Summing up the Sew Over 50 sustainable sewing challenge.

I’ve been an absolute fraud when it’s come to writing any Sew Over 50 blogs for ages and ages which I feel very guilty about. I’ll hold my hands up and say that the community has been an absolute lifeline during the last awful 18 months that we’ve all been going through-the support, friendship, inspiration, encouragement and camaraderie that I’ve found through the account has been personally so important but my writing and blogging has really tailed off along with my mood in general. Judith and Sandy do an absolutely awe-inspiring job of running the account for us, along with fantastic guest editors to keep us all coming back time after time-thank you thank you THANK YOU!!! The sheer variety of topics covered has been incredible but I thought I’d dip my toe back into the @SewOver50 blogging waters by writing a round-up of the August 2021 challenge #So50SustainableSewing

If you follow Judith’s personal account @judithrosalind you’ll already know she has been increasingly sewing in a more mindful and sustainable way for some time now and has wanted to launch a challenge on the account so that we can all join in with this in some way.

We all know that ’the most sustainable garment is the one already in our wardrobe’ and that is true but it doesn’t allow for the important creative outlets that our sewing and garment making gives us. So, if we are to continue sewing for ourselves or others, how can we approach it?

Judith’s idea for the challenge is a simple one-we use only fabric which is already ‘in the system’, especially if it’s already sitting on our shelves. In other words, we source it in a variety of inventive ways and these fabrics could include… 

  • remnants or scraps
  • charity or thrift shop finds-fabrics or garments
  • vintage textiles
  • textile manufacturing waste
  • fabric swaps in person or online
  • de-stashes
  • discarded garments, table cloths, bed linen, curtains etc 

This isn’t a definitive list of course and over the whole month of August several guest editors shared their brilliant insights to inspire us. 

The month kicked off with Judith making a guest appearance on the Sew Organised Style podcast chatting with Maria Theoharous about her idea and lots of ways for us to get involved. Maria always has Sew Over 50 Thursdays too which feature guests from our community who share their sewing stories, techniques and inspiration so it is definitely worth having a listen while you’re sewing, or walking the dog!.

Throughout August there was a great line-up of guest editors including Jen Hogg @jenerates who is so overflowing with ideas that she had 4 separate posts! Her first post encouraged us to ‘shop our stash’ if you have one…I know I do! Like her, some of my fabrics are relatively recent purchases, occasionally on impulse although not always by any means, whilst others are fabrics I’ve acquired over a long period of time and from various different sources. Jen sees it as part of her creative process, to have the choice amongst her stash, to inspire her ideas for making. Jen is a multi-talented woman who not only sews but knits, embroiders, makes jewellery, works leather….in the UK you are probably familiar with her from being a contestant on the Great British Sewing Bee, plus you can also listen to her chatting on Sew Organised Style too! 

Some of the guest editors including Jen Hogg, Sue Stoney, Irene Lundell and Tricia Morris

Next was Sue Stoney @suestoney in Australia who shared her love of collecting all sorts of vintage items for later use including beautiful table linen and haberdashery. Many of us probably have buttons, zips, hooks and eyes, threads, elastic (doesn’t last indefinitely though so check it hasn’t perished before you sew it into something you don’t want to fall down around your ankles!) which came to us via our mothers, grandmothers, aunts, neighbours etc etc. I know I love to rummage amongst the hundreds of buttons I have to something special and individual, and I can’t recall the last time I actually bought hooks and eyes or press studs!

just a few of Sue Stoney’s treasured vintage haberdashery finds

Whilst the challenge is intended to encourage us to get creative and inventive for the pleasure of it alone there were also prizes to be awarded so the post on August 8th shared the generous sponsors for these. They included @criswoodsews whose zero-waste Parasol dress pattern has proved extremely popular especially during this challenge. @lizhaywood3754 is also an advocate for zero-waste sewing and has published two books on the topic. @thatwendyward has a recently published book on sewing more sustainably (she chats with Maria about it on the podcast too!) Wendy has long been mindful on the topic after years of working in the RTW industry, as well as producing her own patterns, teaching and writing several other sewing books all of which feature older models! There were also prizes from small businesses @greyfriarsandgrace who create paper patterns which guide the user to sew clothes using recycled textiles, and @craftandthrift who sell thrifted fabrics and kits. 

Jen returned with her second post sharing her use of ‘found’ fabrics, including a beautiful blouse made from a sheer vintage embroidered table cloth. Found fabrics can make you a lot more creative because you feel less constrained by what to make with them, do you find the cost of brand new fabric can stifle your creative instincts because of the fear of making costly errors? 

this blouse using a sheer vintage embroidered table cloth is so pretty

One garment that offered massive chances to use up multiple fabrics was the ubiquitous tiered and ruffled dress-a buffet dress in current parlance! Followers have certainly embraced this style and the account shared just a small selection of them on August 11th.

