If you’ve read my blog in the past you’ll know I’m a fan of Trend patterns. Lucy is a pattern-cutter and designer based in London and I always make a bee-line for her stand when I go to the Knitting & Stitching shows. At the show last autumn I fell for the Square dress which, as the name suggests, has a square hem and diagonal seams. There are no bust darts because it uses bias cutting to create the fit and because there are no fastenings it’s actually a fairly quick make and would suit a dressmaker with a little bit of experience. If the lack of darts might cause you a problem I definitely suggest you toile the top half of the dress so that you can assess whether you personally need to carry out a Full Bust Adjustment (FBA) Lucy has been working hard to extend the size range across her patterns and as one of the newer styles the Square (TPC23) comes in the more extensive range sizes 8-22.
I bought a copy of the Square (and a skirt pattern too) and shortly afterwards my friend Dibs who owns Selvedge & Bolts online fabric shop asked if I’d like to choose some fabric as a gift in order to write a review of it. So with this pattern in mind, and my upcoming holiday, I picked out a fine linen in a tiny red/white ‘checked’ print. I was so happy with it when it arrived and it’s perfect for this loose type of style.
Before I cut into the beautiful linen I decided to make an initial version in some checked flannel which, at a guess, I’ve had over 25 years in my stash! You can’t rush these things…
Normally I’d try very hard to pattern-match the checks but there wasn’t enough to do that. The seams on the dress run diagonal but in fact only the back and front bodice are cut on the cross, the other rectangles of the skirt are cut on the straight grain so it’s much simpler than you might think to cut and sew together. The pieces are all quite large so there’s not much opportunity to cut many corners, and I didn’t quite have as much of the flannel as was recommended so I reduced the lower skirt panels (front and back are the same for this and the upper skirt panels, the front and back bodices are different though) To reduce the panel I simply folded out a parallel section through it’s longest side. This turned out to be advisable because at 5’5” the points would have touched the ground unless I was wearing high-ish heels.
I cut a straight size 14 and made no other adjustments, the front and back are cut on single fabric and as they are asymmetric you’ll need to keep any directional-print in mind, especially if you reverse any pattern piece to fit it onto your fabric . It’s a straightforward make though so after the cutting out it’s a breeze. I would only suggest that you take care when pinning and sewing the diagonal sections together to avoid stretching the edges out of shape before you sew them. Keep everything flat on a table as much as possible while you do this part. The hem is a deep ‘grown-on’ one which you mitre at the points and this helps give the skirt it’s weight and fluidity. I was happy with the flannel version so I immediately cut the linen one ready to sew up.
The linen sewed together beautifully, it’s quite lightweight and with a lovely drape. As the seams are such a feature of the dress I decided to use one of the decorative stitches my Pfaff Quilt Ambition 2.0 has to offer. After trying a few I picked out a sort-of diagonal grid design which echoes the print on the fabric.
I’m really pleased with how the linen dress has come out, the decorative stitches are perfect for accentuating the seams and it’s such a comfortable style to wear. I’ve worn the flannel version mostly with a roll-neck jumper over the winter, it’s very striking and has garnered many compliments. the linen had to wait until we had our recent holiday to be worn but it was perfect for warm weather and, best of all, it has pockets! I can’t wait to be able to wear it again in the UK…
This such a simple-looking pattern but has so much scope to add drama, it’s distinctive without being outlandish and still be completely wearable…at least I think so!
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 hemmaking sure the new side seams were at a right angle to each other so that the hem will run in a smooth line. I 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 width. Finally, 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.
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.
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 naturallypucker 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.
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.
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!
When our Great Leader Judith responded to the call by the Sewcialists account on Instagram twelve months ago to set up a new account specifically for sewers over 50 little did we imagine that it would become what it is now. With over thirteen and a half thousand followers, and still increasing all the time, it’s a hub primarily for sewers, dressmakers, sewists, crafters, call them what you will, who are mostly, but not exclusively, over the age of 50 to share what they’ve made. The #sewover50 hashtag has now been used over 31K times! We have made it a supportive, encouraging and educational place where people can feel safe and happy to post their photos and know that there will be other like-minded people who have the same shared interest in sewing looking at them. Our life experiences will have many parallels, dealing with things like menopause and our bodies changing into ones we no longer recognise, caring for elderly parents perhaps, looking after grandchildren or worrying about older offspring trying to make their way in the world. Some of us might be in a ’sweet spot’ before some of these events arrive but whatever brings us to #sewover50 we all want to make the most of our sewing time.
I said ‘mostly over the age of 50’ because there are many younger people following too, they may not share as many images but we know from comments and feedback that they enjoy seeing and being inspired by what other SewOver50ers post.
Rather than simply write another ‘what have we done, what have we achieved’ post I thought I’d turn the questions over to others who have been a part of Sew Over 50 since the early days. With over 13.5k thousand members, and more than 31,000 uses of the hashtag, it was almost impossible to choose from so many amazing people but we narrowed it down to a tiny cross-section and they all generously shared with me what their own feelings about Sew Over 50 are, what it means to them and why they think it’s important.
