Sewing and other bits in 2021

Well that was another weird year wasn’t it!? I’m not gonna lie but I’ll be glad to see the back of 2021. For every good event there seemed to be two or three stinkers which I found made it really hard to see positives anywhere. I know that there were some good things though and I’m incredibly grateful to have the life that I do so I don’t want to dwell on the downside, let’s move into 2022 with an air of cautious optimism!

I entitled my round up for 2020 as ‘sewing in a time of pandemic’ and I’m so glad I didn’t know then that 2021 was going to be ‘part two!’ Anyway, I’ve collected a few photos to round up my sewing and other events I was able to get up to during 2021 although I’m not sure if they are particularly chronological…the length and colour of my hair at any given time will give you a bit of a clue!

I’ve decided that the Trend Utility pants are definitely my favourite trouser pattern of the year-I had made two pairs by the end of 2020 and finished a third, in orange linen, in spring 2021 and I’ve worn them all fairly constantly. I find them interesting to make, they aren’t a completely straightforward sew and need a bit of concentration but they are all the better for that. The leg flaps are their USP and they are a design feature that make me very happy!
I was wearing them in the late summer when we finally escaped with one of our daughters on a week’s holiday, along with another favourite, the Maker’s Atelier Holiday Shirt.
The orange linen pair were perfectly autumnal at Kew Gardens in November, and the colours were absolutely stunning.
This hacked Sewing Revival Heron dress was one I finished in 2020 but wore a lot in 2021, and will do in 2022 as well.
I’m still not convinced about the ribbon bow but I haven’t actually done anything about changing it.

I was looking for new sewing challenges early in the year during the next long lockdown and Mr Y was the lucky recipient of a few items including this Carmanah sweatshirt by Thread Theory. The fabric was kindly provided for me as I’m part of the Lamazi blogger team.

This is the Thread Theory Finlayson sweatshirt I made for Mr Y at the start of the year and he’s worn it on heavy rotation. These items of menswear led to me writing an article for Love Sewing magazine about sewing for men, and by men, in the spring and I joined Maria at Sew Organised Style podcast to chat about it too.
Mr Y celebrated his 60th birthday quietly at home in March, we both wore hand-mades!
…and we celebrated a second wedding anniversary in lockdown too. Cabin fever had taken hold a bit as I dug out my wedding dress and flounced around the garden in it! I really hope our 33rd anniversary this year can be outside of the house!!
Let joy be unconfined because mid-March saw us going for our first vaccination and I wore entirely hand sewn garments to mark the occasion, including a Holiday Shirt, a Nora sweatshirt and my self-drafted rain coat.

I was selected to contribute some articles offering sewing tips and advice for an online sewing project in the early spring but after just two such items they just stopped contacting with me or replying to my emails. Bit rude I’d say, I’ve no idea what was wrong because they never had the courtesy to tell me, and I’ve no intention of wasting more time on them frankly.

Moving on…

Lucy at Trend generously gifted me the kit for the Box Pleat shirt from her capsule shirt collection. Like all her patterns it is so well drafted, I should have gone down at least one size though (my fault for being overly-cautious) There are currently three patterns in the shirt collection but I know there are more in the pipeline.
I only made two Minerva projects in 2021 and this Tabitha dress from Tilly and the Buttons book ‘Make it Simple’ was one of them. I really like the Art Gallery fabric and I’ve had plenty of wear from it.
I was so happy to see my dear sewing chum Claire after far too long at the Alice in Wonderland exhibition at the V&A in the summer. It was an interesting show although I suspect we nattered all the way around it! [it seems there was a ‘wear checks’ memo sent out too!]

As you know if you read my posts I like to reuse patterns if they have lots of options so I’ve sewn several variations of a number of Sewing Revival patterns during the year, including the Fantail top below which I made in an ancient remnant in my stash which I believe somebody once paid 90p for!

The wide elastic casing in the front hem is such an interesting detail.
This is another version of the Fantail featuring jersey cuffs and back hem.
This Sewing Revival Kingfisher top was made using the fabric from a summer dress which I never wore. It’s been a satisfying project because I worn it often (I‘d had a haircut by this point too!)
I enjoyed the challenge that this Heron adaptation presented because I used linen jersey provided for me by Lamazi fabrics. It was a learning experience and I shared lots of hints and tips in the accompanying post. It’s been such a lovely fabric to wear, it’s very comfortable and it has a beautiful sheen which is not particularly obvious in this photo.
I made another pair of Simple Sew Palazzo pants in a linen remnant I bought from Lamazi, they are comfortable and very nice to swoosh about in! That’s a M&M Camber Set top with them.
I sewed a third version of the Trend Bias T-shirt dress which I made specifically for an occasion at Capel Manor College in north London when the Japanese ambassador to the UK came to plant cherry trees. I’ve only had a chance to wear it once so far because the weather was getting colder but I have every intention of wearing it a lot in 2022-you know I love a floaty dress and this pattern is perfect for that!
I managed to get an outing to the Fashion and Textiles in the autumn to see ‘Beautiful People’ and it was well worth it because the colours and fashions were so uplifting.
One of my personal favourite posts of the year was this one where I had rediscovered lots of my college work and sketches from the 1980s. It was so much fun to find them unexpectedly and it seems it was a trip down memory lane for many of you too.

I wrote just three specific Sew Over 50 blog posts in 2021, the first was a summing up of lots of ideas and inspiration for how to sew more sustainably which the followers of the Sew Over 50 account contributed. There was a lot of it and it definitely worth a read.

Judith Staley joined Maria on the podcast to chat about it too.

