I published my review of The Sewing Revival Fantail top recently and since then I’ve made a second using an alternative finish which I thought I would share with you.
This second version uses a ribbing finish on the neck, cuffs and back hem instead of hemming or elastication. I’d bought some Art Gallery viscose from Sew Me Something with an interesting graphic design and then my fellow @SewOver50er Kate @stitchmeayear generously offered me some grey ribbing, she had more than she needed. It turned out to be the perfect match and I couldn’t have planned it better if I tried.
There are separate pattern pieces for the ribbing cuffs, neck and hem and, although the same front, back and sleeve pieces are used, there are very slightly different cutting lines for the sleeve.
I had bought 1.5m of the graphic print and it has a fairly distinct one-way design which meant I needed to place each pattern piece carefully to try and get a reasonable match whilst not wasting too much fabric. I was able to do this by folding over one selvedge by just enough to position the front and back pieces along the same fold. This left a good sized piece from which I could individually position and cut a pair of sleeves whilst still just about getting a good match.
Sewing the Fantail with ribbing is very slightly different to the woven version. First, the deep ribbing band is sewn on the back in place of the narrow hem [I’m not sure if there’s a small discrepancy in the pattern or my cutting out but on both my versions I’ve found there to be about 5mm too much fabric in the back compared to the front when joining the side seams]
Like the first version I sewed the ribbing band onto the neck after joining the raglan seams and before sewing up the side seams. As I probably explained in the previous post, I always find it’s easier to put a facing, binding or whatever neck finish on whilst everything can still be laid out flat unless there’s a technical construction reason for doing it later.
The main reason for writing this second post is because I want to show you the way I turned the band at the hem-I forgot to take photos as I was making the first one! It’s a really neat way of of finishing the bottoms of the side seams and can be a useful technique in other places when you’re sewing different hems or edges together because it gives a crisp and level finish to an edge with the seams enclosed. The photos will help make more sense.
One other slight change I made was to the width of the ribbing cuffs, I cut the UK 12 pieces but they were much too baggy for my wrists so I shortened them by 5cms so they aren’t so wide and gapey.
At the moment I haven’t edge stitched any of the ribbing like I would do normally on knit garments. Because this is a combination of woven and knit fabrics I don’t want the woven fabric, at the neck especially, to end up puckered where its attached to the band so I’ve left it for now [and I don’t want holes if I had to unpick it]
I don’t normally post two of the same thing in such quick succession but I wanted to share the hem tip more than anything. I fully anticipate making a knit version of the Fantail at some point, or a short sleeve one in something really light and pretty…That’s what I enjoy about Sewing Revival patterns, so many possibilities if you have the imagination.
A lot has happened since I wrote my last Simple Sew blog post, Christmas for one thing, and I had a lovely holiday in the sunshine too but now we are all confined to our homes because of Covid 19. Without wishing to trivialise the gravity of this situation, one of the side effects of it is that you might have more time to sew.
I’ve had a rummage through my Simple Sew patterns to find one which I haven’t already shown you, and which has opportunities to hack, and I settled on the Chelsea Collection. This is a capsule wardrobe of a short sleeve blouse with two variations, a pair of trousers and a button-front skirt in two lengths. I liked the blouse with it’s shirred sleeves and keyhole back detail but I decided to mix it up a little by adding a button front. Normally we are able to select fabric from a couple of generous sponsors but I wanted to ‘shop my stash’ to find something this time. I found a very pretty vibrant floral John Kaldor cotton lawn which I think I picked up from a swap table sometime and I knew would work well for the blouse.
I didn’t want the blouse to be overly tight so, after checking my measurements I opted for a larger size than I’ve made previously. If you’ve been a regular reader of my posts you’ll know that I tend to check Simple Sew patterns for any discrepancies before I start. There didn’t seem to be any glaring ones but I just added a slight curve to the back hem so that it dipped in the same way as the front and I trued the shoulder seams so there was a smooth flow from front to back.
As I wanted to alter the front significantly I had to make some changes there first. In order to create a button-stand I simply added 2.5cms to the centre front all the way down what would have been the fold. [2.5cms was a fairly arbitrary figure because it depends really on what size buttons you’re using, a general rule of thumb is that the bigger the button the bigger the button-stand needs to be so that there’s enough overlap and the garment doesn’t end up too tight because the overlap isn’t big enough.]I was able to do this by drawing directly onto the tissue before cutting the piece out as there was enough space to do so.
If you’ve already cut a pattern that you want to add to just stick some extra paper to the centre front fold line, or trace off the whole piece again adding the extra. The original front had a facing for the neckline so now I needed to create a new facing which would neaten both the neck edge and the button-stand. To do this I simply traced off the whole of the new front opening including the neck edge and made the facing a depth of 7cms all the way down from shoulder to hem, with a smooth and gradual curve. The photo should make this clearer. The back neck needed a new facing too because the existing one took the armhole into account. Again I traced off the section I needed making it 7cms at the shoulders to match the front facing.
