto a cutting board without disturbing the fabric, if you’re spending time laying up the fabric carefully so that the grain lines are straight in both (warp and weft) directions you can’t then mess it about shifting a cutting mat underneath it and the pattern pieces need to be secured in place with pins. Cut out carefully moving the pieces as little as possible and try to keep them flat after cutting until you’re ready to sew. All of this will help minimise the pieces stretching out of shape, especially as a lot of this pattern has seams running on a diagonal. 

I felt that the length of the dress would probably be too long for me so I took some of the length out of the skirt pieces before I cut them out in fabric.
I calculated that approximately 5 cms would be sufficient to take out of the length so first I drew a line at a right angle to the grainline, then a second line 5cms from the first.
I pinned each piece to it’s ‘partner’ so that I could see if it would still align correctly after I folded out the 5cms.
It was really just educated guesswork but, eventually, by folding out the 5cms horizontally from each panel I was reasonably confident it would be pretty close.
Why didn’t I just take it off the hem at the end? You could easily do that but because I had just 2.5m of fabric, which may not have been quite sufficient, I could not take that risk so I did it this way instead. It took longer but removed the element of uncertainty.
This is almost everything laid up on the floor, I cut a linen version at the same time which is what you can see on the top. Whilst a single layer is often a very economic way of cutting fabric it’s usually more time-consuming to cut out so I did the two at the same time which was slightly risky but it worked out.

Once I’ve finished cutting out it’s vital to transfer all notches and mark darts and a couple of pivot points so I use old-fashioned tailor’s tacks (obviously you can use a textile marker pen if you prefer, I often do but it’s a pale fabric and I didn’t want to risk any marks being left) It’s a habit of mine to keep all the pattern pieces attached by just a couple of pins to the fabric until I need it, so that I don’t them get muddled. These are curious-shaped pieces so the chance of having them the wrong way round could be quite high! Next I stay-stitched all the neck edges on the machine 5mm in, if you have a very loose weave fabric it would probably be sensible to stay-stitch the bottom edge of the front bodice piece to prevent stretching. If you’re using a particularly fine fabric like chiffon you should stabilise the neck, and any other seams which could stretch, by hand-stitching very narrow cotton tape or ribbon over the seam line on the wrong side of the fabric. When I worked for bridal designer David Fielden many years ago we would cut the selvedges off the silk habutai linings for the seamstresses to use on necklines.

There is just a little fraying on the cut edges which I overlocked singly as I went along, as per the pattern instructions. Whether you’re sewing or overlocking the fabric I strongly suggest you have the whole piece supported on the table in front of the machine rather than feeding up from your lap. This is to prevent the piece becoming stretched as you’re sewing and possibly causing it to become misshapen.

If you find, as I did, that there’s a slight discrepancy between two seams (assuming that it isn’t an error in cutting or adjustment of the pattern) then pin it with the excess on the underside so that when you sew the feed dogs will take up the ease.

You can see the lower layer is a little longer than the top one and by sewing it with this on the underside means the feed dogs should take up the excess.
After sewing but before pressing it looked like this.

My photos should make it clearer, a good press will help steam out some of the excess too. Also, to minimise the risk of making a shiny patch on the fabric make sure you use a pressing cloth, you can often buy silk organza ones although I have a piece of plain fine pure cotton lawn which I’ve overlocked around the edge. I use this when I’m pressing darts or turning points or corners out too.

To sew an invisible zip into the diagonal seam across the back I machined the seam closed but I used a long basting stitch just for the section where the zip will go. This stitching will be removed later.

Line up the teeth with the basted part of the seam, this has been lightly pressed open already.
Pin the zip tape to the seam allowance with the seam and teeth matching.
I prefer to tack the tape to the seam allowance at this point but you could use Wonder Tape if you have it.
Now I removed the basting stitches and sewed the zip in using an invisible zipper foot. The zip I was using was longer than I needed.
Make a new stopper for the zip by carefully sewing backwards and forwards a few times over the teeth, cut off the excess then secure each side of the tape to the seam allowance using a regular zip foot.

Once the zip was in and side seams sewn up I checked the fit on myself. I cut a UK 16 and overall I’m happy with the fit and apart from the length I made no alterations to the bodice. Because I made the linen version first I already knew that the shoulders were a bit too broad for me and the sleeves dangled too much off the crown of my arm. I calculated that I needed to remove approximately 3cms to lift them up to a slightly better position. I found I didn’t need to alter the sleeve head though, fortunately it still fitted into the armhole. Another thing I did decide at this point was that the sleeve needed ’something’ else so I mocked up some small pleats and pinned the sleeve into the armhole to try out the effect.

I mocked up some small pleats with the sleeve pinned into the armhole.
I drew some markings so that I could then transfer the pleats equally to both sleeves.
More old-fashioned tailor tacks to mark the pleats.
The pleats are equally divided across the centre line of the sleeve.

After making the pleats in the sleeves and sewing up the underarm seam I used a ‘pin hem’ to finish the edge. This is similar to a simple rolled hem but even narrower. Begin by stitching a turning of approx 1cm very close to the edge, trim this carefully  

Sewing a pin hem, this is useful technique well worth mastering because if you haven’t got a rolled hem foot which could do the job, this gives a beautiful hem finish to fine or delicate fabrics.
Finished pin hem on the sleeve
Because I’d made the pattern alterations to the skirt length I wasn’t surprised to find there was a slight discrepancy in levels at the hem. Using a long ruler I averaged out a new straight line and then pin-hemmed it.