I was a guest editor on the Sew Over 50 account in the autumn when we chatted about mannequins in our sewing practice. Many of you contributed some brilliant and insightful comments, I wonder how many people have gone on to buy a dress form, or use the one they have differently, or more often, as a result?

Sew Over 50 stalwart Tina generously shared with us the many resources she has gathered together over the last couple of years for sewing and adapting patterns and clothing after a breast cancer diagnosis. It has been one of my most read articles on the blog since it was published in the autumn and I know Tina is happy for followers to contact her via Instagram for any advice or support she can offer them. For me, she very much represents the positive aspects of being a part of this worldwide community.

One of my favourite ‘in person’ events in the sewing calendar, Sew Brum, quietly took place in the autumn and my lovely mate Elizabeth kindly put me up overnight and we had some quality shopping and sewing time together. Our friend Melissa even joined us for a couple of hours for a Zoom sew! Plus I ran in my first (and so far, only) Park Run too! phew, it was a busy and almost-normal 48 hours.

We got VERY wet at the Park Run but we earned extra smug points in our me-made Fehrtrade running kit! [I wrote a post about the Tesselate Tee that we’re both wearing here]
I didn’t even buy any of this green fabric at Barry’s in the end…

I finally made a jumpsuit (or two) at the end of the year, it’s the Cressida by Sew Me Something Patterns.

I made this second one to wear at the first Lamazi open day in November. It was so much fun to be a part of and I really hope there will be the opportunity to hold more events during 2022 because it so good to meet up with people in person and to just chat about sewing all day.
This was fun outing to the V&A that actually happened rather than being cancelled like so many others, it was an in-person talk by Oscar-winning costume designer Sandy Powell and it was absolutely fascinating. I’ve really missed these talks in the lecture theatre and it was great to be back.
Being an actual grown-up at a fun event!
I splashed out on this unusual quilted fabric from Merchant and Mills and sewed it up into their Fielder top plus I wrote up a blog post on how I made the too-wide elastic fit around the neckline.
These Eve pants are also a Merchant and Mills pattern and they became my second-favourite trousers of the year, made in their Elinore checked linen and worn with a long-sleeved Holiday shirt in Swiss Dot.
This second Hug hoodie of the year by Made It Patterns is definitely one of my favourite makes of the year. It looks tricky but is very straightforward to sew and the style lines look very effective.

For quite a while I had wanted to organise an informal sewing event and they were finally able to happen in October and November with #HertsSewcial It was such a joy to be reunited with my Sew Over 50 stalwart friends Ruth and Kate, along with meeting several other online friends like Bev and Elke in real life for the first time. We had so much fun sewing and chatting together, the time flew past far too quickly and I very much hope I can organise some more in the New Year, current situations permitting.

Can you tell that Ruth, Kate and me are happy to see each other again after far too long!?

And my final sewing treat of the year was being able to meet up with Judith Staley in her hometown of Edinburgh!! It was much too brief but absolutely better than nothing, we had so much we could have talked about but that will have to wait until our oft-rescheduled and much looked forward to sewing get together next spring…fingers tightly crossed!

My final personal make of the year was another Maven Somerset top in this celestial jersey I bought at the Lamazi open day. It’s festive without screaming CHRISTMAS!

And so ends another year of sewing and other stuff, as well as the new garments I’ve sewn for myself there were many other occasions when I wore, and re-wore, favourites which didn’t need to be photographed! I fervently hope 2022 brings better times for everyone and that we can adapt to our new or changed ways of living. Sewing will continue be a big part of my life and I hope there will be some new and exciting projects and opportunities during the year. There are so many wonderful people in this community and the support and encouragement that swirls around has been so important during another trying year-I hope I will get a chance to meet up with more of you in person during the next twelve months.

Until then, thank you for reading my wafflings, happy sewing and a very happy New Year,

Sue

Sewing the Cressida jumpsuit by Sew Me Something

I’ve been dithering for aaages about sewing myself a jumpsuit for various reasons. The main one is because I’m haunted by the memory of an ill-advised white cotton get-up purchased one lunchtime from Leather Lane market in about 1986….ah the folly of youth. Of course I was channelling Pepsi and Shirlie and thought I looked the bees knees but I’m just grateful there’s no photographic evidence to prove very much the opposite was true!

I digress. My other reasons are simple enough; what about when I need the loo? (which is often) and, will my bum look big in it? [Of course the size of my bum should never be up for discussion but decades of reading articles in magazines telling a woman what she can wear because of her age/ weight/ height etc etc can’t be unlearnt overnight]

I know there are some cracking patterns for jumpsuits (and I cannot bring myself to call it a boiler suit because that just makes me think I should be in the inspection pit under a Class A4 Pacific locomotive with a monkey wrench in my hand) and I’ve even got as far as buying and printing the uber-popular Paper Theory Zadie but that’s where it ended.

Anyhoo, I went to the recent Knitting and Stitching Show at Ally Pally and while I was at the Sew Me Something stand I signed up to receive their newsletter. The upshot was my name was randomly chosen and I won a pattern of my choice from their selection. [You might know that one of my favourite tops is their Imogen blouse which I’ve reviewed here in the past] This time I decided to go mad and choose their Cressida jumpsuit. It is a simple shape with short grown-on sleeves, a collar and rever, bust darts, a waist seam, hip pockets, slightly cropped length and an optional belt. I received mine as a paper pattern but it is also available as a PDF, plus PDF with a printing service too if required.

Because this was a completely new type of garment for me I decided to make a toile version first so I used some medium weight denim I bought in Hitchin market. I made the slightly rash decision not to pre-wash it because I was in a hurry to get started so I gave it a really good steam press instead. With hindsight this probably wasn’t entirely wise because the colour came off on my hands terribly and there was some shrinkage when I eventually washed it, although fortunately not enough to make it unwearable.