The final change I made was to lengthen the sleeve a little and add some more fullness to it. I started by making the sleeve 5cms longer and then I drew 3 vertical lines on the pattern at approximately the front notch, back notch and shoulder seam points. [Depending how much extra fullness you want to add to a sleeve you could use more places than this but do try to space them evenly apart.] Next I cut up each line from the bottom until I reached almost the top, I left this very slightly attached. With the piece flat on the table I spread the bottom of each slit by about the same amount, probably about 4 cms, then taped slithers of paper into each gap.
If you don’t want to cut the pattern up you can do the same process by still marking the vertical lines on then pivoting the uncut pattern at the top of each line, use a pencil or your finger as the axis. Draw or trace around the first section, which remains stationary, then each subsequent section after you pivot it to so that you get the extra fullness being added at the hem. Opening up the wedges in this way means you’re adding fullness to the hem but not the crown of the sleeve, if you want extra fullness in the crown spread the whole piece more or less parallel. The grainline should run equidistant down the centre of the new piece (unless you want to cut it on the bias)
Having done all this I cut it out and was ready to sew!
I started by joining the shoulder seams of both the blouse and the facings (which I’d interfaced and neatened) then I attached the facings to the neck edge, turned, understitched and pressed. The keyhole back calls for a small rouleau tube as a button-loop which needs to be inserted at the same time as applying the facing although you could choose to make a hand sewn thread loop and stitch that at the end. In fact it isn’t even vital that this is a functioning loop if you’ve got a front opening, the keyhole is purely decorative now.
I put the blouse onto Doris to check it was looking OK and this was when I found that the keyhole appeared to be bagging outwards quite significantly. I decided not to do anything at this point and I would check again once I had sewed the side seams and put the sleeves in, then I would get a better idea by trying it on myself.
I made three rows of shirring on the sleeves next, using my quilting guide to make sure the first row was 5cms from the bottom edge, the next two rows were then sewn parallel to the first. [Refer to a previous blog post on how to sew shirring if you haven’t done so before] Next I sewed up the sleeve seams and pin-hemmed the bottom edge to give a neat finish.
After sewing up and neatening the side seams I inserted the sleeves. At this point I tried the blouse on again to check the keyhole on myself and, with real shoulder blades under it, it didn’t seem so noticeable. Two other things struck me though, the blouse was a little too big so I took it in on the side seams and also the blouse was a bit shorter than I expected. In order to take as a small a hem as possible I made some bias binding from offcuts of the fabric then stitched it (folded in half lengthways and with the cut edges together) to the hem using a narrow 5mm seam allowance [This is a useful finish to any hem or edge where you need every spare centimetre of fabric.] Have a look at the photo which shows you how to get the ends of the binding enclosed within the front facing. I turned the binding up and top-stitched in place.
Finally, I found some ‘vintage’ buttons amongst my treasure trove and there were just the right number meaning the whole blouse had been sourced from what I already have!
Well I hope now that I’ve made it that I’ll have a chance to wear my Chelsea blouse somewhere other than in my own garden this summer, who knows? Maybe you’re reading this long after the emergency ended and life has returned to some sort of normality, although it definitely won’t be exactly as it was before.
Sewing our own clothes is an activity which gives us so much enjoyment for a variety of different reasons and, right now, the simple act of creating something is chief amongst them for me. It’s absorbing and the problem-solving gives me something else to think about.
I think the keyhole back is, by and large, just about acceptable when I’m wearing the blouse. I also think the cure could be to add a centre back seam instead of cutting on the fold so that the point of the keyhole could extend beyond the centre back line, this would hopefully bring the button and loop closer to one another when they are done up…this is just my theory based on experience and I haven’t tried it out. It’s such a nice little detail that I’m disappointed it hasn’t worked out quite right. I also regret not reading my fellow Simple Sew bloggers reviews of the blouse because then I would have known how short it comes up, personally I would add a minimum of 8-10cms to the length next time.
The sleeves are pretty and feminine but maybe they are a little too girly, the jury is out…
Sometimes makes jump to the top of the queue just because the fabric grabs you, this is one of those makes. At the recent Sewing weekender Stoff and Stil generously gave each attendee 1 metre of fabric in their goodie bags and mine was this pretty vintage-toned georgette. It doesn’t take a sewing genius to notice that my dress took a lot more than 1 metre! My lovely friend and neighbour Elizabeth @eliza_sew_little and Melissa @fehrtrade had the same fabric and it wasn’t to their taste so they gave me theirs too.
What to make? Because of it’s drapey sheer qualities I wanted a style that exploited these features without being over-clingy, but also the fabric was in three separate pieces so I had to work within those constraints. It needed to be something where the top came out of 1 metre and the skirt came out of the other two metres. In the back of my mind I remembered an 80’s shirt pattern that was in my collection, I think donated to me by my neighbour although I have plenty from that era myself, it’s when my sewing life properly started so I still have virtually every pattern I ever bought!