I love the 1930s/40s vibe of this dress, the drapey qualities of the fabric enhance the bias lines of the skirt in particular. I really enjoyed the challenge of putting the dress together, there are no particularly difficult techniques as such but it’s an interesting puzzle which you’ll need to spend a little time concentrating on, you’ll be rewarded with a striking but really wearable dress.

Thank you to Trend Patterns for gifting me the pattern, there was no expectation to write a review. You can read my previous review of the Square Dress pattern here. The fabric was provided by Lamazi Fabrics in return for a review which is also published on their own website.

I hope you find some tips and advice in here that might be of use to you if you’re thinking of using a fabric that needs a bit more forward planning than you’re used to. Trend have created another beautiful pattern with stunning and unusual details but the pieces cleverly work with the grain of the fabric so that working with the bias cut is a lot easier than it usually is. They have been gradually increasing their size range too so the TPC26 comes in UK sizes 6-22.

Quite a long blog this time so thank you for reading this far and, until next time,

Happy Sewing

Sue

Simple Sew Amelia tea dress hack.

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

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

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

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

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

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

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

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

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

stabilised side seam before the zip goes in.

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

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

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

Attaching the shirred waist section to the upper bodice.

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

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

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

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

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

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

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

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

Lots of pictures swishing about!

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

Until next time, happy sewing

Sue

New Minerva blog post-it’s a Charlie Bomber jacket by Jalie Patterns

My latest Minerva blog post is up for you to read now and it’s a jacket that nearly didn’t make it. I chose the fabric based on the image on screen but when it arrived both the background colour wasn’t what I expected and the design was larger than I thought it would be too. The lesson to learn from this is to order a swatch whenever possible to make sure the fabric is exactly as you expect or want.

That said, the quality of the loop-back jersey I used was absolutely lovely and it made up-eventually-into a really nice Jalie Charlie bomber jacket. I haven’t used Jalie before but I must say I was very impressed with the HUGE size range each pattern comes in, the quality of the instructions and illustrations (in both English and French) and the sizing is spot on.

The next problem I had was matching ribbing to the multi-coloured fabric and also finding a suitable open-ended zip. Eventually I found a gorgeous raspberry pink plain jersey from Sewisfaction instead of ribbing, and I got a zip from MacCulloch & Wallis in London.

Trying to out-pink Zandra Rhodes!!

Anyway, once I got everything together it all sewed up really well and I was pleased with how all the colours eventually came to form a unified whole. Subtle it isn’t so it definitely needs to be worn with plain garments but it’s a bit of fun and I know I’ll use the pattern again too.

As always, you can find the full rundown of my making experience over on the Minerva blog now, I hope you find it useful.

Until next time, happy sewing

Sue

Simple Sew Palazzo Pants

I decided to try something different to dresses from the Simple Sew collection for my blog post this time so I’ve chosen the wide-legged Palazzo pants. 

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

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

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

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

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

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

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

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

Next the pockets go in (unless you wish to check the waist/hip fit first in which case tack or machine baste the side seams and leave the back open where the zip will be inserted in order to try the trousers on) The pocket insertion is easy enough, follow the instructions carefully and don’t sew the sew the openings shut by mistake! Also, don’t forget to sew the bottom of the pockets or all your sweets will fall out down inside your trouser leg!! 

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

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

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

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

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

Different project but still blind-hemming set up

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

I’m wearing them here with a top made from broderie anglaise that I found in a whole collection of fabric I was given by a friend. Her mother had been a wonderful dressmaker and I found the fabric pre-cut as this simple top which so I just sewed it up.
I’m wearing them here with one of my trusty Camber Set tops from Merchant & Mills

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

If you encounter any problems with them that I might be able to help with do message me and I’ll try my best.

Until next time, happy sewing

Sue

Trend Asymmetric Dress TPC2

Firstly, some context. My dear friend and culture-buddy, Jenny, is getting married in April next year and I want something nice to wear for the wedding! I had no preconceived idea of what I wanted except that it needs to go with the beautiful grey hat I bought for a family wedding in July this year. I’d visited the Knitting & Stitching Show in October and almost as we were leaving we passed the Trend Patterns stand. I’d had a look at their patterns last year and was really impressed by their high-end design-led styles but ultimately decided they probably were a bit too ‘out there’ for my everyday clothes (and, dare I say it, my age…) This time though, I spotted the asymmetric dress as a sample in black crepe on the rail and instantly thought it would be perfect for the wedding. Added to which, we’re going on a cruise in March so I could get extra use from the pattern with my posh frock requirements for that haha. 

I like the quirky uneven hem and off-centre front seam, waistline and neck but it was all still the right side of wearable, for me.

I’d had some royal blue crepe from Hitchin market in my stash for quite a while so this is what I’ve made the first version in.

I started off by tracing off all the pieces, because of the asymmetry almost all the pieces are singles except the back bodice, the front skirt pieces are particularly large. If you decide to trace it’s vital that you transfer the grainline accurately and label all the parts correctly otherwise you could end up in a muddle. 

The same goes for cutting out too. Don’t reverse or flip any of the pieces as this could mean they may end up not matching or piecing together correctly.