I started by asking them how @SewOver50 had come to their attention, and I’ve used their own words as often as possible.
Several of us were already following Judith and enjoyed her sewing and interacting with her so it was a simple step to move sideways to the new account from August 18th. Others came to it via the Sewcialists account and some noticed the #sewover50 hashtag starting to appear in accounts of other makers that they followed. It mushroomed at lightening speed. One of the most touching responses I received though was from Tina @bricolagedk1 who told me a very different reason for her joining in. Living in Denmark she was struggling to adjust to a new and altered body-shape after a mastectomy, RTW clothing just wasn’t right any more so she wanted to start sewing her own again after many years but found a lack of patterns and information available. She contacted Judith directly and, when Judith shared the question with everyone this was the response. I’ll let her explain in her own words,
“You posted my request and I got an amazing response. People gave me drafting tips, and told me of helpful sewing tools for hurting hands and weak arms. A couple of post mastectomy sewers also contacted me. Others from the SO50 community gifted me patterns, and translated patterns for me from languages I didn’t understand. They told me of patternmaking books with drafting tips for asymmetric sewing. But most of all, everyone was extremely supportive, and in less than a year I have gone from feeling so alone and insecure about how to sew for my changed body, to being part of a very supportive, helpful and inclusive community.”
Marianne @foxglovesandthimbles also found us via Sewcialists but she makes an interesting observation about what happened for a while after joining. Initially she wasn’t sure about becoming part of a sub-community because she’s very happy in her own skin but she gave us the benefit of the doubt. However, “during the first weeks of SO50 I struggled with the fact that, due to the call for inclusion, my feed ended up less diverse. Instagram’s algorithm steered me away from my younger sewing friends and all I saw was Sew Over 50 posts. Just as I was about to quit the group it became obvious that using the hashtag had helped a lot of sewists in finding their tribe and gaining confidence. That’s what convinced me to stay and fully support SO50!” The darned algorithm has a lot to answer for and I wonder how many others didn’t stick around?
When I asked what everyone enjoyed about being a part of SO50 I got many and varied answers. Janet @sewdalriada felt that “since participating in SO50 and making new friends my Instagram feed is brighter and livelier and I look forward to the imaginative, creative and often humorous posts popping up each day.” Kate @stitchmeayear loves that we “champion ordinary sewers….real people being proud of what they’ve made which is great.” Words like positivity and humour cropped up often, the overwhelming experience though is supportive, knowledgeable and inspirational. Carolyn @diaryofasewingfanatic says she believes “SO50 came at a great time when sewists were voicing their displeasure at not being seen. This account makes it possible for older sewists to be seen and heard from now on.”
Everyone I spoke to felt that because we are all, for the most part at least, of similar ages and shared life experiences, that we ‘got’ each other, we feel included which was a very positive thing. Kellie @gigi_made_it puts it beautifully, “you have managed to infuse a sense that our lives as creatives matter, that there is value in what we do. Our group exists to support, inform, inspire, encourage and lift each other up, and I’m so proud to be a part of it.”
I was interested to know about everyone’s sewing ‘career’ and many are like me, a lifetime of sewing and dressmaking, often with a break for career and/or children. Carrie @endlessdznsbycarrie told me she was a long-time sewer but “life pulled her away for a few years. When I returned to sewing in 2007 I took quite a few classes and here I am now-loving it even more!” Raquel @raquel_sewing_knitting_in_asia had a different reason to start, “my sister Bea taught me to sew when I was 16 years old and having boyfriend trouble. She knew that teaching me to sew would be a creative outlet I could use in my life then.” Nicky, however, is a relative newbie “my daughters bought me a beginners dressmaking course two years ago and I have not looked back-I absolutely love it! I am a slow sewer and growing in confidence.” Janet had been a avid dressmaker until the demands of work and family life got in the way but she rediscovered her love of sewing “after a gap of many years, following my husband’s life changing accident. As his primary carer sewing has proved therapeutic by providing a creative outlet and temporary escape and has been a great confidence booster.” Lisa @mabelthemannequin has an equally difficult story when, after a lot of years sewing mostly for others she was diagnosed last year with a systemic illness which robbed her of her sight for a few months, “it was during this time that my husband read an article to me from the internet about Me Made May and we decided it was something for me to aim for when my sight returned. I started sewing for myself again and am absolutely loving it! I am using lots of skills that I had forgotten I had and am far more adventurous in both the things I want to make and wear.”
We all look at SO50 for inspiration so I wondered if anyone used it specifically as a resource for other information? Blanca @blakandblanca says she “asks about patterns, techniques and sources often as a way to support suppliers or businesses that are independent and are promoted by the sewing community.” Janet often saves posts by other members, for example where they’ve shared tips on pattern adjustments. Mary @marythimble says members “are a constant source of inspiration to me, after all, they’re real people! They are all so ready with tips, advice and knowledge, I have learnt so much from so many people. I would never have thought I could make my own jeans, coats or undies before.” Marianne lives in the Netherlands which, like the UK, isn’t often troubled with very hot weather but recently she called upon her sewing friends in warmer climates for advice in suggesting stylish hot weather patterns! Raquel and Tina told me that they had been inspired to try new techniques such as embroidery, fabric dyeing, use vintage patterns and work with sheer fabrics after seeing others do the same.