I had enough fabric to use style B with collar C and the pockets from D.
My neighbour had obviously made it at some point in the past as the 14 was already cut out so I just went with that, the 12 would have done though.
Georgette is a bit wriggly so take your time cutting it out, try and keep it as flat as possible on the table and don’t shift it about if you can avoid it. Pin carefully (I’m not a weights person) and sharp scissors are vital so as not to snag or catch on the fabric as you cut. Because it’s sheer and lightweight I didn’t want to spoil this with clunky interfacing in the collar and front facing so I used some sheer organza that was left over from a wedding dress alteration. This has to be basted in position temporarily while everything is put together, the stitches are removed at the end.
Take your time sewing with a fiddly fabric like this, it’s hopeless if you’re in a rush because it shifts about and is quite ‘bouncy’ when you gather it up, hence the simplicity of my design. If you want a real quality finish I’d suggest using French seams wherever possible, especially if the fabric is plain because the seams will show through however because my fabric was patterned and I was being lazy I overlocked! Fine or sheer fabrics can pucker a little so use a fine needle and smallish stitch, not all machines handle sheer fabrics well though so you could try sewing with a layer of tissue paper underneath, tear the tissue away after you’ve sewn. If the needle pushes the fabric down into the needle plate you could try a foot with a small hole in it rather than wide hole (like a zigzag foot) that might help, or you can put a bit of masking tape over the needle plate to reduce the size of the hole and so reduce the risk of the fabric being pushed down it.
Once the top part was all put together I simply joined the other two remaining pieces of fabric at the selvedges to form side seams and gathered the top edge to attach to the lower edge of the ‘blouse’. This made a monsterously long skirt even when I made a deep double-turned hem so I turned it once more, for my own safety!
The seam and the pocket aren’t actually very visible but that’s fine, I know they’re there.
It’s all a bit floaty with a gypsy vibe going on but do you know what, it’s sooo lovely to wear, very liberating!! It’s a bit ‘out there’ for me but I feel really feminine in it, it’s pretty, it’s comfortable, even with tricky fabric it didn’t take that long to make. I’ll definitely be making another in something else, or even just the shirt part because it’s a really simple collar and the horizontal seams make it more interesting, best of all it just pops over my head. It isn’t a million miles from the Deer and Doe Myosotis that everyone is making either, that’s probably where I got the idea from without realising. Gifted fabric and a gifted pattern, buttons from the stash, organza from the offcuts make this, basically, a free dress and you’ve gotta love that! I wore it to the handmade fair at Hampton Court over the weekend and bumped into Karen Ball, she’d been one of the speakers at the sewing Weekender and she recognised the fabric!
Why not have a look at your patterns for tops, blouses and shirts, can you add a skirt? It doesn’t need to be anything tricky, just gather or pleat straight widths of fabric onto the bottom-that’s all a ‘dirndl’ skirt is anyway. Be aware of the gathering properties of the fabric you’ve got though. I know georgette (or chiffon, or even cotton voile) are very fine so they can take a lot of gathering, a firmer fabric can end up too chunky and less flattering so experiment first.
I’ve recently realised that Burda 6914 has become a bit of a favourite as I’ve just made it for the fourth time so I thought I’d write a quick review of it here. It has 3 variations; sleeveless cocoon dress with hem darts, cocoon dress with a hem band and short sleeves, and a sleeveless top. They all feature the double pleat at the neckline and a visible bias binding neck finish. There’s no zip, it just goes over your head.
I got my copy quite some time ago with Sew Magazine but it’s still available to buy . My first version was the dress with darts at the hem and I added the sleeves. I had some wintery fabric of unknown origin or fibres in a dogtooth check so I didn’t want the short sleeves. The sleeves have 2 external darts which is an interesting feature but I wanted them longer so I increased the pattern to below elbow length simply by continuing the seam lines down to the length I wanted (sorry, it was ages ago and I didn’t take a photo at the time) make sure that the 2 seams are the same length as each other, it will gradually increase the width the longer they get. I then created new darts on the outside to absorb the fullness I had added, 5 in total.
The dress goes together very quickly, make the pleats in the front, join the shoulders, add the binding watch the instructions here as you’re told to trim the neck edge before adding the binding.
Following the success of this dress I made another a few months later in a striped poly crepe from somewhere or other.
I liked this dress but I didn’t like how it looked on me. The sleeves made my arms look chunky and somehow the length didn’t feel right either-odd, because I didn’t do anything different to the pink/black dress. I wore it once and then it languished in the wardrobe for ages. Eventually I unpicked the sleeve darts and re-hemmed them and I cut off some of the skirt to the bottom of the pockets. I thought about unpicking the pockets too but that might have left holes in the front plus it would be quite a bit more work.