Based on my body measurements and the finished garment measurements I opted to make a UK size 12. Aside from my own foolishness with the fabric shrinkage I’ve found the 12 to be a good fit. The body length was just right which means I can sit or move comfortably in it, the only change I made was to the second version which I made using some beautiful Cousette viscose twill provided for me by Lamazi Fabrics to wear at their very first open day in mid-November. I decided to add 1.5cms to the bodice using the lengthen/shorten lines marked on the pattern. However, I probably didn’t need to have done so because I was making that decision based on the slight shrinkage of the denim! Not to worry, it means that getting in and out of the jumpsuit is a bit easier because of the extra wiggle room.

A couple of details I tried out on the denim jumpsuit were to use a variegated sewing thread for the decorative top stitching and buttonholes which I bought from William Gee. I also added belt loops which aren’t included as part of the pattern but I wanted these so that the belt sat in roughly the right place and covered the seam. By the way, I felt the included belt pattern piece was very long so I shortened it quite considerably, by at least 50cms. I had recently bought some gorgeous buttons from Pigeonwishes, also at the K&S Show and these were exactly the right colour, size and quantity I needed-perfect!

Southend-on-Sea buttons by PigeonWishes
Buttons, belt loops and variegated top stitching complete

Overall I was very pleased with my denim Cressida so I was happy to go ahead with the viscose twill version. As I said earlier I added a little bit of length but possibly didn’t need to, being a button front opening does mean that I’ve given myself just a little bit more space to get the sleeves up and down from my shoulders. Because we’re heading into winter in the UK now I have opted to wear a long-sleeved T-shirt underneath at present (both ancient RTW ones) Although I made the fabric belts for both I can put a leather one through the loops instead and it looks good.

worn with a leather belt

I have found the instructions for Sew Me Something patterns to be very thorough and clear and the Cressida is no different, the pattern goes together very well. Jules uses a slightly different method for sewing the collar together which I haven’t used before but it gives a very nice end result. I would rate this pattern as a moderate level of difficulty because of the buttonstand at the front but otherwise there’s nothing here to scare the horses particularly.

When I made the second Cressida in the viscose twill I didn’t make the same mistake twice and pre-washed the fabric first! The viscose has a beautiful weight and drape to it and I love the autumnal colours. It has a lovely soft handle too, you just need to be as careful as possible when sewing it together because viscose twill does have a reputation for snagging which can result in slight ‘catches’ or runs in the print which is irritating and disappointing. My advice would be to make sure you use a new fine needle, possibly a Microtex, and certainly no larger than 70/75 size to try and minimise any risk. Also, viscose is often known for creasing a lot but I didn’t find this twill to be too bad-damning with faint praise possibly but I’ve come across far worse.

I made the decision to sew the buttonholes in a variety of colours so that they weren’t quite so obtrusive and you can also see that I used a twin needle to sew the cuffs of the sleeves.

As I mentioned earlier, I made the Cousette viscose jumpsuit to wear at the recent Lamazi open day, I’ve been one of their blogger team for some time now so it was lovely to have the chance to visit their new premises (they aren’t a retail shop but check here for their visiting arrangements) fellow blogger Sharlene Oldroyd was also there having travelled especially from Northern Ireland so it a real treat to finally meet her in real life.

getting stuck in to stroking all the fabrics!
Because there was no shrinkage of the fabric this time, and also because I added 1.5cms to the body length, the legs seem quite a bit longer than the denim version. I’m not sure if they are right this length so I’ll probably shorten them at the hem slightly-they are neither long enough nor short enough just now!
there are two patch pockets on the back in addition to the hip pockets. I didn’t attempt to pattern-match them because the print is busy enough, and no one is likely to notice anyway.
I nearly came unstuck at the last hurdle because I didn’t think I had any suitable buttons. Cousette don’t make matching buttons and my local store had a useless ‘selection’ if you could even call it that. I didn’t want to spend a lot of time trawling online either but eventually I found 6 matching buttons amongst my button boxes and I think they will do adequately well.

So there we are, a lucky win from Sew Me Something and a generous gift of fabric from Lamazi means that I’ve broken my long-held suspicion of jumpsuits. Both have been worn a few times already and, because of the short sleeves, they will get worn in the summer months too. Taking into account my worries of getting in and out of the jumpsuit, it hasn’t been too much of an issue. The denim one is a little more tricky to get over my shoulders because the overall length is slightly less but I haven’t had a problem with the viscose edition.

And you can actually jump in it too!

The Cressida would also look lovely made up in a variety of fabrics including linen or crepe, or even a luxurious silk-type perhaps?

Until next time, happy sewing

Sue

Tips for sewing with linen jersey, a new Lamazi post

Did you know that linen jersey was even a thing? It’s an unusual fabric which you don’t see often, we all know knits are available in most other fibre types-cotton, wool, silk or man-mades for example- but I’ve never worked with it before so when Liana invited me to sew my next Lamazi project using it, and to pass on any hints and tips for sewing it, I was up for the challenge. 

This 100% linen jersey comes from Mind the Maker in a range of colours and I picked the Dry Mustard shade which is a lovely vibrant ochre. The fabric has a beautiful lustrous sheen on the right side, the reverse is duller so it makes it much easier to tell the difference between the two. It has lovely light drapey quality too and is slightly sheer.

Linen fabric is not a textile known for its inherent stretch qualities and this jersey does feel slightly different from other knits because it has only a small amount of stretch along its length and quite a lot of stretch across the width but it has very little recovery so once it’s been stretched out it will stay like that at least until it’s washed again. During construction the application of plenty of steam will encourage some of this accidental stretching to be eased back into position so, coupled with its sheerness, this means that you need to think carefully about what garment to sew with it. 