Interacting with one another seemed to be the main reason many of our members contribute to the account, the feeling of being part of a group. For Mary she “no longer feels that sewing is an isolating hobby. It’s no longer weird to prefer to sew on a Friday night than go out partying. I am understood and accepted for being slightly eccentric!” Carolyn follows several other sewing related groups including #sewincolour #pocwhosews #plussizesewing and #curvysewingcollective. By including these along with the #sewover50 hashtag she finds a much more diverse group of people through her posts. [Incidentally, did you realise that you can write all the hashtags you like to use in ‘notes’ on your phone so that you can then simply copy and paste them into your posts rather than try and remember, and laboriously type, them all out every time. It’s saved in favourites on the account if you want more info]
The original reason the account started in the first place was what we perceived as lack of visibility for older sewers so I asked everyone if they felt it as important for us to be ‘campaigning’ still. There was an overwhelming ‘yes!’ Carolyn puts it so eloquently when she told me “while the sewing community has experienced and continues to experience growing pains while attempting to include ALL sewists under the tent, it’s doing better a far better job than the the knitting community. While change has been incremental so far, you can tell everyone has heard the conversations and is trying hard to apply them. And we all know change takes time…nothing happens overnight. The thing is to ensure that the changes aren’t temporary but they’re binding and will be there going forward.”
Lisa also made a good point when she said “I am 50 but I’m not ready for my shroud just yet! I want to wear fashionable clothes and I want to decide if it is appropriate for me. Seeing models my age, shape and size is important whatever age you are. Things are improving but we must continue.”
Marianne takes a different stance because, for her, “age representation is a non-issue. When I first started sewing I never felt like those artist’s impressions on pattern envelopes, or stick thin Parisian ladies with their hats and gloves, were very useful when it came to judging the bones of a pattern. Line drawings most definitely were! They are still my main source of information and I hardly look at the models.” Tina made the point that she often doesn’t buy a pattern “when the girl modelling them is 30 years younger than me, because I cannot relate my body to the way her body is, and because my body bits are not placed in the same places as hers. So I guess if it looks good on her it will look horrible on my body where 50 years of gravity is a fact!” Blanca reckons it is “so important for people of all ages and sizes to see themselves as valued by the businesses they support. There is certainly a change going on in the pattern world.”
Many of us feel we have formed real bonds with people across the world although admittedly not many of us have been able to meet up in real life but @suestoney covered quite a lot of ground in the UK during her visit earlier in the year, meeting up with several fellow SewOver50ers including Janet and Judith. If you ever meet up with others, especially if it’s in some far-from-home location, make sure to tag us so we can share! We really are a global account and we love to reflect that in our posts. Katrin @sagner_by_katrin feels that although she isn’t aware of other sewers near her in Sweden she says that we’re all “a friendly bunch so I don’t hesitate if I want to ask someone something. Mostly I really enjoyed being inspired by everybody and maybe inspire others too.”
I was interested to hear if anyone felt their own style had changed, or was evolving as a result of being part of SO50. All of us agree that we’re very inspired by what others post and it influences what patterns we might choose to buy and make. I love that Carrie says “so many in the #sewover50 community have inspired me to take my ‘I make what I like-I wear what I like’ creations up a few notches! I no longer consider colours or seasons or even fabrics when creating, I just have fun with it!” Also Tina makes the point that by seeing what looks good on 50+ bodies inspires her to try out new patterns and fabrics.
Carolyn knows her own style pretty well but she’s always interested to see the different adaptations of patterns that people create by using colours, prints and patterns that she wouldn’t necessarily have thought of. Janet has pushed her style boundaries “for example I’ve made dungarees and shorts, both of which I feel comfortable wearing.” Mary acknowledges “there have been several times I’ve made things based on seeing it on someone else, I always try to acknowledge them as my inspiration when I do.” Although she’s yet to embrace the animal print trend!
Our challenges are something which seem to have divided opinion, some embraced them enthusiastically and others not so much. The initial one sparked a huge amount of interest because it really drew attention to just how few patterns featured an older model, the flatlay challenge was definitely for fun and there were a lot of entries, which may have been because we had so many prizes! There is currently an ongoing challenge to use or reinvent a vintage or vintage-inspired pattern to create a brand new garment. It might require a little more thinking outside the box because the finished garment doesn’t have to be an exact replica of a vintage garment, merely use the pattern as a springboard to creativity. Going forward we want to host more challenges which encourage and inspire everyone, whether they take part or not, so that it makes us really think more about our sewing. We’ve go our thinking caps on but if you have a good idea you’d care to share then do let us know. Blanca made the point that the challenges gave her some guidelines to follow which are what she needs to get properly inspired. “Not so easy for me to sit down and decide what to do with a blank slate. Every challenge was exciting to follow with group members bringing on their fun and beautiful creations. Nothing like checking in on new posts!”