Version 3 was made with 1 metre of viscose fabric which had been donated by Stoff & Stil in the second Sewing Weekender goody bags. Because it was 150cms wide I managed to get a top with short straight sleeves to which I added a short frill.
I hemmed the frill using the rolled hem on my overlocker so that it lost barely any fabric. The neck has a button and loop closure.
The latest version is made in a lovely 100% organic cotton lawn which I bought on impulse at the Sewisfaction Big Summer Stitch Up in July. I’d earmarked it for yet another Camber but changed my mind.
Knowing me this probably still isn’t the last of Burda 6914. One thing I keep forgetting is that there’s slightly too much ease in the sleeve head and I have to adjust the armhole so just watch out for this.
Have you got a favourite quick pattern that you go back to time and again? This isn’t a taxing make and there are times when I think I should push myself more with more complex makes but this is a satisfying garment to wear which is why I keep returning to it.
This is one of the most recent exhibitions to open at the Victoria & Albert Museum in London and it’s a very thought-provoking one exploring the relationship between man, fashion and the natural world. It’s divided into the now familiar format of the historic element downstairs with the larger more modern and forward-looking section upstairs.
This works well because there are displays containing beautifully conserved clothing and accessories dating as far back as the 1600s alongside helpful and fascinating short films and information about the origins and manufacture of textiles using both traditional sources such as cotton, flax, silk and wool but also the more unusual such as pineapple fibre.
The items chosen for display demonstrate both the influence of natural subjects in the design-primarily plants and animals, and the effects of textile production on society as a whole. Cotton and wool for example were a huge part of the success of the UK for hundreds of years and made fortunes for a relatively few people but at vast human suffering for many in the form of slavery, overwork, terrible working conditions and resultant illness. Added to this was the decimation of animal and bird populations to supply the demands of the burgeoning fashion industry with feathers, fur, tortoiseshell, whalebone etc and you have a some uncomfortable viewing.
These poor little hummingbirds became fashionable earrings after Empress Eugenie wore a pair
over 5000 beetle carapaces where embroidered onto this Victorian gown.
The origins of the RSPB in the UK started towards the end of the 19th Century when Governments around Europe became concerned for the welfare of bird populations brought to the point of extinction in places.
Ostrich feathers were extremely popular on evening gowns and fans, this little hat is labelled as being the ‘improved starling’ hat with it’s printed feather decoration, the natural beauty of the feathers not being quite good enough presumably?
Seal populations were hugely reduced by the desire for seal fur to make or line coats, muffs and hats, as were whales for their flexible bones which were used in corsets, amongst other things. And then there’s ivory for buttons, umbrella handles and hair decorations, the list goes on…
New resources such as rubber found uses for footwear and to give elasticity to things like stockings and mens braces.
Not everything is doom and gloom in the exhibition, there are some stunning pieces of embroidery and garments which are a visual delight. One of my favourites was an Eighteenth century man’s waistcoat embroidered with Macaque monkeys.
Floral motifs are a perennial favourite both as woven cloth and as embroidered fabric.
I was surprised to discover that using pineapple fibre to make fabric has been around for a couple of hundred years, especially given they were such expensive fruit in their own right.
This evening gown uses pineapple fibre fabric, and the handkerchief is cotton embroidered with pineapple-fibre thread.
Moving upstairs you will discover garments by designers keen to explore and embrace new textiles and technology. Stella McCartney is a well-known exponent of these with her refusal to use any animal-based product and there are some interesting examples of faux leather being made from the waste by-products of the winemaking industry, and ‘leather’ made from a type of mushroom protein! [Incidentally the episode of Desert Island Discs featuring Stella McCartney is very enjoyable and she talks about her use of ethical fabrics and textiles during it] Extraordinary stuff and virtually indistinguishable from real leather. These are ‘designer’ products though so I have no idea of the cost but like any new technology it has to start somewhere and will hopefully filter down eventually to be more affordable.
There were other examples of flora and fauna in the textile design including my favourite Alexander McQueen with a reptile-inspired dress from his Plato’s Atlantis collection.
There is plenty of information and several films which go into greater depth about the effects not only of over-consumption of textiles but also the damage it’s production does to the planet and the workers. Denim, and therefore jeans, for example if the most water-wasteful and polluting of any fabric being produced, we have to address this fact and soon. I’ll be honest and say that I was flagging a little by this time, absolutely not through boredom, far from it, but from information overload. If this is your primary interest in visiting this exhibition then go straight upstairs because there’s so much fascinating, often shocking, but ultimately encouraging information to explore.
Also, did you know that Velcro got invented because a Swiss scientist Georges de Mestral noticed while walking in the Jura during the 1940’s that burrs from plants were clinging to his clothes and his dog’s fur so he investigated further and found they were tiny little hooks. Eventually this discovery became the basis for the product we know today!