This style is sleeveless but I wanted to add sleeves to make it a winter dress. To do this, first I measured the armhole accurately and then I got really lazy and chose the sleeve from another pattern, in this case the Orla blouse by Tilly and the Buttons because it features a pleated sleeve-head which would allow for any differences in their measurements. 

Because my fabric is plain the cutting out was straightforward enough although, that said, I had to lay it out on the floor because the fabric is a single layer, full-width so it was physically quite taxing. If your fabric has a right and wrong side be reallydiligent about keeping all the pattern pieces the correct way up, it’s not a dress to cut out if you’re tired or not concentrating.

My ‘helpful’ assistant!

As I was adding sleeves I decided not to do the facing to enclose the neck and armholes and to fully line the bodice instead, which would finish off the neck edge. I’d then overlock the armholes once the sleeves were in. Something worth remembering if you’re going to line this dress is that every piece except the backs should be reversed because of the asymmetry. IF the lining is the same on both sides this isn’t so important but if you’ve chosen something with a distinct right and wrong side then it’s vital if you want it to look nice inside as well as out. Don’t forget that the seam allowances are just 1cm, not the more usual 1.5cms for most patterns.

I have to say that although the dress is classified as ‘easy’ I really think this would tax a beginner a lot. As you probably know if you read my blogs regularly I’ve been sewing for years and I didn’t find all the explanations and methods terribly clear. I think this is possibly because the patterns are made by a lady who has worked in industry rather than home-sewing where methods can be quite different, and I do appreciate she is aiming to offer us patterns which are more fashion-led. It isn’t that I think the instructions are wrong, they aren’t particularly, it’s just that the wording isn’t very clear, there isn’t enough explanation and the accompanying photos are too small and a bit dark. I got there in the end but it’s something to be aware of. I’d suggest basting pieces together first if you’re in any doubt, trying it on and then continuing a stage at a time, and definitely don’t skip stay-stitching the neckline as you don’t want it stretched. I always try very hard not to outright criticise a pattern because I know it’s someone’s hard work but the description for zip insertion really needs looking at. Basically there isn’t any description, this is fine if you can wing it but to truly be an ‘easy’ pattern then there needs to be more description of what’s expected than this and also better photos or drawings. 

Moan over!

The Orla sleeves went in perfectly and the shoulder pleat looked very in-keeping with the rest of the dress. I didn’t line the sleeves and, at the moment, I haven’t lined the skirt either, I’ll wear a slip under it. [The simple truth is I couldn’t get my head around how to reverse the skirt lining for the off-centre waist seam and to take out the overlap which isn’t needed in the lining! CBA for this version to be honest] I cut a 14 straight out of the packet and I’m very happy with the sizing, I feel it came up accurately to the measurements giving. 

Ultimately I really like this dress and I’m looking forward to making another one, or possibly two, for the wedding and the cruise. It’s striking and unusual but also very wearable, and it makes a real change from some of the mimsy styles that can sometimes proliferate. It works beautifully in crepe but soft fabrics like georgette or crepe de Chine could look beautiful. Or if you look at Trend’s own website there is a fabulous structured brocade version which looks terrific. A stripe or a checked tweed could look really interesting too, there are loads of possibilities. Trend Patterns are at the higher end of indie pricing so they won’t be for everyone but if you want to try more challenging styles which are very much fashion forward then they are definitely worth considering. 

nearly finished, just the sleeve hems to turn up.
The TATB Orla sleeves fitted into the armholes really well.
Heading out for my Mum’s birthday lunch

Have you tried any trend patterns, or are you tempted to?

Until next time,

Happy sewing

Sue

Rounding off Me Made May

Did you take part in Me Made May? At the outset I pledged to try and wear at least one self-made garment every day during May and, by and large I achieved that. I say ‘by and large’ because although I definitely wore a me-made item of clothing every day there was the odd occasion when I failed-or couldn’t be bothered-to take a decent photo!

The first few I managed by balancing my phone on top of a loudspeaker and setting it on a 3 second timer. This proved imperfect and the novelty quickly wore off when it fell to the floor for the umpteenth time!

Anyway, here goes…

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May 1st was a mash-up pattern, bodice of one, skirt of another, in Queue for the Zoo Liberty Tana lawn worn with a Jigsaw sparkly cardigan.

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Day 2 was a Burdastyle magazine top made in a floral scuba fabric and the back in crepe-back satin. I made it at least 2 years ago but haven’t worn it much as the cuffs were a bit flappy.  By the time I wore it to the first London Stitchers meet up that evening I’d taken them in considerably and I was a lot happier with the fit of the sleeves. The jeans are the Ash pattern from Megan Nielsen which I’d had the pleasure of testing and I’m a huge fan of them.

Day 3 is the first newly made garment and it’s the Farrow dress from Grainline which I wrote a review for in Sew Now magazine 18 months ago. I made this version in navy and burgundy linen with short sleeves.

 

Neither of the next garments were new either, the red broderie anglaise was amongst some fabric I was gifted and was already cut out, I just sewed it together. The blue and white was self-drafted 2 or 3 years ago in a cotton/linen mix fabric and it’s a summer favourite of mine.

 

The georgette kaftan is new and was the try-out version of my most recent Simple Sew make for their blog.

The stripes is also the same Burdastyle top but in a striped jersey and with short sleeves. I’d didn’t like it much as a regular T-shirt but it’s been great as exercise wear!