Robyn @robbynu42 was one of many to create some fabulous tiered and ruffled dresses using repurposed fabrics.

Next up was Marcia @MarciaLoisRiddington who adores #GrannyChic and is a wonderful exponent of using vintage fabrics to great advantage and her combinations of colours and patterns is absolutely masterful (mistressful?) 

Marcia is always so colourful, her combinations of vintage textiles are so original and fun.

Then @irenelundell from Sweden urged us to think about ‘circular’ sewing, buy from charity or thrift shops when you see it because not only does it support a good cause but it gives the textile or garment the chance of a new or extended life. 

Irene wearing her thrifted and dyed with iron and tea denim jacket! It has rusty nail marks to add to it’s charm

Tricia @morrissews who followed is a fine exponent of refashion, remake, remodel, recycle and repair…and try as much as possible to not replace. She shared her @Elbe_textiles (another prize sponsor) Sorrento bucket hat which couldn’t be more suitable for using up lots of small fabric scraps to make something really useful and wearable. 

Tricia wearing her denim scraps Sorrento bucket hat by Elbe

Jen’s third post demonstrated the times she’s used multiple garments to make a single new one, such as the three shirt shirt! Casual jackets which are made up of small pattern pieces are also ideal for a patchwork approach, there are even small businesses now making these commercially and every garment is different, some even manage to use 100% recycled components. 

Jen’s 3 shirt shirt!

She talks too about the 90 minute transformation challenge on GBSB was actually a very liberating experience because there was no time to be overly precious with what they were given to use, it forced her to think outside the box very quickly and not have time for self-doubt.

There was another Jen up next, @jenlegg_teescreatives who told us how she has used textiles belonging to dear and much-missed friend and how, when she wears the jacket she’s sewn, it feels like a hug from her friend Emma. There are many other ways you can honour or remember a friend or loved one in this way too by sewing articles like soft toys, cushions, patchwork quilts or rugs for example using garments that once belonged to them. 

Jen Legg wearing an absolutely beautiful jacket with a really touching story behind it.

Jen Hogg made her final return to tell us about using factory surplus in her making. She’s fortunate to live near a number of textile mills in Scotland and has been working closely with them to find inventive ways of using their ‘waste’ products. By using cashmere off-cuts, including something called ‘slitter’ which is a by-product of making cashmere scarves, so far Jen has knitted or crocheted rugs and blankets, and woven and stitched the strips together to make whole pieces of textile big enough to make into jackets, dresses or coats. Are there any textiles manufacturers or processors near you? Do they sell off any of their excess or by-products? It might be worth investigating. Another way of using up scraps which has been around for many many years is rag rugging (also known as proggy rugging) and @raggedlife has loads of ideas for this technique.

Jen’s beautiful jacket made with cashmere ‘slitter’ tape, all carefully pieced to make usable sized pieces big enough to sew into a garment.

As the month was drawing to a close Raquel in Taipei @raquel_sewing_knitting_in_asia (who is an absolute Queen of refashioning!) showed us how she takes inspiration from high-end fashion and clothing all around her but then recreated the looks using multiple end-of-line garments and thrifted clothes. Not only that, she would wear them a few times but if they aren’t quite right she isn’t afraid to take them apart again and reconfigure them into a new garment more to her liking! Sometimes more than once! I’m always too precious with things I’ve made to do that even if I don’t much like the end result, instead they tend to sit on the naughty step while I sulk about what went wrong with them, I should just tackle it head on and take up that unpicker! 

Raquel in one of her remade remakes!

The final guest editor for the sewing sustainably month was Judy @judywillimentross whose speciality is refashioning mens suits into another wearable garment. She buys them in charity shops but one of her own rules is not a purchase a suit which might still be of use to someone less fortunate and not in a position to buy new. [This could also be something to be mindful of when purchasing any very inexpensive garment, should we consider whether it would be of use to another person as it is before we buy it to cut up. Or do we take the view that the money we pay for it is a donation to a charity in need of the cash, especially if it’s going to end up in landfill otherwise?] Judy carefully uses ever-smaller fabric scraps to piece together into patchwork. 

Judy in one of her carefully pieced garments using men’s suit fabrics

So there you have it, loads of creativity to inspire us with our sewing projects in the future. By the time you read this the randomly-chosen winners of prizes will have been announced but the hashtag #so50SustainableSewing will continue to be used so the ideas bank will be constantly refreshed. 

I’ve added links throughout so you should be able to see and read for yourselves what the guest editors had to say. 