Up-cycling is another area that’s looked into, reusing textiles be it unwanted clothes or end-of-line products like ribbon to make new products. Refashioning is not new but it fell out of favour, now it’s making a return.
I could go on, adding more photos of everything but I urge you, if you get the opportunity, to go for yourself and see this exhibition. If you’re interested in fashion and clothing it will really open your eyes to some of the facts about it’s production which you might not be aware of and make you think about how we can improve the situation by our own consumption of goods.
Vivienne Westwood is a leading advocate of choosing fashion wisely, her motto being Buy Less and Buy Well, in other words buy the best you can afford because it’s more likely to have been ethically made from better materials and will last you longer. I know personally I can’t always manage this but by making my own clothes most of the time and wearing them frequently is making a start.
Fashioned from Nature is on at the V&A until next January 27th 2019. I’ve not been sponsored to write this piece, I have my own membership which I use frequently!
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!
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!
Awesome dragon pattern-matching and zip insertion even if I do say so myself! Bias binding and hand-sewn hem too.
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.
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…
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?
The Camber Set from Merchant & Mills has definitely become one of my go-to patterns for tops-I’ve made 4 now! I picked up the pattern early last year at a swap/meet up (it was the same meet up that I got the Maker’s Atelier Holiday top pattern too which has become another favourite, I’ve made 3 of those and blogged reviews of them here and here)
The first was a navy and white striped one in a linen-look viscose if I remember correctly- I bought it at least 20 years ago to make my Mum a dress but life intervened! What I’ve come to love about this pattern is the clean and stylish finish to the neckline. The front neck uses a strip of bias binding which is applied to the reverse and then brought over to the right side and top stitched.
Next there’s a yoke at the back which is stitched in such a way that it neatens the back neck and encloses the shoulder seams all in one go. The instructions and diagrams are very clear but you do need to concentrate the first time because it seems a bit alien but trust me, it’s worth it. I had the bias on incorrectly initially because I assumed that it was turning in the usual way to the inside (it wouldn’t matter if you did it like that though, it’s just you wouldn’t then have the effect of the binding as decoration)
I chose to contrast top-stitch some of the seams and the bust darts too for some visual interest.
I cut a straight size 14 based on my measurements and it’s just right, roomy enough to be comfortable without being too baggy. I would say that it’s an afternoon’s work if you make it exactly as the pattern.
The second one I made in more of a hurry to take to the second Sewing Weekender last August. This time I made it in some coral crepe-de-chine from my stash and made the bias and yoke in a contrasting butterfly crepe-de-chine which had been supplied by Adam Ross fabrics in the goody bags at the first Sewing Weekender! I mixed it up a bit by adding a small inverted box-pleat to the back.
The third version is a very straightforward plain ivory crepe (from Hitchin market I think) with no alterations. I love a patterned fabric and plain tops are not something I have loads of, I used to wear RTW T-shirts but I just don’t anymore so they need replacing with alternatives. I got cocky though and did the binding the wrong way round so it’s a bit narrower than it should be.
My most recent version of the Camber is a bit special IMHO. Recently I went with my friend Janet to Goldhawk Road to look for fabric for me to make her daughter a dress to wear to Janet’s son’s wedding (with me so far…?) Naturally I had a look at a few things myself but then in Misan I had some kind of out-of-body experience because I spent an ABSOLUTE BOMB on some Roberto Cavalli printed cotton lawn! I’m not even going to tell you how much it was, I’ve never paid that much per metre for any other fabric before, there was just something about the vibrancy of the colours and the prettiness of the design, plus Janet made me do it, she never even tried to stop me!! It’s a pity the photos don’t do it full justice though. [Misan also has 2 fabulous shops in Soho if you really want to blow the budget]
I bought 1m20 with a plan to make a Camber. With some really careful cutting (annoyingly there were two fairly wide unprinted white strips along each selvedge) I managed to get everything out so that the colours ran in ‘stripes’ around the body and on the sleeves too-this always pleases me immensely when I can achieve it-I was also able to add ruffles to the sleeves this time.
The although the fabric is 100% cotton it has a fair bit of inherent stretch which meant it had got a bit wonky from where I’d hung it on the washing line-a good steamy press largely sorted this out though. Basically I did everything the same as usual (except I really concentrated on the neck binding!) Instead of sink stitching the back yoke facing (that’s ‘stitch in the ditch’ in old money) I used one of the embroidery stitches that my Pfaff Quilt Ambition 2.0 offers. I chose one that’s fairly similar to the print on the cloth to complement it and used lemon yellow thread. I also added some small pleats to the back below the yoke.
I made the sleeves a fraction longer and added the ruffles, which I hemmed using the rolled hem finish on my overlocker. I’ve been trying to use this feature on suitable fabrics more often recently because it’s pretty and makes a change from a regular hem edge.