 

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Dragon dirndl, no pattern just pleated into a narrow waistband.

Awesome dragon pattern-matching and zip insertion even if I do say so myself! Bias binding and hand-sewn hem too.

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Colette patterns Moneta in striped jersey with a dodgy waist (should have put a belt over that!)

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One of my favourite tops, Imogen by Sew Me Something and the trousers are Butterick 6461 which I reviewed in Love Sewing magazine last autumn.

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Striped Camber Set from Merchant & Mills worn with a refashioned skirt that used to be jeans.

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More refashioning with a silk top made from a vintage dressing gown and a hoodie using a vintage 60’s pattern in jersey and cotton fabric harvested from a charity shop dress.

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A blouse made using a vintage 70’s dress pattern in ‘Gallymoggers’, an Alice in Wonderland Liberty Tana lawn. This is a couple of years old too.

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Surprised this one still fitted me! Cotton poplin from Ditto fabrics, Butterick 6026 Katharine Tilton pattern and vintage buttons. Refashioned denim skirt again.

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One of my favourites, African waxed cotton with crazy diagonal stripes Simplicity Project Runway pattern 2444, all fully lined.

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Love the button on the back of the neck too, it was a single one of this design in a Sewing Weekender goody bag.

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Packing for our trip to Assisi, all self-made except the cardigan.

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With my new car! Trusty Holiday shirt from The Maker’s Atelier in Swiss Dot and newly made checked linen trousers New Look 6351-I’m so pleased with these, they’re perfect in warm weather if your legs are still pasty like mine. (Awesome pattern-matching too but you can’t see that)

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The new Farrow got to go to Italy.

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Linen trousers again and the Holiday shirt in Liberty cotton voile, outside Santa Chiara, Assisi. Loving my holiday chapeau too, from Monsoon

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Camber Set hack in beautiful Roberto Cavalli cotton lawn and new for the Assisi trip(RTW trousers this time)

This top was drafted from a RTW one and I extended the shoulders to form sleeves. It’s sheer georgette with a slightly sparkly stripe which I get from a market and worn with a RTW camisole underneath. I made it 3 years ago but it’s been a real favourite.

The next ‘make’ is a big old cheat because it’s the etchings I made not the clothes! I loved my visit to Sudbourne Printmakers in Suffolk, and the sewing connection was meeting Chrissy Norman the tutor at the first Sewing Weekender two years ago. take a look at her work, it’s beautiful.

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One of my finished prints…I’m rather proud of it…

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Linen Imogen again with a jacket refashioned from 2 pairs of Mr Y’s trousers!

 

This is only half new-I made a top from this lovely broderie Anglais I bought at Walthamstow market last year but I hadn’t bought enough and it was too snug around the hips. Luckily I managed to get a bit more so I unpicked and started again. This time I used the top half of my favourite Holiday shirt and used wide elastic in a casing under the bust to give it some shape. There was just enough for sleeves this time. I used a ‘daisy’ bias-binding to finish the neck edge and opening.

Not everything I’ve made has been an unqualified success and this teal blue dress is definitely one of the disappointments! It looked lovely on the packet but the back is ridiculous because the zip bulged out giving me a strange hump so I took it out again and inserted it in the side seam instead. Frankly it’s not much better. The top is far too wide and the V neck flaps about undecided whether it’s a V or a fold-back revere. The fabric was super-cheap from Walthamstow again but it’s the amount of time I spent which makes me grumpy. I might turn it into a skirt…

And so to the last outfit of the month…

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The top for my last outfit of the month was originally a dress but, even though I’d made one previously for winter, this version just wasn’t right. The length wasn’t flattering and the sleeves, which had decorative darts, were too tight. After a bit of a refashion which removed most of the skirt, put short splits in the side seams at the hem and took the darts out of the sleeves making them a bit more floaty it was much more wearable. There were pockets in the side seams which I wanted to keep so this governed the length overall. I wore it with my trusty Ash jeans which I’ve absolutely loved since making them last autumn.

So to sum up, Me Made May encouraged me to really look in my wardrobe and get out some of the things which get worn less often, as well as the favourites. The weather has ranged from freezing cold to boiling hot and I realised that my summery dresses are rather lacking when it’s warm, and cooler plain bottom halves are needed to go with my many patterned tops. I know I’ve been prolific in the last 3 years or so compared to a long fallow period for years before that and that makes me very happy. Looking through the clothes I’ve worn during May the vast percentage are things that were made more than a year ago, a lot are more than 2 years old and some older than that. Even when I used to buy more clothes if there was a garment I really liked I kept it for a long time, I think probably because if I’d taken the time to choose it then I wanted good use from it-££ per wear and all that. The same is now true of my makes, I’ve invested my own time into making them so I want to enjoy wearing them (although it’s frustrating when they aren’t a success, but I’ll often refashion them if I can)

Did you join in with Me Made May and did it encourage you to to make more use of your self-made clothes?

Happy Sewing

Sue

Ash jeans, a brand new pattern from Megan Nielsen

Last year I pattern-tested the Karri dress by Megan Nielsen (or at least I did but a bit after the event) I enjoyed the process because I just love and am fascinated by garment construction so the chance to be in at the beginning of a pattern coming to market is great. When I got an email last autumn requesting testers for a new jeans pattern from Megan Nielsen I was really keen to give them a go because I haven’t made jeans before and, this time round, the timing worked for me because I’d finished all my major bridal alterations for the summer and could concentrate on my own projects.