It’s almost impossible to sum up briefly what @sewover50 has become, and what it means to everyone who participates. It means different things to different people but the main things I’ve drawn from everyone’s responses is that above all else it’s inspiring and supportive. For some it has enabled them to come to terms with serious health issues for themselves or loved ones, it has given them a breathing space away from difficulties. Creativity is a form of mindfulness because while you’re sewing for pleasure there’s time to consider what you’re doing, often to the exclusion of everything else. My own feelings are perhaps more complex because I often undertake sewing, mainly alterations, for others and I can’t honestly find much that’s mindful in turning up someone’s trouser hems! However, I then try to ‘reward’ myself with sewing something just for me. I try to ‘give back’ to the sewing community in the form of using my years of experience by helping test patterns for Indie makers. We all agree that though we want to see similar people to ourselves sewing and making, we also want a balance, we want to share and be inspired by our younger sewing friends. In the UK it became something of a dirty word to study ‘textiles’ and the art of clothes making had virtually died out amongst the younger generation. Thankfully, that seems to be in reverse now, partly because of programmes like the Great British Sewing Bee (and its overseas counterparts) because young women in particular, and some young men too, are embracing the creativity and satisfaction we can get from making our own clothes.
At the end of our (Ok, not mine, the technology gremlins showed up with impeccable timing!) recent appearance on That Sewing Blab, the final question Dawn asked to Judith and Sandy was, “if (still waiting…) the big pattern companies come knocking to ask how we would like to be presented in the catalogues and on pattern envelopes, what would we say to them?” Well we would certainly say that putting all the same old pictures from the last year in the front of the catalogue does not constitute any change, it just means that the same photos are not hidden in the catalogue so much. Sandy did some research recently to see if there had been an appreciable change and she worked out that from the hundreds of images she trawled through in the big catalogues that just 1% featured anyone who appeared to be remotely 45+. This is much worse than any other group with the possible exception of people with disabilities. We know change takes time but really?? There’s no excuse in this day and age not to have a good cross-section of ages, sizes, ethnicities, gender/non-binary, everyone. Many of us choose to make our own clothes because we can’t or don’t want to conform to ‘the norm’, there shouldn’t be the same constraints as there are in the RTW fashion industry. #sewover50 is trying to help speed up part of the change.
I am deeply indebted to everyone who so generously sent me their personal stories, and I am extremely grateful that they have allowed me to share them here with you. Without them, and all of you, there would be no point to the account existing. It could have withered on the vine right back at the beginning, or fizzled out after just a few months, but it didn’t, it’s still going strong. This is in no small measure to the time and dedication that Judith and Sandy spend day in, day out, responding and reacting to every post that shares the hashtag. Given that there is no reward for doing so that’s no mean feat, some companies have paid staff to do exactly that and they don’t do it half so well!
If you still haven’t read any of my original posts that kick started all of this then you can read a couple of them here, and here .
I would especially like to thank these wonderful women for their honesty, their kind words and their unending support and enthusiasm, I haven’t been able to use even a fraction of what they shared with me but without them, all of you, Judith, Sandy and I would have nothing to do…other than have more time to sew I suppose…
Maybe you’ve recently found SewOver50, perhaps you’ve just returned to sewing and dressmaking or it’s new hobby for you. Whatever your situation (and you absolutely DON’T have to be over 50 to follow us) you can rest assured that there will lots of people only too willing to offer you help, assistance, friendly supportive comments and inspiration.
I think Mary sums up many (but not all!) of us with her remark, “the not-so-secret-society-of-aging-sewers. I may look half a hundred, but in my head I’m being the rebellious teenage I never was!”
Alice & Co are a pattern company run by the mother-and-daughter team of designer, pattern cutter and sewing teacher Alice, and Lilia, who is a museum textile conservator for her ‘day job’. I saw they were requesting new testers for one of their latest patterns and, as I generally enjoy the process of testing and I’m happy to give my time to assist small indie companies when possible, I was pleased to be invited to help.
The Regatta is a summer dress featuring a neckline which pulls up with ribbon to tie on the shoulders, a gathered or pleated waist, patch pockets and a button-back closure.
I had some printed viscose fabric in my stash which my good friend Claire had given me a few months back and I was sure it would be ideal for this test version of Regatta. I think the dress will be great made in a wide variety of fabrics including chambray, cotton poplin, madras cotton check, seersucker or shirting, as well as eyelet or broderie anglaise, washed linen…I could go on!
This is a PDF pattern but unlike many which provide you with ALL the pattern pieces you might require, because of the simplicity of the skirt it only gives you pieces for front and back bodice plus a patch pocket. It needs a total of 8 pages printed in colour rather a selection of dotted/dashed lines. The skirt is merely three rectangles (front and two backs) so rather than waste paper it gives you guidelines to follow for cutting the skirt pieces ‘freehand’. This isn’t as daunting as it might sound, I used the full width of the fabric cut to my chosen length PLUS a hem and a top seam allowance and then the same again but cut into two equal pieces to form the backs.