I can’t wait to wear this, we’re off to Italy very soon and I’m going to wear it with white linen trousers (RTW ones sadly, I bought them when time ran out for making last summer) The photos don’t do the fabric and the colour justice at all but I think it’s going to be a summer favourite, it isn’t even my usual colour choice either!
This is the only M&M pattern I have, their aesthetic is very pared-back and utilitarian and not necessarily my thing but as you can see a variety of fabrics can make a simple style look very different-I don’t think I’m done with this pattern yet, I haven’t even made a dress version yet!
I made two versions of the short-sleeved shirt by The Maker’s Atelier last summer, I love ‘em and wore them constantly. One was plain white and the other was a Liberty print voile which I embellished with fancy stitches.
I wanted to make the hooded version sometime and originally I planned to make it in linen like the photo but on a recent visit to Backstitch near Cambridge I spotted a nice Ponte with an interesting diamond weave that was a little bit brushed on one side which I thought would work well so I bought that instead.
Making it up was pretty straightforward except I wanted to utilise the rows of diamonds and they proved a bit tricky to match up in the cutting out. Eventually I managed to cut it fairly satisfactorily but there’s one or two wonky spots although I think only I will notice them (I hope)
The inside seam of the hood and the back neck are neatened with tape so I used 2 pieces of striped grosgrain ribbon which had come off a gift bag! You never know when these things might come in handy 🙂
There’s a casing that runs around the waist with elastic cord through it but after scoring the striped ribbon for the part that shows I hadn’t got anything else suitable for the casing! I knew I wouldn’t be able to get what I wanted locally so I ordered some navy cotton twill tape and some navy and some grey cord elastic off t’internet. The tape was a tad wide but that’s fine and the elastic was just right. Before sewing the tape on you need to make two eyelets for the elastic to come out through so I reinforced the fabric behind with iron-on interfacing and then made two small round-ended buttonholes, you could use metal eyelets if you have the gadget for this. The buttonholes were actually bigger than I needed them to be so I didn’t cut the whole thing open, only enough for the elastic to go through.
Before you can thread the elastic though it needs something to thread through! I carefully sewed on the tape on the reverse of the fabric following as best I could a row of diamonds as I went. I’d actually pressed a crease along the line before I started in order to have some idea of where I was heading.
So that’s pretty much it, the hem still has the deep notches of the shirt version but the hooded one has long sleeves. I used the twin needle to stitch up the hem and sleeves.
I think this will be a really useful cover-up, the fabric isn’t particularly thick but I’ll either layer things under it or it will be ideal for a warm summer evening (although they feel a very long way off yet!)
The Maker’s Atelier patterns are not cheap, in fact they are rather expensive, but they are the sort of chic, timeless styles that you can remake countless times.
I could hardly believe it when I got an email out of the blue from Love Sewing editor Amy Thomas a couple of months back. She was inviting me to make and review the two patterns which were going to be the free gifts with upcoming issue 46. They were two separate patterns, Butterick 6461 trousers in two lengths with top-stitched seam details and a stretch waist, and McCalls 7322 a simple top with several variations for neck and sleeves.
Once I’d agreed to the challenge (I didn’t need any persuading!) Amy suggested which companies I could select fabric from so I browsed their websites for quite some time until I found what I was looking for. The trousers called for a fabric with some stretch and eventually I chose from Danish company Stoff and Stil their stretch 10 1/2oz denim in dark blue [Amy had advised me that black doesn’t photograph well and, although I would have liked a printed stretch cotton, I couldn’t find anything suitable or to my taste] The top could be made with either a jersey or drapey woven fabrics and I chose a really pretty crepe with watercolour flowers in gorgeous inky shades of plum and blue. Stoff and Stil are breaking into the UK market and have an extensive range of fabrics and patterns, wool and haberdashery available on their website. Their delivery charge however is quite high and I wouldn’t suggest them if you’re impatient or in a tearing hurry as delivery is usually 5-7 days.
While I waited for these to arrive (a slightly nerve-wracking wait because I was up against time to get the patterns made up by a tight deadline) I decided to make a wearable toile of them both to check the fit and any other idiosyncrasies they might throw up.
I had a colourful cotton sateen in my stash which I hadn’t found a use for yet so I made the trousers up in that. I cut a size 16 according to my measurements although I suspected (hoped) that would be a bit big. [You should always go by your own measurements before anything else if you’re making a fitted style because the sizing bears no relationship to shop-bought clothing and will almost certainly be too small if you ignore it. Just because you’re a 10 or a 16 or whatever in the shops doesn’t mean you’ll be the same in paper patterns-that’s the voice of bitter experience talking!!]
In spite of all I’ve just said I soon discovered they were miles too big though the legs and were an unflattering baggy shape that looked nothing like the shape in the photo. The inseams are sewn up first so, to remove some width, I skimmed at least 2cms off each outer or side seam.