Plenty of steam will help remove most unwanted bagginess like this

The properties of linen fabric itself [cool in warm weather, warm in cold weather] mean that it would be ideal for loose-fitting leisure or exercise wear, for yoga or Pilates for example. I would definitely say it’s better to avoid anything that is particularly close fitting because areas like the elbows or wrists would become stretched or baggy with little recovery. However the fabric has a lovely drape and its fine gauge allows it to be gathered up successfully so these properties could be exploited instead.

Bearing all these factors in mind I decided to make (another) Sewing Revival Heron dress which I would hack into a blouse. The pattern has a neckline which is gathered using elastic along with raglan sleeves with deep elasticated cuffs. To mix it up further I decided to pull the hemline in onto elastic rather than have a wide smock silhouette.

First things first, I washed the fabric by hand to remove any risk of excessive shrinkage or twisting in the machine. If you want to wash it in the machine then it might be an idea to overlock the cut ends together first to form a long loop and place it into a large washing bag to protect it further. Alternatively you could press it on your ironing board with plenty of steam instead. If at all possible it is better to dry the fabric flat, and certainly don’t wring or twist it. All of this might sound off-putting, and it is clearly not as straightforward as chucking a nice stable cotton into the machine but this is a luxurious fabric and deserves to be treated and handled carefully in the preparation. When it comes to cutting out your pattern pieces lay the fabric as flat as possible, handle it gently and don’t pull it about too much, especially if you decide to fold it. I made a whole back pattern piece for my top so that I could cut it flat, another appeal of the Heron pattern for me is that it has just three pieces so it’s a relatively quick sew usually. 

After cutting all the pieces the first thing I did was stabilise all the raglan shoulder seams using some iron-on seam tape, I did this to prevent any unwanted stretching before I sewed the sleeves in later on. I added small squares of iron-on interfacing to reinforce the bottom of the opening on the centre front seam too. I also decided to press all the folded parts of the casings/ruffles for the neckline, sleeves and hem before sewing anything together, just so that I was handling the cut-out pieces as little as possible, again to prevent unwanted stretching before they got joined together. I also tacked these folded parts into position temporarily. All this might sound excessive but I wasn’t in a rush, and I found the slow and considered processes very soothing at quite a difficult time. 

iron-on stay tape to prevent unwanted stretching of the raglan seams
I pressed and tacked casing/ruffles before joining the sections together later on
reinforcing the bottom of the neck opening with small squares of iron-on interfacing.

Something else I did before commencing was check on fabric scraps which needle and stitch-type would give me the best results. A ballpoint needle suitable for stretch/knits/jersey is essential to prevent snagging which could lead to laddering of this delicate fabric, and I found a short straight stitch was better than a narrow zigzag but you must do what works best on your own machine. You could sew a garment together entirely on an overlocker but be aware of the lack of rebound this fabric has so if it gets stretched or misshapen while it’s being sewn then it’s probably like that permanently. I also tested the overlocker finish before diving in for the same reasons. If you don’t have an overlocker this fabric is fine enough that where possible you could probably sew self-neatening French seams, or a wide zigzag might work but just be careful it doesn’t chew up the edges. If you have an overlock stitch option on your sewing machine and/or a special foot to sew an overlock-style stitch then definitely use them. Test all options before making your choice, the time taken could save you upsets later on. I slipped some folded strips of paper underneath the seam allowances when I pressed them to minimise any chance of the seam showing through on the front

testing stitches and overlocking
I popped two strips of folded paper under the centre front seam while I pressed it so that there was no show-through or unwanted shininess on the right side.

If you have a walking foot for your machine this is definitely a fabric worth using it for, even if you don’t it’s a good idea to use plenty of pins. I’m not a fan of mini-clips because I think they are too heavy and get in the way, this fabric is lightweight and I think mini-clips could distort it while you’re sewing but it’s up to you. Tacking seams is always an option too of course, any technique that prevents the fabric shifting while you sew basically.

If you’ve followed my blog for a while you’ll know I’ve made a few Herons before so the construction was straightforward, the only area I did differently was to create the ruffled hem with a wide elastic casing. I couldn’t decide between my planned 2cms or 1cm wide elastic initially so I tested with the two widths to see which I preferred-I chose to stay with the 2cms width as planned. 

testing which elastic width I preferred for the hem, this was the narrow one (the fabric scrap is wrong side out!)
and this is wider width, it’s the one I used at the hem in the end.
using a bodkin to insert the narrow elastic in the neck casing.
checking the gathered neckline on the stand
I used this quilting attachment on my machine so that I sewed an accurate parallel width for the elastic casing
close up of the elasticated hem casing

To sum up, I’m really pleased with how my first experience of sewing with linen jersey has gone, I’ll admit I was a little nervous because Liana was putting her trust in me with an expensive fabric but taking the time to plan and test, and use my existing knowledge of working with knits definitely helped. Because of the sheerness of the fabric Lamazi also provided me with a metre of Atelier Brunette crepe viscose in Ochre to make a camisole to wear underneath, I used the Simone camisole and trousers pattern by Maven which is a very quick make and a very useful garment to wear on its own or underneath other garments. The crepe viscose is a beautiful quality fabric with lovely handle and drape but be aware that there’s a disappointing amount of creasing, you might want to take that into account when planning, for example if you’re making something you’ll spend a lot of time sitting in.

all finished

As always, I hope you find my hints and tips helpful if you choose this lovely fabric, I wouldn’t recommend it to a novice sewer because some experience of sewing with other similar fabrics is definitely an advantage, plus it would be shame to end up with a costly mistake, but if you’re looking for a new challenge to add to your repertoire this could be a good start. I’ll launder the finished garment either by hand or in a wash bag on a gentle cycle in the machine. I’ll dry it flat too and store it that way, I don’t want a coat hanger to make it misshapen. If you’re a person who prefers not to worry too much about their clothes or their maintenance then this might strike you as overkill, and that’s fair enough, but I don’t think it hurts to have a few special things in our wardrobes which were worth the effort to make for ourselves. 