Judith and Sandy constantly add to the saved Highlights on the account too, particularly any one of the many worldwide challenges you might like to participate in, plus using some the dozens of hashtags unique to us will give you unlimited ideas for your own future projects.

I created this collage of a few of my projects made using thrifted, salvaged, reused, donated or repurposed fabrics at the start of August but I never posted it.

For this post I’ve concentrated entirely on the sustainable sewing challenge and so I’ve not added many thoughts of my own. In truth, I wasn’t in the headspace to participate while it was going on but it did cause me to think about some of the projects I’ve completed in recent years which went some way to being ‘sustainable’.There are so many ways we can all do a little, or a lot, to contribute to reducing the problem of waste and over-consumption. We should be mindful that whatever is right and possible for one person though is not necessarily going to be achievable for another. For example, many of us can practice visible mending because we like that it gives longevity to a garment and can look attractive, but others will see it as a reminder of hard times or embarrassment. Our community is nothing if not supportive so we need to be mindful of others at times.

Until next time, 

Happy sewing 

Sue

Simple Sew Palazzo Pants updated

In 2019 I decided to try something different to dresses from the Simple Sew pattern collection for my blog post so I chose 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 midriff area of 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. There is a lengthening/shortening line for the leg length however.

It wouldn’t be a Simple Sew pattern if there weren’t some errors or anomalies 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 point on the waistband, it could have done with a notch for the side seam position though as there isn’t one so it’s a bit of guesswork.

I’m not normally an advocate of overlocking the edges until they’re sewn up [because 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 description for the pocket insertion is a bit vague, I’ve made a second pair since writing this piece originally and found it quite unsatisfactory which is why I have updated my advice.

Neaten the lower edge of the pocket bags first then pin to the trouser fronts matching the ‘opening’ notches. Next stitch in place from the waist to the bottom edge of the pocket bag using a 12mm seam allowance (see my notes on the photo above) Repeat with the trouser backs, then neaten the seam edges all the way down enclosing the pocket edges too. On the front only, understitch the pocket opening. Now you can pin the fronts to the backs and sew the side seams shut using a 1.5cms seam allowance, not forgetting to leave the pocket opening unstitched! Finally, carefully sew the bottom edge of each pocket bag closed otherwise your sweets will fall out 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 were 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] 

With the benefit of hindsight I would make the waistband in two pieces, a front and two backs with the join at the side seam. This is for two reasons, first, it will allow you to make adjustments for fit more easily and, secondly, I’ve found the centre back has become slightly pointy and misshapen both times I’ve made these now. I believe this could be because the length and curve of the waistband means that it the centre back is very off grain, usually the centre back seam would be cut on the straight grain which gives it stability.

The instructions and illustrations for inserting the zip are reasonably 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. Alternatively, use your preferred method of inserting an invisible zip. Before sewing the waistband down I added two hanging tapes to each side seam so that I had an additional means to hang the trousers up if needs be.

On my second pair I’ve added a small button and loop inside the waistband because I found the zip a bit of a faff to do up without anything at the top of it.

you can also see here how the waistband rises to a slight point on each side in spite of it being fully interfaced. It isn’t the end of the world but I’m a bit cross it’s happened a second time, CBA to fiddle with it too much though…

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’ve made my second pair from a remnant of printed linen/viscose mix I bought from Lamazi recently.

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
Same Camber, different trousers!
I cut this pair slightly shorter overall so that they aren’t so long if I wear them with flat shoes.

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.

I noticed that this particular post gets a huge amount of traffic so I hope this update clarifies any issues you might have had with the pattern. In fairness, it might have been updated and corrected since my copy was produced in which case you may be able to disregard some/all of what I’ve written!

Until next time, happy sewing

Sue

a new Lamazi blog, sewing menswear!

It’s a new year (apparently?) so it’s time for my next Lamazi blog and I’m sewing something for Mr Y! I don’t know about you but I’ve felt I needed to work on something a little different to most of my other recent makes, I’ve made myself some lovely garments that I’m now frustrated not to be able to wear much as I want but Tony has been in need of some new clothes for a while now so it’s his turn to be on the receiving end! 

I don’t know what you think but I’ve found that men’s wear patterns and suitable fabrics are definitely a bit harder to come by than women’s or children’s, they are out there if you’re prepared to look but it’s not easy. I’ve made him some nice shirts in the past which you can read about here, and I had made him a couple of Thread Theory Finlayson sweatshirts recently and then my good friend Claire told me about their Carmanah top which was quite a new pattern. It has several options so you can individualise it, for example with full length or quarter zip, hood or collar, and with or without kangaroo pockets. 

Lamazi offers a range of co-ordinating See You at Six fabrics with plain and patterned French terry, and ribbing, all dyed to be a perfect match so we chose the ‘Clouds’ design in Bistro Green. 