Initially there was a slight delay due to some technical issues before the pattern was released to testers so in the interim I’d bought a quantity of black stretch denim from Backstitch near Cambridge which I hoped would be enough-I guesstimated at 2m based on other jeans patterns I’d seen.

When the pattern arrived it had even more options than we were told it would have originally-there were skinny, slim, flared and wide-leg options. The instructions are nice and clear about exactly which pages you need to print off for the options you want so that you don’t print more pages than needed. Also these days I don’t print off the making instructions, I just keep them on the laptop and read them directly off the screen, I actually find that a little easier to ‘comprehend’ them that way too, maybe it’s because the instructions and illustrations are that much larger than in print? If you have difficulty with making sense of instructions why not try this method with PDFs to see if it works for you.

After initially thinking I‘d go for the slim leg I eventually printed off the wide legged ones-I was concerned that they might be too tight on my legs (vanity) more on this later. 

Ok, so I printed off the wide-leg version but they looked way too wide-I’m only average height and dumpier than I’d like to be so I didn’t want to look like Pop Eye in  his matelot trousers! Rather than reprint the slim leg (stingy) I eventually folded out some of the width at hem level, fading it into nothing by the mid-thigh. One of my observations in the feedback was that the lines became quite indistinct between sizes on the waistband-I feel that they would be better ‘nested’ into groups so that there could be bigger gaps between them, it will be interesting to see if this happens. There’s a wide range of waist sizes included in the Ash so most people are quite likely to be able to use it.

The pattern was very straightforward to piece together, either I’m getting better at this process because I’ve done it a few times now or maybe the first PDFs I did were more complex anyway, this one was simple. Cue cutting, sticking and more cutting. Fortunately for me the quantity of fabric I’d bought was just enough, obviously there’s no nap to worry about on denim so the pieces can interlock well although the curved waistband is all in one piece so it just squeaked in {if it hadn’t fitted in one piece I would have cut it into two at the CB like mens trousers have, this enables a better fit and can be useful on women’s trousers too if you’re having difficulty getting a good fit into the small of your back}

Construction starts with the zip fly. Part of the reason I wanted to try jeans is because it’s been absolutely years since I made trousers with a zip fly and I don’t remember them being a huge success!

I found the instructions very clear and meticulous with helpful diagrams, as I said earlier I followed them on the laptop so I could scroll up and down as much as I needed to so that I knew exactly what to do at each step. Ok, so this is going to sound like bragging but it really isn’t….I didn’t make a single error whilst doing this stage and I give full credit to the quality of the instructions. You could argue that’s because I know roughly what I should be doing but I don’t think that’s all it is, credit where it’s due to the writer.

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although it looks like the top of the zip is going up too high because it’s a bit long this isn’t a problem. There are very thorough instructions for the zip insertion, including how to sew over a metal zip-something I would normally never recommend.

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It doesn’t look level but that’s just the camera angle. I’m pretty happy with the two rows of stitching-I deliberately chose matching thread in case my parallel lines wobbled!!

After the zip is in you make the front pockets-I lined mine with a contrast fabric-and that was very straightforward. Much as I love my trusty Elna 7000 it’s getting on a bit now and really doesn’t much like topstitching thread so doing the topstitching proved frustrating and problematic. (I’ve bought a new Pfaff Quilt Ambition 2.0 since making these and I’m delighted with it) I fiddled with the tension a bit and eventually I got a decent quality stitch but it isn’t perfect on the underside. Incidentally I used a denim/jeans needle throughout (it’s just occurred to me that there are top stitch needles too so maybe I should try that next time)

Next the patch pockets go on the back. I chose not to do any fancy stitching designs or topstitching (partly because my machine was struggling so much with the thread) and just kept it simple.

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certainly not faultless (the top edges peeping out annoy me slightly but they’re at the back so I can’t see them anyway!)

I’ve made a second pair of Ash more recently and I slightly altered the way I did the top of the pocket.

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Instead of rolling the top of over twice as per the instructions I folded it like this so that the first fold is WS together and then the second fold is RS together meaning the raw edge is still showing at this point. I stitched it down just inside the seam allowance to hold the fold in position.

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Next I turned the folded corner out like this so that it’s nice and neat. I then sewed the patch pockets on in the same way as the denim pair but now there’s no annoying sticky-up bits showing.

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the waistband sewn in position, along with the belt loops

After trying the jeans on again I was still not happy with the width of the leg that I’d cut so, because the inner leg seams are double top-stitched, I skimmed in some more from the outer leg seams (this is becoming a habit, see my Love Sewing trouser pattern review here

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Very indecisive!

Eventually I got to a leg-width that I was happy with and after that it was just a case of hemming them. You might look at the finished photos and think “well they don’t fit that well” but frankly I don’t care because I’ve struggled at times in my life to feel comfortable and confident wearing jeans at all because there are so many idealised images out there of what a woman ‘ought’ to look like in them, they should be tighter here, they shouldn’t wrinkle there etc etc blah blah blah….I’m comfortable and happy in these as they are, it’s my body shape that would have to change drastically and it isn’t going to any time soon. Rant over…

Finally the waistband needs a jeans button and a buttonhole. The instructions helpfully pointed out that the buttonhole should be round-ended (not something I’d ever paid much attention to on RTW jeans) and making such a buttonhole on a domestic machine is usually very tricky because of the thickness of fabric involved. Megan suggests doing it ‘freehand’ with a zigzag stitch so I had a few practices at this. Eventually I felt brave enough to do it on the actual waistband and it turned out passably well. My new machine seems much better at buttonholes-it should do, it cost me enough!