I’m looking forward to wearing this top as autumn is fast approaching (did summer ever arrive!?) thank you to Lamazi for providing me with the fabric to review.

Until next time, happy sewing,

Sue

1980’s College Days refound!

Did you keep any of your old college course work? I am by nature something of a hoarder but even I was surprised when an unpromising cardboard folder came to light recently while we were having a grand clear out. It said “Russia 1980” on the outside so I was excited to think that it contained some memorabilia from my school trip of that year [The trip caused some local controversy at the time because that year the USSR had invaded Afghanistan just a matter of weeks earlier and some people felt we should no longer go. Our Head Mistress, the doughty Miss Pagan, was having none of it so we went regardless! Many countries boycotted the Moscow Olympics later that year in protest…about the invasion, not because my school trip went ahead]

I digress, upon opening the folder I found it contained nothing of that trip at all but it did contain many of the sketches and designs I produced whilst at London College of Fashion between 1983-85 including the final project when I produced two ‘mass market’ bridal outfits. Well what a trip down memory lane they proved to be! It was a period of my life when I was so happy with what I was doing, I’d finally found the right course for me (technical garment construction and not just design) I had a great bunch of college mates, I loved it.

I’m sharing the sketches partly because then I’ve documented everything for my own reference and enjoyment, but also because I hope there might be things of interest to others as well. Fashion-wise the early eighties were a time of puffball skirts and massive ruffles, enormous sleeves and ra-ra skirts, wide collars and even wider shoulder pads! Princess Diana was the style darling of the fashion magazines and whatever she wore became a trend. Last year I shared lots of press clippings and photos from my early working career which you can still read here.

The earliest image is from before my college days and it’s the dress I made for my school friend’s 21st birthday in October 1982. It was entirely self-drafted because I hadn’t formally learnt pattern cutting yet at this point. I can remember it clearly and the notes on the sketch are very thorough. It was a great party too!

What follows are the design and development sheets for an evening wear module [you can see now why it’s my first love when it comes to making] We had to design variations of similar dresses and gowns to illustrate how a garment could be adapted and simplified to cater for it’s appropriate market.

This was the high-end dress as a starting point, it still has fabric swatches attached. I will have trawled the fabric suppliers around the college in London’s West End and been one of those annoying students who would ask for swatches of expensive fabrics which they had no possibility of ever buying! Most of the shops and showrooms were amazingly tolerant of us. It’s such a typical 80s dress with ruffles and bows a-plenty.
This was the middle market version so the fabric would have been less costly and the ruffle quota was much reduced, it was similar but simplified. There would have been fewer hand-sewn elements but the silhouette is still recognisable.
This is the mass market dress and I made notes to the side as well. It is still recognisable as the coming from the same silhouette but costs were further reduced by using inexpensive fabric and much less of it. I wonder if I made a conscious decision to use felt tip for the sketch as well?
Variations for the high-end dress (I obviously preferred this market as the drawings are better!)
more development ideas
Crikey, getting very carried away with the felt pens here, I think there’s a hint of Antony Price and Thierry Mugler creeping in
I remember starting to make this one up but I don’t think it was ever finished, I wonder what happened to it? It’s probably in a box in my parents’ loft!
lots of detailed annotations
yet more variations
Blimey!
What I find interesting about all of these sketches is the similarity to the designs I would actually go on to work on at David Fielden after I left college. At this point I had no real idea that bridal and evening wear was the direction I would eventually take, I just knew that I really enjoyed it.
And this is where my bridal career effectively began, it was the optional bridalwear module in the second year of the course. I still had a hankering for theatrical costume so this was a perfect outlet for those ideas. I cut and made this dress, eventually I disassembled it and I know I still have the buttons at least in my ‘collection’.
Sleeves were clearly a ‘thing’ for me!
I don’t remember what these were related to, just general evening wear I guess
woaah, more enormous sleeves, and rosettes too

For my final project I opted to make two bridal outfits, I’m guessing they were mid-range and the jacket and skirt was probably intended as a register office outfit whilst the ‘Laura Ashley” dress and jacket was probably for a simple church wedding or registry office. I had a real client for the suit which was my then-boyfriend’s sister. This was handy because she paid for the fabrics for it, the jacket and skirt were white crepe-back satin and the blouse underneath was a soft green georgette. I think my ‘brand’ was possibly Jacques Verts who specialised in smart workwear for the modern working woman (definitely power shoulder pads with everything) or mother-of-the-bride type outfits with matching everything, dresses, jackets, hats, bags, shoes, the lot.

Quite a bit of Eighties power shoulders going on in these

Laura Ashley were hugely popular in the Eighties with their feminine and floral styles, they also produced a range of dresses for brides and bridesmaids at reasonable prices so that will be why I picked them as my brand for this project.

I remember those box pleats being the very devil to work on, I think I made things very complex for myself with them. I bought a pretty white cotton damask fabric from Laura Ashley to make my sample from (like tablecloth fabric but softer) I’m pretty sure there’s still a bit of it knocking about in one of my fabric boxes…I wonder what happened to the dress and jacket though?