This was an improvement but still quite generous in the legs-as a result though I knew I would need to cut at least one, if not 2, sizes smaller when I made the actual trousers. The waistband wasn’t very successful either-I didn’t like the way they told you to put the elastic in, I did it as instructed although I changed the toile later and did the denim version my own way (more of that later)
I’d opted to make Style B which are cropped length with turn-ups.
Once I’d toile-d the trousers I turned my attention to the top. I decided on the longer sleeve version with a bateau neckline, Style F. I fancied style C or D with a neckband initially but I got cold feet!! I’ve been sewing on and off for over 40 years and I just thought “If I mess this up it will be there in the magazine for everyone to see!!” Nightmare!
I made a very quick toile in a rather boring viscose, again from my stash, and the result was a rather boring top!! Ok, what to do?
Fortunately the fabric order arrived and the printed crepe was really lovely, much nicer colours than it’s photo online suggested so I decided I’d use it’s drapiness and work the current sleeve-detail trend by making a floaty gathered cuff instead. Crepe is a fabric which often has a slightly rough, matt feel and has a nice inherent drape which is caused by the way the yarn is twisted and then woven into fabric. It works well for bias cut skirts, dresses or blouses and anything slightly ‘flippy’.
One thing that the toile had thrown up was that the neck was slightly too wide and my bra straps showed so I increased the width of the pattern pieces.
Because the crepe is 150cms wide it meant that I could fold the selvedges into the centre line and then the front and back pattern pieces are side by side. This matters because any pattern of the print which runs across the fabric will run in a pleasing line around the body.
Another alteration I chose to make to the top was to add a little more fullness at the hem level. The toile was a tiny bit snug at hip level so to increase at that point I pinned the neck edge against the fold but pivoted the hem level away from the fold by about 1.5cms.
For the sleeve-hack I used the short sleeve and then cut 2 rectangles that were 50cms x 30cms (50cms is approximately 1.5x the bottom width of the short sleeve) You can make them as full as you want but if they’re too wide they can get a bit annoying catching on things or dripping in the washing up!!
One of the things I liked about the pattern was it’s explanations of various techniques used during the making up. If you’re a complete beginner it isn’t always obvious what a ‘back-tack’ is or how wide the seam allowances are for example and the instructions with many patterns expect you to know things like that already.
So I made up the top again (you could use French seams if you haven’t got an overlocker or your fabric frays badly) I joined the shoulder seams and then attached the neck facings because you can have the whole thing open fairly flat which makes it a bit easier. Self- or contrast bias binding would look nice as an alternative but take care not to stretch the neck edge as you do it because it would be all droopy-dangle…
Now sew up the side seams, try it on to check for fit and make any necessary adjustments then it’s ready for sleeves.
This time I made up the short sleeves then made 2 tubes of the rectangles for the floaty bits. Around the top edge of each tube I ran two parallel rows of gathering stitches within the 1.5cms seam allowance. I always back-tack at one end and leave the other loose to pull up.
I neatened the bottom edges of the tubes at this point too by making a ‘pin hem’.
Repeat for the second sleeve then neaten the edges of the joins by your chosen method.
When I’m setting in sleeves I always start by matching the underarm seams, then the shoulder seam balance mark followed by the front and back armhole notches. Next I pull up the ease stitching gently until the sleeve fits into the armhole, this may take a little while to get a pleasing fit so don’t rush it. Once you’re happy with the fit stitch the sleeves in (there’s nothing wrong with tacking them in first if it helps) Try the top on to make sure the sleeves look OK and then neaten the armhole seam by your chosen method.
Finally I made another pin hem on the hem itself. Although the top looked lovely as it was I like to add little details to make a garment really original so I rummaged through my vast collection of buttons and found a selection in various sizes and colours which I grouped on both the gathered sleeve seams.
So that’s the top, now for the trousers.
I washed and tumble-dried the denim as soon as it arrived because there will always be excess dye in denim and some shrinkage will occur too. I used a denim needle to sew with and I had specific top-stitch thread ready for the seaming details although you could use regular thread, I used regular thread to sew them together. A denim needle is also not essential but it deals with the extra thicknesses involved much better, a sturdy-sized universal needle would be ok if not.
Because I’d made the toile I cut the denim version out making them two sizes smaller. One little change I made was to raise the centre back waist a bit higher because I felt they drooped down at the back.
Sewing them together was straightforward after that, I used a slightly contrasting blue top-stitch thread for the seam details.
Then I got to joining the legs up and, even though I’d cut two sizes smaller, they were still too baggy! I skimmed yet more off the side seams to slim them down some more. It might have been more sensible to measure my thighs and compare that figure to the paper pattern!