The instruction booklet is written in a nice friendly chatty style which feels both informative and encouraging, I think the illustrations are well-drawn and clear too. I printed mine out in booklet format which is a good option if your printer will allow it, 3 pages printed on both sides which fold neatly into A5.
I opted to cut a size 16 according to my measurements from the chart but I would definitely come down at least a size for the next one. As the bodice needs to be lined anyway you could make up the lining as a toile to see if you need to make any adjustments and then use it in the dress. Depending on your fabric you could self-line it or, as I did, use a plain cotton. I also decided at this stage that I would line the skirt because my fabric is a bit sheer, plus it’s a floaty skirt so I don’t want any knicker-revealing moments on windy days!! [I made a simple A-line lining, not the full pleated skirt which would have been awfully bulky]
The bodice construction is simple [if you don’t like darts you won’t be a fan though, you’ll need to make 8!]
Follow the instructions carefully for the ribbon channel openings, the diagrams will help if you’re not sure. Take care inserting the ribbons pieces at the back-cut the ribbon into one long piece for the front and two shorter pieces for the backs. You could possibly use wide elastic for this element instead if you want a different look, or make a self-fabric strip or what about using a vintage scarf even?
Once you’ve joined the outer fabric and linings together along the neck edges and armholes you’ll also need to understitch here as much as possible, to give it a nice crisp edge and stop it rolling. Just go carefully so as not to catch the fabric accidentally-you won’t be able to sew everything because it will be inaccessible in places.
Next, when you sew the actual channels that the ribbons sit in, it might be wise to tack in position first, certainly mark the lines in some way-chalk, pencil, erasable marker-or if you have a quilting guide attachment for your machine use that. It looks like a piece of bent metal which slots in behind the foot of your machine. You can see it better in the photo although this was a different project. This enables you to follow a stitching line which is considerably further away than your usual seam allowance markings on the needle plate will allow. You’ll need to be most careful sewing the back channels because the ribbon is already in position so don’t sew through it by accident, it won’t gather up. Slot the ribbon through the front when you’ve sewn the front channel, or leave it until you’re ready to try the dress on and adjust the bows to your taste at the end.
Making up the skirt is simple enough, don’t forget to interface the button-stand areas for stability. The pockets are positioned over the side seams but they could go directly on the front if you prefer.
I opted to use pleats on the skirt because I prefer how they look on me to gathers. I don’t have any sage advice or foolproof mathematical equation for working this out I’m afraid, I just pinned the skirt to the bodice at the side seams, CF and CB button-stand and then fiddled until I was happy with the pleats before stitching it on. There were lots of pins involved!
If you aren’t lining the skirt then you can simply slip stitch the lining in place by hand as per the instructions. As I was lining the skirt too I cut, sewed and hemmed a simple A-line shape in plain cotton which I stitched to the bottom of the bodice lining, obviously it must have the gap at the back for the button opening. I simply caught this down behind the button-stand with a few hand stitches so it doesn’t flap about. So that it doesn’t ride up inside the dress I hand-sewed a few stitches at the side seams and CF where the seams meet to anchor them together loosely.
I used a nice deep hem of 5cms to give the skirt weight. I overlocked the edge and then used the blindhem stitch and foot to sew it up. As the hem is straight you could face it instead with bias binding or ribbon, or a contrast fabric for a different look, either machine top stitch or slip-hem in place by hand. The photos show the blindhem for my machine but most machine manuals will show you how to sew this-definitely practice to get it right as there is a knack to it.
I used 4 buttons on the bodice section and then 6 buttons on the skirt, evenly spaced so that there’s still a nice ‘split’ at the bottom. I have a ‘thing’ about button opening on skirts where the bottom button is too close to the hem, don’t ask me why, I just don’t find it aesthetically pleasing. For a novel detail I used red and blue thread to sew on the bodice buttons and ivory on the skirt. I also added a small hook and eye at the waist seam to take any strain off the button at this point.
All that remains is to pop your dress on and pull up the ribbons to your desired amount and tie in a bow, trim the ends into neat Vs to stop them fraying. Once you’ve adjusted the gathers to your liking then pin and stitch in a few places as per the instructions to hold them in place evenly.
I just need to find a nice wide belt to finish it off I think although it works perfectly well without. My Regatta dress has already had two wears since I finished it and it’s quirky details make it stand out. It isn’t an ultra-quick make compared to some styles but it’s worth the effort and makes a charming and feminine summer dress. It would even work in more ’special’ type fabrics too, like panne velvet, Chantilly lace or crepe de chine for an evening or party dress.
Once again it’s been an interesting process to help test a pattern and Alice & Co were quick to respond to queries. Another reason I was keen to assist is because as a brand they are very supportive of the Sew Over 50 cause by reposting images shared by older makers using their patterns, and have generously provided prizes in our previous challenges.