Well, there we are, another wander back into the past for some Eighties fashion extravagance. You’ll see why I probably won’t embrace the current trend for wide collars because I did them the last time around (although fabulous sleeves will always hold an attraction for me) we were all busy being New Romantics but that Steve Strange eye make-up was difficult to pull off with glasses!

rocking my Eighties mullet (specs sponsored by Everest double glazing…)

Until next time, happy sewing

Sue

My latest Minerva make-Tilly’s Tabitha T-shirt dress

I seem to be constantly attracted to teal/turquoise/duck egg shades recently so this Art Gallery organic cotton jersey for my recent Minerva post looked perfect when it hoved into my field of vision! 

I’ve used Art Gallery knit fabrics in the past and the designs and fabric, whilst fairly pricey, are lovely quality. This particular jersey is an organic cotton (with a little Elastane) and very soft, a lighter weight than many so it would be good for children’s and babies clothing as well as adults. I love the print, I think it’s a vaguely ‘Tribal-esque’ graphic stripe and I quickly decided to make a Tabitha T-shirt from Tilly and the Buttons book ‘Make it Simple’ which I’ve made a few times before but to try out the dress hack version for a change this time. 

I traced off a new copy of the pattern using the horizontal lines indicated across the bodice specifically for the dress. I’m not long in the body but I thought it looked a little short so I added an extra 2cms to the bodice length. In truth I probably could have added more than that because I feel there isn’t as much blousing at the waist as there seems to be in the photo in the book [If you know, or suspect, you have a long body length then pay close attention to this before cutting your fabric, get someone to take your nape to waist measurement and compare it to the back pattern piece. If necessary then add any extra through the horizontal ‘lengthen/shorten’ lines, and don’t forget to do the front as well!] If you’re wondering why this matters, it will mean that the waist seam sits too high above your natural waist and could look more like Empire line. 

I followed the instructions in the book to draft my own skirt pattern which was simple enough, you only need one because the front and back are identical (you’ll need a decent sized piece of paper to do this) I cut the new front and back as complete pieces so that I didn’t have to cut anything on the fold, I also wanted a short sleeve so I traced one off. 

The fabric was a little bit curly at the edges so I took my time cutting out, be careful not to pull or drag the fabric at this stage because this could result in twisting of the finished garment. It’s helpful to mark stripes onto the pattern so that you can then match them to corresponding seams more easily. Cutting a single layer of fabric can really help make this more straightforward, and be less wasteful too.

Moving on, the suggestion for the waist casing is to use eyelets or buttonholes. I used a small round-ended buttonhole, whichever method you choose make sure you interface underneath first to stabilise the fabric. I used the quilting guide to help me sew an accurate 2cms seam to create casing. Once I’d sewn it I used a bodkin to thread the ribbon through.

Tiny round-ended buttonholes instead of eyelets
Using the quilting guide to sew an accurate 2cms seam to create the channel
I used a bodkin to thread the ribbon through, this was some tape I used initially until I got the better-matching teal grosgrain ribbon.

The rest of the construction was pretty quick because I already knew the T-shirt in size 5 was a nice fit, the skirt was a bit ‘hippy’ though so I took some off in that area. Following the drafting instructions the pattern piece is shaped for the waist but, for me, a straight rectangle would suffice.

The length was educated guesswork but I’m very happy with it and it’s not too restrictive at the hem, any longer or narrower and the skirt might need a split in it to allow movement. I have the advantage of using a Pfaff coverstitch machine to hem the sleeves and skirt but a twin needle or a zig-zag stitch will do the job too, and don’t forget to use a ballpoint or jersey needle. I used a narrow grosgrain ribbon in a toning teal to slot through the waist casing to complete the dress. As I mentioned near the beginning I might add just a little more length to the bodice next time but otherwise I’m really pleased with this Tabitha dress, it will be comfortable to wear for everyday and easy to roll up in a suitcase if I ever get to go on holiday again!

not keen to reveal pasty white legs!

Minerva provided me with this lovely fabric to write about, I’m delighted with the quality and I’m especially happy with the dress which is so just comfortable.

Until next time, happy sewing

Sue

The Sewing Revival Heron dress hack

Two years ago I wrote a review of the Sewing Revival Heron dress which you can still read here. I liked the pattern so much that since then I’ve made another knee-length version in a viscose/linen mix fabric from Ditto in Brighton and a blouse variation too in a beautiful soft Italian cotton voile, also from Ditto. I wore it often although not so much lately…

wearing the blouse on my trip to Paris for the Sewcial in May 2019
my very first version of the Heron dress…it has pockets!

While I was at Sew Brum in October 2019 I bought some lovely soft brushed printed viscose twill from Barry’s Fabrics with the express intention of making another Heron but this time making it longer and more cold weather-friendly. There had been a lot of Wilder Gowns by the Friday Pattern Company popping up everywhere at the time, I liked the tiered style a lot but I knew I could create my own take on it by using a pattern I already had. A multiple-layered skirt like this isn’t difficult, it’s really a case of working out the number and sizes of rectangles you want to use. If you take a look at this post I wrote about recreating a sun dress for a client in 2019 you’ll get the gist. Because I like the top section of the Heron so much I decided this was a good pattern to use and it wouldn’t be difficult to adapt it to what I wanted.

All the quantities and proportions I have used for this dress were completely arbitrary and had to be based primarily on the quantity of fabric I’d purchased [which I can’t actually remember as it’s well over a year ago, probably 3m of 150cm wide fabric I’d guess] and my own height of 5’5” so bear this in mind if you decide to have a go yourself. I wanted the dress to be nice and long so eventually I settled on approximately hip length for the bodice, the finished length of the side seam is now 40cms. I folded the front and back dress pattern sections up out of the way when I pinned them to the fabric (obviously you could trace or print off a new copy of the PDF if you wish) Once both bodices, sleeve and pocket pieces are on the fabric [pockets could be cut from something else if you’re a bit short of fabric] I could see exactly how much I had left to create the skirt from. I kept it very simple and divided the remaining fabric into two equal rectangles across the full width, each one measured approximately 56cms long but that had to include the seam allowance at the top and a hem at the bottom.