I put the elastic in according to the instructions again but it was a disaster! By sewing through the elastic as directed all that did was sew in a stretched position and it couldn’t retract back so it was all baggy and horrid around my waist! I unpicked all of that and sewed it instead into a channel using my zipper foot to sew close to the edge of the elastic under the fabric without catching it (hopefully)
If you’re not confident sewing it this way then you can also sew a channel and then pull the elastic through separately using a bodkin or a strong safety pin.
All that remained was to sew the turn ups as before and they’re complete!
They’re still a bit baggier than I wanted and I might even bring them in some more although better that than make them too tight in the first place, they have hint of maternity trouser to them at the moment although useful if I’ve eaten a big dinner!!
On September 28th I travelled to Stockport with my makes for a photoshoot that many of you will by now have seen in issue 46 of Love Sewing magazine. It was so much fun and it was a real treat to have my make up done by professional Nina Rochford and and be photographed by Renata Stonyte. Along with Editor Amy they really put me at my ease and, whilst I’m not a natural model, they managed to get some nice pictures. It’s been a real thrill to feature in the magazine and to have the opportunity to share my hints and tips with readers. I do hope they have been of some use or help to you, you can email me at firstname.lastname@example.org if you want to ask a specific question, or advice.
I’ve loved writing for Love Sewing and I’m more than happy to do it again! I’m not saying I’m an expert on everything sewingwise-far from it-but I’ve made a ton of different garments over the years, and made a ton of mistakes over the years too!
Whilst I was invited to write the pattern review, and provided with the fabric by Love Sewing, all opinions expressed and advice offered are my own and I hope you might find them helpful if you’re making up the patterns in the future.
This has become one of my favourite patterns this summer because I’ve made 3 now and I only bought it in March at the Spring Knitting and Stitching show! What I like about it is it’s beautiful simplicity with just a bit of detail on the neckline. Sew Me Something are based in Stratford Upon Avon and designer Jules sells lovely fabrics, teaches classes as well as producing a range of very wearable pattern designs. Whilst I haven’t been able to visit the shop, I’ve met Jules a number of times now at various shows in London. I admire her personal style and we have similarities in our work background, I used to work in high-end bridal and evening wear too…back in the day.
After I bought the pattern in March I made the first one in a slubby white poly/cotton (I think) origin unknown as a wearable toile. Rather than cut up the pattern I traced it off onto Swedish tracing paper which is stronger than regular tracing paper. I’m not always in the habit of tracing patterns off (especially if they’re tissue paper anyway) but, perhaps bizarrely, when it’s good quality paper I often do. I was short of fabric so the back had to have a seam in it but that wasn’t a problem. The instruction booklet is clear and well illustrated, the only possibly tricky part of the design is the notch neck front but following it slowly and methodically it works a treat. I’ve photographed my most recent version which hopefully makes it clear if you’re reading this as a bit of help.
Once you have the placket pieces overlapping I stitch through all the layers at the bottom to secure them, then I zigzag the edge to neaten them (easier than trying to put such a tiny piece underneath the overlocker.
Finally ‘stitch in the ditch’ carefully from the front to hold the placket in place.
With my first plain white version I followed the balance marks for the gathering but actually I felt the gathers looked too spread out so when I made my second version (and now the third!) I’ve condensed the gathering into smaller areas on the front, shoulders and centre back which I’m happier with.
Another thing I like is the instruction to sew hems separately before joining the side seams. This sounds a small thing but because the hem is dipped and rises at the side seams it means you get a much neater finish at the side seams-genius!
My second version was made using the gorgeous coral lightweight linen I bought from Jules with the pattern in March.
I’ve made all my versions with the longer length sleeve with loose elasticated cuff, you could obviously make them tighter but I prefer them like this.
I wore the coral top to the Sewing Weekender in August and it got plenty of compliments (and obviously I told everyone what the pattern was, although several people recognised it straight away)
The jolly fabric for my newest version came from the swap hosted by The Foldline at the recent Great British Sewing Bee Live, it’s a sharp contrast to the plain fabric of the first two that’s for sure! Thanks Kate, hope you like what I’ve done with it…
What I’ve loved about this top is how comfortable it’s been in warm weather, and the details are pretty but understated-a trademark of Sew Me Something patterns to be honest. I know I’ve made 3 but I reckon there’ll be more, it would be gorgeous in a silk chiffon or crepe de Chine, or fine wool challis for example. You could add a trim to the neck, in the seam perhaps or beadwork perhaps? This third version I’ve cut a little longer than the previous two simply because I had plenty of fabric. I’m going to layer it up in the winter with a long-sleeved tee underneath. Another thing I like about this brand is that the sizing is for real women and goes right up to a 22-not all independent companies have this range and I’m not sure why. and that seems a shame.
I want to stress that I bought my own copy of the pattern and the fabric so any opinions expressed are entirely my own. I’m trying out a few trouser patterns lately (more on that to follow in a few weeks) so I’m tempted to try one of Sew Me Something’s trouser patterns in the future but there’s a long Autumn sewing list to work through before I buy anything more….famous last words!