So while the sun is out here in the UK this could be a nice addition to your summer/holiday wardrobe.
When Harriet asked me if I’d contribute a blog post for Sew Me Sunshine I was excited and very happy to help. After I’d had a good look at all their lovely fabrics I settled on the pink colour-way of the Gemma viscose/linen mix, it’s such a pretty shade with a magnolia flower print. When the fabric arrived Harriet has included a helpful card with full fabric details including fibre composition details plus width and quantity purchased. There’s a space to note if you pre-wash or not before it goes in the stash or straight to use.
The print is quite wide spaced and one-way [actually there are one set of flowers which run in one direction and another set which go the opposite way] so it’s worth bearing this in mind with pattern placement, and all your pieces should be positioned one way or the other.
I decided to make a Maven patterns French Dart shift dress which I’ve made twice before because it’s a lovely simple shape with no fastenings which makes it quite quick to make, three sleeve options, side seam pockets and an elegant roll collar.
Because of the positioning of the print I opted to have the smaller flowers running down the centre rather than the large blooms which would have resulted in a more wasteful lay plan. As I had enough fabric I opted for the long sleeved version which I’ve made both times previously, the gathers at the cuff are so pretty. I cut the sleeves so that similar flowers are on a level with the dress front.
Because the fabric is quite loosely-woven and a linen mix it tends to fray a bit you’ll need to be aware of this. Making a style with lots of gathers may not be wise because it will start to come apart eventually the more you pull the gathers up-the cuffs on this dress were fine as it’s fairly short. The fabric would look lovely in pleats or folds too.
The fabric sews up beautifully, it isn’t overly drapey but it’s nicely fluid and responds well to pressing although like most linen, and linen/mix, there is noticeable but not excessive creasing-this is one of the features of the fabric and you have to accept that as part of it, it isn’t a fault. You could also use it for loose-fitting shirts or trousers, for example the Zadie jumpsuit from Paper Theory would look gorgeous in it or what about the Tilly and the Buttons Seren dress, nothing too tight-fitting though as it will crease badly or ‘seat’. You can always add a soft cotton lawn lining to a fabric like this which might help, this particular fabric isn’t sheer though so you can’t really see through it.
The structure of the fabric lends itself to the roll-neck collar and this one doesn’t have any interfacing in it, it stands well on its own.
I’m really happy with the finished dress, it’s very feminine and in a very unpredictable British climate I think it will be ideal on cooler warm days (does that make sense!?) I’ll wear it with tights in the autumn. Incidentally, I hand finished the hem so that the stitches are invisible, you could machine it up though.
Thank you Harriet for providing me with the fabric and the opportunity to write about it-it also comes in a pale blue colour-way too which is equally lovely if pink isn’t your thing.
By being a part of the organisation of the first Sew Over 50 challenge it has meant I’ve come across pattern companies which I hadn’t heard of before. In several cases they made contact with me directly through the comments at the end of the first blog post. Not all of these companies make patterns that appeal to me personally but The Sewing Revival in New Zealand was one which did. Janine Pomeroy has created a small but growing number of simple, chic and wearable styles and because they are PDFs they are easily available to you wherever you are in the world.
Janine very generously gifted me the Heron dress (it also comes as a top too) and I’ve just finished making it up in time for my upcoming holiday.
The PDF was initially just available as A4 or US letter format but is one one of their first to also come as A0 copy shop format too. It comes with LOTS of useful and helpful information for when you print it out-there’s even instructions in how to print only the size you need if you prefer, I can’t think of another company I’ve come across which actually talks you through it, I have limited IT skills and wouldn’t have known how to do this for myself so that was helpful. Also, when ordering your pattern, you opt for the set of 3 sizes closest to the size you require according to your measurements. I like this arrangement because you don’t have an overwhelming number of lines to try and cut out from. I’m a UK 12-14 in RTW so I’ve made the size Medium and I’m very happy with it. If you do print all the sizes because you want to cut between different measurements for example then each size prints in a different colour-this is worth bearing in mind because if you print in B&W only they aren’t various styles of dot and dashed lines.
I bought some lovely pale blue viscose/linen printed with navy and red flowers from my recent visit to Ditto fabrics in Brighton specifically for the Heron. If you’re a novice sewer there is plenty of guidance included on which fabrics would work well, as well as other lay plan and cutting tips too.
There are only a few pattern pieces so it doesn’t take long to cut out and start sewing. There are some clever details which mean you don’t have lots of extra facings or elastic casings to cut and sew on, they are included which means the sewing doesn’t take that long either.
I printed out the making instructions in booklet format and I found the photos a tad small that way, I should have left them A4 for clarity although, that said, it’s fairly obvious what you’re doing and there are plenty of written instructions too.
I like the clever way the front facing is ‘grown-on’ so you just neaten the centre front seam and, eventually, once the backs and sleeves are sewn together [raglan sleeve so not tricky setting in] the neck edge gets folded over twice and stitched. This becomes the casing for the elastic.