Initially the construction of the dress followed the normal method up as far as putting the pockets into the side seams of the bodice as per the pattern.

Making the skirt was very straightforward, I joined the short selvedges to one another [if it’s a one-way design make sure the print is running the same way on both pieces] to form a large cylinder of fabric with two side seams. Press the side seams open, if you’ve been able to use the original selvedges they might not need finishing. I made the hem at this point too, it seemed easier than wrestling with a complete dress at the end, although this could have backfired on me if I hadn’t been happy with the length but I was pretty certain it would be OK.

I ran two rows of gathering stitches within the seam allowance of the top edge, I pinned them in position matching the side seams, centre front and centre back, plus the quarter seam positions too. Gather up carefully so as not to break the threads, small pleats would also work here especially if the fabric would be bulky otherwise, it depends a bit on the weight of the fabric to some extent. Once I was happy with the gathering distribution I sewed the skirt on and overlocked the seam.

And that was it. Now, I have to say that because I was taking a risk with proportions and limited by the quantity of fabric I’d bought that if I were to repeat this I would definitely make the bodice quite a lot shorter and make the skirt from more than one gathered tier instead. I’m happy with the overall finished length but I think the seam at the hip isn’t quite right. But, by wearing it with a narrow leather belt (there wasn’t any fabric left for a self-belt anyway) and bringing it in at the waist I’ve saved it, the belt gives it a lot more definition.

I added a tie at the neck this time using a bit of grosgrain ribbon which I had knocking about.

I grabbed a cheeky selfie in John Lewis with my sewing friend Ruth in the autumn, we can only dream of when we can meet up again at the moment though sadly. that’s my upcycled jeans jacket I’m wearing

The dress was finished around a year ago and these photos were shot in the autumn but it’s taken until now to write up. I just wanted to demonstrate how easy it can be to make your own version of popular patterns using one you already have-there’s a certain risk involved because it might not be completely successful but that’s always the risk anyway when making our own clothes-a style might turn out not to suit us after all, or we make a wrong fabric choice, or it could be a triumph so why not revisit what you already own before buying another pattern?

Until next time, happy sewing

Sue

Sewzine- a new independently published mini-mag

Just before Christmas I was contacted by founder and editor Jillian Bagnall and offered a complimentary copy of her new, independently published sewing-based mini-magazine called Sewzine to review. I didn’t know what to expect, initially I thought it was an online print-at-home publication but I have been very impressed because it is a nicely produced print magazine on quality paper and with high production values. The graphics are clear and appealing and there’s plenty of attractive photography and illustrations for each article, plus, because it’s been independently published, that means there are no adverts to take up space, it is all content.

the cover of the first issue of Sewzine, the leading article about bra-making features on the front

Let’s take a look at a few of the articles inside…

I have to admit that bra-making is something I’ve never been very tempted to try, I’d rather leave that to the experts, but I thought the article was very well written because it gives a balanced view of why it’s worth considering making your own bras, or why it might not be for everyone, I was almost persuaded! I thought the information contained in the piece would be extremely useful if you’re about embark on bra-making, including lists of patterns, materials and findings that you would need, where to source them and a tick list to fill in as you collect them together.

I found the article about wool and woollen fabrics really interesting and very well researched, there was all sorts of information about the various sources of woollen fibres and types of fabrics. Like the bra-making article it was well-illustrated as well.

I had a chuckle at the “Bring it Back?” article because I spent so much of my early career cutting and making puffball, or ‘bubble’, skirts. I enjoyed the exploration of the style from its early days to more recent incarnations, I can see this as a thread of articles revisiting other iconic styles in the future…hot pants anyone?

I also really enjoyed the idea of revisiting patterns from a year or two back to reappraise them. We are constantly bombarded by new new new patterns but I’m always happy to reuse patterns I’ve enjoyed making previously. By chance, the pattern featured in this issue is the Grainline Patterns Farrow dress which I’ve actually made 3 times myself, including one review that featured in Sew Now magazine.

The mini-mag is aimed at intermediate sewers but I think this shouldn’t put off less experienced makers. I enjoyed the chatty yet informative style of writing and a lot of time and effort has gone into the inaugural issue, it’s clearly been a lockdown passion project. There are no free patterns or other inducements as an incentive but that does mean that the editorial is unbiased so if you are intrigued to have a read for yourself then follow the link here to the Sewzine website where you can order a copy of the first issue for yourself (it’s priced at £5.75 per copy) Jillian would also welcome any ideas you might have to contribute articles for future issues, contact her via sewzine@gmail.com While you do that I’m off to have a go at the crossword…

Until next time, happy reading

Sue

2020-Sewing in a Time of Pandemic

Well what a year 2020 turned out to be!

It’s been such a tough time for so many and being a part of the wider sewing community has been a very real lifeline for many people. Those of us that enjoy making our own clothes already realise the obvious benefits this can give us; total freedom to choose types, colours and patterns of fabrics as we wish, the ability to emulate high-end or high street fashion at the price-point we can afford and the skill to make clothes fit our own particular body type, to name but a few. It shouldn’t then come as a surprise that the wider world, whilst searching for activities to entertain and occupy them during the long weeks and months of lockdown, discovered (or rediscovered) that home sewing can be creative, absorbing and rewarding which is a VERY GOOD THING! Who knew there was a link between doing a creative activity and a more balanced sense of well-being??

To be honest it doesn’t matter what that activity is, or whether you’re really any good at it, the fact that it can take your mind away to other less stressful places for a time is what matters.