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A little bit scruffy but it’s behind a button anyway…

The jeans button is the sort with a rivet or stud behind it so it’s a case of banging them together through the fabric with a hammer! Don’t do it on your best table, put it on the bread board or a towel folded several times.

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Ta dah!

I’d been trying on the jeans periodically as I went along and they felt great. Personally I’m delighted with how well Ash fit me! They are snug and comfortable around my waist and hips and I’m really really happy with them.fullsizeoutput_1f79IMG_0037

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Sorry about the butt-shots but I’m so pleased with how well Ash jeans fit, particularly in the back waist.

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impatient with the photographer face!

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still a bit cheesed off but it’s all about the jeans folks…

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Teamed with my Refashioners 2017 McQueen-inspired jacket

By the time you’re reading this the Ash jeans will have been released into the wild so you’ll be seeing lots of different versions of them all over the place. I’ve since bought some stretch cord and made another pair, I left the legs a bit longer and a bit wider this time. I’ve worn the denim pair constantly because they’re so comfy, the denim has just the right amount of stretch.

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Compare these photos with the previous newly-minted jeans and you’ll see just how much I’ve lived in them!!

I liked the fit of the legs (eventually!) and because the pattern provides 4 leg shapes there’s bound to be one that you’ll like, I like the on-the-waist fit too.

If you’re looking for a new sewing challenge then jeans might be just the ticket, there was a lot of jeans-sewing going on during February and March so there is plenty of inspiration out there. They are definitely a slow-sew which you might need to break down into bite-size chunks, they need concentration at times, and a certain degree of sewing ‘comprehension’ because they aren’t for complete beginners. I felt the quality of the written instructions and diagrams was excellent and there will be online tutorials available eventually too. It’s also worth mentioning that I found 1 reel of topstitching thread isn’t quite sufficient because there’s only 30m on a regular-sized reel of Gutermann, which is what I used.

I was provided with the pattern at no cost but I bought my own fabric and received no payment for testing the Ash jeans, and as such all the opinions expressed are unbiased and entirely my own. I’ve just bought some more blue denim to make a cropped length next!

Happy sewing,

Sue

 

 

A year in sewing 2017

2017 turned out to be a very busy sewing year for me. Not only did I make a loads of projects for myself and occasionally others but I wrote two articles for sewing magazines, and did a multitude of alterations (some very complex and time-consuming) to numerous wedding dresses, along with more mundane hems and sleeve-shortenings too.

This is a quick dash through many of the things I got up to although I’m not sure everything got photographed at the time. I’ve included a lot of links too if I’ve written blogs on some of the things I mention.

January saw a couple of self-drafted sweat shirts, I was particularly pleased with the blue one because I made it from a £3 fleece blanket from Ikea!

There are also 2 Sew Over It Heather dresses, and finally the Grainline Farrow dress, the teal one was the one which featured in the review I wrote for Sew Now magazine.

In February while I was having a week’s holiday in the Lake District I managed to squeeze in a visit to Abakhan fabrics in Manchester and bought fabric by weight for the first time in my life. I also went to a meet up organised by the lovely Emily of Self Assembly Required in a pub at King’s Cross station! I met loads of fellow-sewers there as well as picking up some new patterns and fabrics from the swap including the Holiday Top by The Maker’s Atelier which I’ve made twice over the summer.

Another February highlight was seeing the latest Burberry collection alongside the fabulous capes, each one of which was a stunning one-off! I wonder if there’ll be a similar show this season?

March saw the Moneta party (dress pattern by Colette) so I made my first which I altered to include full-length sleeves, a roll collar and a fake exposed zip (I made a short-sleeved one later in the summer too) I wore it when I went to the spring Knitting and Stitching show where once again I met up with a few fellow-sewers organised by Gabby Young (no relation!) from Gabberdashery vlog.

One of the new people I met was Juliene from Zierstoff Patterns who gave me the opportunity to try out several of their patterns during the course of the rest of the year.

Another new departure was a fundraising initiative with my weekly sewing group. We all spent an afternoon making little ‘pillowcase’ dresses which would eventually be sent off to a girl’s school in Africa.

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our very own Sewing Bee!

Moving rapidly into April I visited the wonderful ‘Five Centuries of House Style’ exhibition at Chatsworth House in Derbyshire, made another Holiday top utilising a few fancy stitches on my sewing machine, as well as a Sophie bolero by Zierstoff. IMG_1725Also during April I was approached to teach some dressmaking classes at a local craft shop so I made some sample garments for that including a dirndl skirt and a jersey tube skirt.IMG_1803 I made the first of 3 Imogen tops using Sew Me Something’s pattern too, more about those later.

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Imogen blouse and Gina by Zierstoff skirt

In May I went on my travels with my good friend Sue when we walked a section of the Camino di Santiago in France which was a fantastic empowering experience.

In June Mr Y and I went on a cruise to the Baltic and it happened to be a Strictly Come Dancing cruise! The company that make all the costumes, DSI-London, were on board along with many of the dresses so I was in seventh heaven being able to see them close up. I had to write 2 blogs about that just to be able to include all the pictures! you can read them here and here.