I’ve never purchased ribbing fabric before so I was unsure how much to buy, initially I requested far too much because the pattern instructions made no sense to me. Liana at Lamazi and fellow-blogger Sharlene advised me so I had 1metre in the end to be on the safe side and that was sufficient for an adult garment. If you find yourself in a similar situation I suggest you measure the appropriate pattern pieces to get an idea, or try contacting the fabric seller and I’m sure they would be happy to advise. For an adult garment it almost certainly needs joins whilst something for a child probably wouldn’t.

Based on T’s measurements (he’s 6’3” and, although he’s lost about 28lbs during lockdown, he’s not skinny) I cut him a size large but I added about 2cms at the CF and CB folds at the bottom because the previous version was just a little snug at that point. He likes the body length which comes down to about hip level, and the sleeves are nice and long too so I didn’t need to add any length to them. 

The making up instructions and diagrams are quite clear, I got into a bit of a pickle using the twill tape neatening method though, partly because I printed off the booklet a bit small so I couldn’t easily read the instructions(!) and partly because the green twill tape I had managed to buy was wider than required! Anyway, I persevered and it looks OK in the end. This tape method wasn’t essential and overlocking is perfectly satisfactory, I just thought I would try it for a nice finish on the inside, it definitely adds more complexity if you want to up-skill though. The collar version has a nice detail of the chin guard over the zip which is worth adding for a quality finish.

I put the twill tape on the wrong piece of collar initially! This is the outer collar and the tape should have been sewn to the inner collar. Incidentally, I added iron-on interfacing to the top collar to give it a little more body. It doesn’t call for it in the instructions but I felt the first version could have done with a bit more structure. Have a look at the photo below to see what I mean.
This first version was made with cable knit bought from 1st for Fabrics I think the collar is collapsing a bit although it’s not really a problem
I added twill tape to neaten the front edges before inserting the zip
I tacked the zip into the opening before topstitching in place.
second attempt at the tape trim! the tacking you can see is holding the fold at the top of the collar in the correct place until I’m ready to top stitch it later on.
The tape I bought was too wide so I sewed it on higher than the instructions and then trimmed away the excess in order to turn it up and sink stitch from the right side.
The finished collar from the inside. The green is a very difficult colour to photograph and the zip and tape are a slightly better match than they appear here. I bought both of those from Frumble Fabrics, they have a wide selection of all sorts of haberdashery that I haven’t seen elsewhere.
I finish overlocking by putting the threads on a large-eyed tapestry needle and slot it back through the stitching for a couple of centimetres like this which keeps it secure and tidy.

This fabric is quite pricey but, in my opinion, it’s really lovely quality and it sewed together beautifully. There’s just enough stretch and it would be a good weight for sweatpants or a sweater dress too if you’re tempted. This is the first time I’ve used a range of co-ordinating fabrics and the finished result is really pleasing. Equally you could mix and match colours or prints using remnants for this pattern too, because of the way it’s cut in segments, especially if you go for the full zip version. 

T has gallantly modelled the finished result-he’s delighted with it-he’s usually my slightly impatient photographer so the boot was on the other foot today!

Have you sewn anything for the men or boys in your life? How do they feel about it? Luckily T isn’t very demanding where his threads are concerned and he’s always been very happy with the items I’ve made him so far…..I haven’t attempted trousers in years though so perhaps that will be next? I’d interested in which patterns or fabrics for men you have been able to source, I think it’s an area for improvement in sewing terms.

Until next time, happy sewing

Sue

I made myself a rain coat!

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.

the front storm flap somehow came up a bit long which wasn’t a problem, it just meant some unpicking and resewing-at least it wasn’t too short, which would have been worse.

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.

elasticated cuffs and pleated pockets

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!

the finished neck area, I chose to use the purple zip in the end.
Inside, the shoulder area is stabilised with two layers of lining
I gave a bit of shape to the back by adding a channel with ribbon slotted through and secured with the toggles.
I found these pliers amongst my stuff, as you can see from the price they were bought a goodly number of years back! It turns out they work fine and I managed to apply four successful snaps to the front.
Finished!
You won’t miss me in this!

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.

Until next time, happy sewing

Sue

The Refashioners 2017…suits you!

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 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 shoulder
McQ 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

Refashioning-from old jeans to a new jacket 2016

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!

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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.

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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.80754ED9-5190-4641-A097-A74608863C759CC3A98E-A35F-4DBD-84F2-B5D5227BB492C121A135-9D89-4F06-A3D4-90D8E6A9CDCB_1_201_a6388B67D-74AA-46F6-B415-74128E157638

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.

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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!!

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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!

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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!

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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.

Happy Sewing

Sue xx

 

 

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

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