The deep cuffs fold up in a similar way which is clever because it does away with the need to neaten the cuff hem or to sew on any binding to create a casing for the elastic. It all forms one finished unit in the end.
I should add that the Heron includes in-seam pockets which are a must, and there is a belt pattern too with additional ideas on how to add D-rings to it so it isn’t just a tie belt. I was so eager to finish that I didn’t notice until after I’d sewn it that the hem is finished using bias tape! This gives a lovely neat finish without losing any length, I just did a narrow rolled hem which looks fine too.
As I said earlier, I was given the pattern to try out but I can honestly say I’m really pleased with my Heron and I look forward to wearing it. I’ve already got another fabric lined up for a blouse length version. I thought the sleeves looked like they might be too short but actually they are fine.
The reason The Sewing Revival came to my attention is because they use realistic models to promote their patterns, Janine made a conscious decision to do that whilst still creating covetable and wearable styles of the sort that dressmakers of any age will want. I’d love to know if you’ve used this brand and what you thought, or do you know of any others like it that could be brought to a wider audience? The Sew Over 50 challenge runs until March 15th 2019 so you’ve still got time to join in, and you don’t need to be over 50 to participate!
My latest Minerva blog is live now and it’s all about their beautiful printed velour. I was attracted to the gorgeous mixture of teal colours with a splash of pink thrown in for good measure. Initially I was going to make a pleated skirt with it but eventually I decided that wouldn’t be flattering on me so I settled on the River dress by Megan Nielsen with my own adaptations instead.
I lengthened the short sleeves and added elastic to make cuffs, I increased the length of the dress overall too and left a side split and finally I put wide elastic under the bust to create an Empire line.
This is a very simple pattern to sew and has the novelty of two necklines-a scoop and a V-and because of its raglan sleeves you can have either in the front, I generally wear it with the V in the front.
As always, you can find the full details of the fabric and my sewing tips on adapting the pattern with a lot more photos on the Minerva Crafts website, thank you to them for providing me with the fabric, in return for an honest review.
Finally I can talk about the day last November when a group of us travelled to Love Sewing magazine headquarters in Stockport to take part in a photoshoot for a Sew Over 50 article.
Sew Over 50 had begun in August and was gaining a huge following so when editor Amy asked if we could suggest possible models for an article Judith and I approached quite a large diverse group of women initially to see who might be willing or able to travel to Stockport. Not everyone could but eventually we had a group of 10 people.
It was amazing how far some were willing to travel, Corrie and Sara both came from Wales, Judith is usually in Edinburgh and myself, Ruth and Sue were all travelling from Hertfordshire. So the 3 of us decided it would be a good idea to drive to Milton Keynes first and then get the train the rest of the way. Simple? far from it! I checked before booking the train that there was a car park, not pre-bookable unfortunately, but it was a large car park so what could possibly go wrong….Well it turned out that the car park was completely full [and no sign or barrier telling you that before going in and driving all the way to the top floor and down again thus wasting 10 precious minutes] we spent another 15 fruitless minutes driving around and around trying to find ANY alternative until the only possible option was for me to drop Ruth off at the station with her train ticket (and Sue’s too because she wasn’t with us, we didn’t know where she was at that point, probably still driving around too!) Anyway, in the end I drove all the way to Stockport because I was bloody determined that after all the planning I wasn’t going to miss the event! Rant over.
By the time I got there everyone was chatting away happily, having make up applied, there was a rail full of everyone’s beautiful makes which they had carefully selected to bring. Amy was in the process of grouping the clothes into colour stories and you can see from the eventual photos that it was almost like we had planned it that way. A few of us have met before in real life but for others it was new experience-they had all had a bite of lunch together before I got there-but naturally chatting didn’t prove too difficult anyway. I’ve been fortunate enough to have a Love Sewing photoshoot before so I knew what to expect, this time it was so lovely to have company. Amy hasn’t had this number of ‘models’ to deal with before and I think it was a bit like herding cats at times haha.
Getting any of us to stand still or stop talking long enough to take photos was an achievement in itself, there were probably a few blurred ones, but we settled into it and I think Amy was happy with the results eventually. Incidentally, I’m wearing my Trend Patterns Asymmetric Dress which I reviewed here.
Eventually after we’d all done our group story shots we had a final altogether group when we all piled into the slightly wobbly set with Amy. It’s astonishing that there are any pictures with all of us looking in the right direction with eyes open and mouths shut!
So after all our fun and games the time came for us to head home again. Sadly for me this meant a really long drive but this was made much more bearable by the fact that Ruth came in the car with me so her company made 4 hours pass a lot quicker than the lonely journey up. We have a WhatsApp group with all of us in it and we’ve had many conversations since and we’ve been looking forward to the release of the magazine so that we can share it with everyone.