By July I was teaching in Hertford and one of the garments was a ‘no-pattern’ kimono which was popular and also the ‘pillowcase’ dress (nothing to do with pillowcases other than a child’s version could be made from one) It’s basically two rectangles of fabric sewn up each side, hemmed at the bottom and a channel at the top with ribbon through it.

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Also in July I made my first visit to the fabulous Balenciaga exhibition at the V&A in London which was wonderful. I’ve actually been 3 times now, each time taking a different friend, I’ve had excellent value from my V&A membership and I’d urge anyone local enough and interested in the decorative arts to think about joining.

I had hoped to go to the second Sewing Weekender in August but I hadn’t been lucky enough to get a ticket….or so I thought! About 10 days before the event I got an email from Rachel at The Foldline telling me that sadly someone had had to drop out and would I like her ticket? Silly question! So off I went to Cambridge and had a wonderful time amongst so many fabulous sewing people, friends old and new. It was my birthday too! I made a simple top while I was there this time, one I’d made before so it was quick, meaning I’d have plenty of time for chatting…and taking on Elizabeth for a Ninja sewing challenge!

We each got given a copy of the same pattern and some stretch fabric off the swap table and away we went, with one hour to get it done. The results were ‘mixed’ shall we say, Elizabeth left out a section and didn’t notice until it was too late and I only cut one piece where I should have cut two so I had to go back and cut that. It was a lot of fun though, even if we looked like stuffed sofas!

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Sewing Weekender 2017 Alumni, photo by The Foldline.

I spent September making the top and trousers that I’d be modelling in Love Sewing magazine! This was certainly one of my sewing highlights in 2017, although there have been lots really.Love Sewing page 328_09_17_LS_Reader42916I made a third Imogen blouse from fabric I got off The Foldline’s swap table at the first Great British Sewing Bee.

Another favourite top this year was the Merchant & Mills Camber Set which I also got from the King’s Cross meet up in the spring. It’s been a really useful pattern and I love the neat way the binding and the neck yoke finish off the neck edges, it’s a really clever piece of construction.

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neat bias binding on the Camber Set top-my scissors necklace came from the V&A

I also made this top with 1 metre of fabric generously given to us in the Weekender goody bag by Stoff&Stil, it’s Burda 6914 which I’ve used 3 times now although this is the first time as a top. I really like the pleated neckline with a bias binding finish. There was just enough fabric to add slim ruffles to the sleeves which I neatened using the rolled hem finish on my overlocker.

I spent a lot of time during August and September making my entry to The Refashioners 2017, an Alexander McQueen-inspired jacket which I was extremely proud of when I finished it.

Into October and more fabric got purchased at the Autumn Knitting and Stitching Show at Ally Pally (oops) I made my first pair of jeans this month but I can’t talk about them yet as they were a pattern test which still hasn’t been released-I’m really happy with them though so I’ll publish the blog as soon as it’s released into the wide world. (I think the designer needs to get on with it otherwise the whole world will think that Ginger jeans are the only pattern available!)

After literally months of dithering I finally bought a new mannequin, or ‘Doris’ as she’s known to me. Old Doris was falling to bits and only held together by the t-shirt that covered her, I’d had her for well over 30 years so I reckon I’d had good value out of her. I chose the ‘Catwalk’ model from Adjustoform which I bought from Sew Essential and I’ve been very pleased with it. IMG_4038IMG_4039IMG_4040

Also in October I went up to Birmingham for the SewBrum meet up organised by EnglishGirlatHome, Charlotte where I had a really fun day (apart from the sweary drunk woman on the train coming home!) catching up with chums and visiting Guthrie & Ghani for the first time. I took part in the fantastic raffle while I was there but was unsuccessful….or so I thought (again) About 6 weeks after the event I got a message  from Charlotte asking if anyone had told me I’d won a brand new mannequin in the raffle!!! So now I have New Outdoor Doris who lives in Threadquarters and Indoor Doris who lives…indoors, and I use her to take photos on.

November saw another new departure for me when I volunteered to write some reviews of fabric shops in my area. This was for Alex of Sewrendipity as part of her plan to create an unbiased worldwide database of fabric retailers, available to everyone to use. It meant I visited some new places as well as some old favourites.fullsizeoutput_202f

I made another entry for our annual church Christmas Tree festival. It was a refashion/upcycle of the fabric I used for the previous year and sadly it was Old Doris’s last outing before she heads for the tip! The net petticoat was a tube of fabric with the baubles and lights inside it.

I had also volunteered as a pattern reviewer for Jennifer Lauren Vintage so I made a really nice Mayberry dress and wrote a blog for that very recently. One other new pattern I tried out but haven’t blogged yet was the French dart shift by Maven Patterns. It’s a lovely flattering shift dress with a funnel neck and a variety of sleeve styles and no zip. I made it in a navy fabric of unknown origin and wore it on Christmas Day.IMG_4272IMG_4273

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French dart shift dress by Maven patterns.

The biggest deal of the year in some ways was in December when I finally, finally, decided to buy a new sewing machine! This was such a big deal because I’ve had my beloved Elna 7000 for probably 27 years and it’s still going strong (only the occasional hiccough) and I have a strong emotional attachment to it. Thing is, technology moves on and whilst that really isn’t the be-all-and-end-all for me there are processes and functions that I would like in order to keep (even after all these years) on top of my sewing. In early November I went to a fun jeans refashioning workshop hosted by Portia Lawrie and Elisalex (By Hand London) and we were provided with gorgeous Pfaff sewing machines to use. IMG_4092

Anyway, I was thinking about it long and hard for a while because it’s an awful lot of money when I came upon a Black Friday (not even a real thing) deal where this model was virtually half-price. Sooooo, after a visit to Sew Essential a new Pfaff Quilt Ambition 2.0 has come home to live with me and we’re getting to know one another…

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she’s a beauty!

So that just about sums up my sewing year. It’s been a lot of fun at times, and hot and frustrating at others (sweltering under mountainous wedding dresses in the height of the summer is no fun) I’ve met some lovely new people and been reacquainted with lovely ‘old’ ones too! I’m looking forward to another busy year of sewing, blogging, teaching, chatting, tea drinking and generally feeling connected to sewers all over the world. It really feels like dressmaking is an activity that is worthwhile again and not just some strange little hobby that old biddies do, besides, it’s surprising what you could learn from an old biddy, she may just have made the same sewing mistakes as you have but 30 or 40 years earlier!

Happy Sewing

Sue

 

The Refashioners 2017…suits you!

Last year 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 this year’s Refashioners 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 that here]

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!

 

 

 

 

 

 

McQ embroidered shoulderMcQ black gold blazer

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.

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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.fullsizeoutput_1ecd

 

 

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.

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I’d removed the buttons and facing so that it was as flat as possible. it did mean that the original darts would now be part of the new front though.

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Instead of using the paper pattern I laid the first cut piece on top of the opposite side so I that I had perfect placement on the checks. Luckily the buttonhole [which I could do nothing about] got absorbed into the seam allowance and didn’t show in the end.
 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.

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sewing the original canvas and domette back into the sleeve head.

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!

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I wanted the front to have a small glimpse to the lace…

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…but the surprise is at the back….

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…with the lace extending up the collar, over the sleeve head and down the back.

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.

McQ embroidered

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]

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stripes from the inside, including the repair to the hole I mentioned.

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.

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basted and herringbone-stitched hem

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.

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Inside the jacket facing

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.

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idiosyncratic buttons!

And that’s all there is to it…..

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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)

Happy Sewing

Sue

 

 

Here be dragons!

At last year’s Sewing Weekender I picked up an interesting piece of fabric from the swap table. It was about 1m80 of printed cotton by Alexander Henry, a design called Tatsu and featuring Chinese-style dragons and printed in shades of grey and black with red. It’s not my usual colours or style but something about it appealed to me so I kept it. Thank you whoever donated it!IMG_3517

Initially I thought I’d make a kimono top with it but I realised that the placement of the dragons was such that I’d struggle to cut one out of the small quantity I had, not because there wasn’t enough but simply because I wouldn’t be able to get the dragons to match and look balanced-I didn’t want wonky dragons! So even though I’d washed it ready it languished in my stash for a year, although I did get it out several times to consider a dirndl skirt. Again it was the issue of having the dragons running around the skirt properly and not wonky. Incidentally, a dirndl is the name for a simple gathered or pleated skirt which is purely widths of fabric stitched together along the selvedges and sewn at the top to a waistband and hemmed at the bottom, it doesn’t have any shaping at all.

In the end I took the bull by the horns and worked out where the dragons would be on the front and, having bravely cut that piece, I was able to cut the back so that the two pieces matched at the side seams. In order for there to be a good pattern-match down each side seam there was a wider than usual seam allowance..

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I didn’t trim off the excess simply because it was the selvedge and therefore neat anyway.

I needed to insert an invisible zip into the other side seam  which taxed my brain and my sewing skills a bit but I was extremely pleased with the result-I didn’t even have to unpick anything, it was right first time!! Get in!

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This is the zip after I’d attached the waistband, there’s a large hook and bar under the overlap which I like better than a button and buttonhole.

I made a fairly narrow waistband which I stiffened with iron-on interfacing and then pleated the skirt onto it. I wanted the fabric to lay fairly flat as I’ve got a bit of a tummy these days (sad face) and bulky gathers would be very unflattering. I didn’t use any particular mathematical calculations to achieve this, I just folded and fiddled until I was happy with the look.

Because some of the dragon’s faces are quite close to the bottom edge I decided to hem it with  bias binding for a neat finish without losing any of the design.

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The added benefit of slip-hemming meant there is no visible stitching showing on the right side.

So there it is, a simple dirndl skirt using just 2 widths of fabric. It’s one of the simplest sorts of skirt you can make and works well for any length. Depending on the type of fabric you may need more widths to make the skirt look good though. For example, if you want to use chiffon or georgette, which are quite fine, you’d almost certainly need 3, 4 or even more widths of fabric to make it look effective and not to ‘skimped’, Conversely, thicker fabrics will need less if they aren’t going to be unflatteringly bulky. I didn’t bother lining this skirt although I often do. If you don’t need to consider extreme pattern-matching this is a super-quick skirt to make and you can gussy it up with pockets, trims, exposed zips, whatever, to make it individual. Take a look at my previous blog with the tie waist here if you want another variation.

Just a short blog this time, lots to get on with…

Happy Sewing,

Sue