You’ll know by now too that it coincides with our first SewOver50 challenge so the article will give lots more exposure to that. [If you don’t know what I’m talking about, where have you been? To briefly recap, the aim is to make a garment using a pattern which features a model on the envelope who appears to be at least 45-50 years old. This isn’t as straightforward as it sounds so check my previous two posts here and here which has links to a wide selection that we’ve managed to find. There’s a very disappointing number of patterns from the major pattern companies and whilst the article names McCalls and Simplicity, in truth we could only find about 4 patterns from Simplicity and none from McCalls] Between us on the day we wore a very diverse selection of patterns, from mainstream and independent designers, made in all sorts of fabrics, colours and designs which illustrates the point that whilst we may be getting older we aren’t going to let age get in the way of our sartorial choices or be dictated to by what ’society’ expects us to wear. This is in spite of how pattern companies continue to portray us, their clientele, and until they address how diverse everyone actually is we still have to continue to look beyond the envelope.
Amy’s team looked after us so well and speaking personally I had so much fun being together with my fellow dressmakers Judith, Corrie, Sara, Sue, Sarah, Di, Ruth, Jeanette and Kate (even though it was shorter than I would have wanted!) Many of the informal photos you see here are my own but some belong to one or more of my fellow models so I am indebted to them for their use here.
The magazine arrives on subscribers doormats on February 16th and in the shops from February 21st. In the meantime, have you started your #so50Visible make yet…?
Incidentally, we received no payment for the article and the comments made in it were in response to questions we were asked. All views expressed in this post however are entirely my own.
My latest Simple Sew blog make is the fairly recently released Utility Dress, an easy-fitting style with elasticated back waist, drawstring front waist and kimono-shape sleeves. I would say that it’s suitable for softer woven fabrics like chambray, cotton lawn, washed linen or fluid viscose-types, or soft woollens for winter. Having said all of that I chose to make mine in a medium-weight jersey in a tan/black dogtooth check design from Doughty’s Online fabric store. It still works well but you just need to take care not to accidentally stretch some areas such as the neckline in particular and the shoulders. Because of the busy design on this fabric I left out the CF seam and cut the front on a fold instead, thus avoiding any difficult pattern matching down the seam.
I reinforced the neckline using narrow strips of iron-on interfacing I cut myself but you could use the readymade type, I did the same on the front shoulder seams too. You could even use up short lengths of ribbon here for a pretty effect inside.
As always I deviated from the method of construction a couple of times. After joining the front and back at the shoulders, instead of using ready made bias binding to neaten the neck edge I cut two narrow strips of the jersey which were slightly shorter than the neck edge [the amount will vary depending on how stretchy your fabric is. It’s usually about 85% of the neckline measurement]
Fold them in half lengthwise to form two narrow strips and then place one over the other at a right angle with the folded edges on the ‘inside’ of the V.
Then reinforce the V on the dress with a row of stitches just within the seam allowance, turning at the V, then carefully snip into the V up to the stitching line.
With right sides together pin the binding to the V section only initially [see the photo to clarify this] and stitch this V section in place by about 5cms either side of the V. Pivot and open the snip as you sew to allow the binding to sit neatly and flat on top of the neck edge. If you’re in any doubt then tack this section first to prevent it moving.
I pinned on the rest of the neck binding double-checking the length was short enough before sewing the join at the CB. Now you can stitch on the remainder of the band knowing that the V is already sewn accurately. [Thank you Melissa Fehr for this new technique, she uses it in her activewear patterns and I’ve found it gives a nice neat result] Trim and neaten the seam on the inside if required and then you can topstitch it down to prevent the binding rolling.
Next I ignored the method for putting the sleeves on. Instead of sewing the side seams up leave them open so that you can open the garment out flat and pin and sew the sleeve strips on more easily.
Now sew up the side seams including the sleeve bands. Fold the bands up towards the sleeves and either neaten/overlock the raw edge before stitching it down though the stitching line or turn the raw edge under and slip stitch in position.
Moving on to the skirt and putting in the hip pockets. I used scraps of matching fabric for the pocket lining as I was concerned that the pattern might show through skirt front. This can reduce bulk too if you’re using a heavier-weight fabric.
After the pocket bags are complete comes the waistband. I followed the instructions although I think there might be an easier way, I just haven’t worked it out on this version. Although it says there’s a chart to tell you what length to cut the elastic for the back waistband I couldn’t find it anywhere! In the end I decided to cut it half my waist measurement minus about another 6cms, to allow for the stretching and gathering up. I used a length of grosgrain ribbon to go in the front casing.
I used a zip foot when sewing the waistband to the top of the skirt because I felt it made it less likely that I’d sew accidentally through the ribbon and elastic.
After joining the top and skirt together all that remains is to hem the skirt. I used a twin needle to do this but you could just turn it up twice and stitch. If you do use jersey fabric for this dress it’s best to sew it with a ballpoint/stretch/jersey needle so that you don’t ladder the fabric as you sew.
This is a nice comfortable style which I’ll enjoy wearing. Disappointingly there are silly errors again in the instructions which is always so annoying, I hope this won’t be enough to put you off trying this Simple Sew style though which is a bit of a departure from their more usual vintage-style dresses.
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.
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.
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.
Have you tried any trend patterns, or are you tempted to?