But at the start of the year none of that was of much interest to most. I was extremely fortunate in January to go on a cruise to the Caribbean so I made a couple of new things to fills ‘gaps’ but mostly I took old favourites…cue multiple photos of 3 versions of The Maker’s Atelier Holiday shirt on heavy rotation! One new item was the Trend Square dress I made in fabric given to me by Dibs from Selvedges and Bolts the previous year, I got a lot more wear later on in the summer.

Within a couple of weeks of getting back, Judith Staley and I hosted the very first Sew Over 50 meet-up in London. We very much hoped, and expected, that it would be the start of many more such meet-ups between followers of the @SewOver50 account all over the world but it wasn’t to be…not yet anyway.

If you’ve been reading my blogs for a while you’ll know that as well as meeting up for sewcials with fellow sewers I really enjoy my visits to exhibitions and galleries. At the end of February I caught up with Janet Poole who is a fellow Lamazi blogger at the Stitch Festival in London, I had such a lovely day shopping and chatting with her, and her friend Great British Sewing Bee winner Juliet too. We didn’t realise it then but we were very fortunate to be able to attend the event at all and I wouldn’t be surprised if others who went didn’t catch the-virus-that-shall-not-be-named because it was so crowded.

About a week after this I was able to go to the stunning new Kimono show at the V&A and, although we didn’t know it at the time, that was to be the final outing for several months…

I wore the new Homer & Howells Cissy dress (and failed to remove my coat from shot which I chucked on the floor!)

So then we entered the first long lockdown and that’s when sewing (and some baking) became my primary occupation. During this time I had some blogging commitments for Simple Sew Patterns and Lamazi fabrics to complete. For my first Lamazi post I made a Trend patterns Bias T-shirt dress which was a tough make, not because the pattern was difficult but because I was making the dress for a wedding that never took place. And worse than that, I was making the Bride’s gown too so I still have an almost-finished dress waiting for the day that the wedding can happen.

In all honesty I hated how I looked in this dress because I had piled on weight and felt very self-conscious in a fitted dress. It was a lovely pattern made in beautiful fabric but I felt I was doing both a disservice. Eventually I did wear it in September by which time I had lost weight and it was a delight to wear! I’m sure I’m not the only one whose state of mind has fluctuated wildly this year and my self-confidence was rockbottom when this picture was taken.

I know I’m very blessed in that I have little to actually complain about in my life but that does not mean that these months of lockdown didn’t take their toll mentally so, when the call to help make scrubs came, it was something I could actually do! Eventually I made 10 sets, I believe they were headed to a maternity department in a London hospital.

I continued to keep busy by doing a few refashioning projects because the desire to make new things that weren’t going to be worn outside the house was just too depressing. I love the act of making clothes, the planning, the cutting out, the sewing, because that was taking my mind off what was happening in the real world but how could I justify making new clothes that I had little use for? Even dressmaking was starting to become a negative because I felt guilty about it. By doing some refashioning projects using things I already had, other than new fabric, I made a few items including pyjamas for my final Simple Sew post and another pair using the PJ pattern in the Great British Sewing Bee book written by Alex and Caroline of Selkie patterns and for which I had made a couple of samples. I used 4 old work shirts of my husband’s which were very well worn! I also made (eventually) two pouffes as well which took care of loads of scraps and off-cut furnishing fabrics and were extremely satisfying! I also refashioned a very old and redundant heavyweight cotton curtain into a Dawson coatigan by Thrifty Stitcher.

Early on in lockdown I had the pleasure of talking to Maria Theoharous for her Sew Organised Style podcast on a couple of occasions. I’ve set up a separate page so you can access this to be able to listen to her inspiring SewOver50 guests every week. One of our chats revolved around how we each arrive at our fabric choices for specific purposes or projects, I wrote this topic up as a post which you can read here, and I also wrote a further post which came from when I was guest editor on the @SewOver50 account and we talked about our cutting out processes-did we cut and make one thing at a time, or cut several things and have multiple projects on the go? Scissors or rotary cutter? Pins or weights? It was wide ranging and fascinating with so many excellent ideas and practices. I hosted another discussion about a variety of hem finishes later in the year and you can read that one here. Incidentally, by the end of this year @SewOver50 has reached an incredible 25,600 followers!!

One of my stranger tasks this year was to carry out a socially-distanced dress fitting on a doorstep! Before lockdown started I had been commissioned to make a dress for a work colleague of my daughter Katie. Thankfully I’d opted to make a toile of the bodice which I’d fitted just before lockdown kicked off so I managed to get the dress to a good stage of completion. However, I got to a point where I definitely needed her to try it on because even if she couldn’t wear it for the event she had hoped to, it would be nice for her to take delivery and wear it around the house!! So I went to their place of work and handed the dress over at arms length to Tracey to put on in the staff toilet, then she came out onto the porch where Katie, under my direction, pinned the dress for me. I took a few photos for reference too. From that I was able to finish and deliver the dress and my client was delighted with it…phew

One of the regular sewing highlights of the last 4 years for me has been the Sewing Weekender which generally takes place in Cambridge, UK in August. The organisers took the bold decision to put the whole event online instead which meant that many more people could ‘attend’ from all over the world. Myself and Judith Staley were delighted to be asked to contribute a video message each which was very nerve-racking but it turned out alright in the end. I published a transcript of mine here, along with the original video (you’ll notice that I had abandoned my signature pink hair by this time because, quite frankly, what was the point of bothering!) The Online Weekender also raised a significant amount of money which was divided between 4 charities. 

As lockdown started to ease in the summer I was able to get out and about a couple of times. I joined an al fresco rag-rugging workshop in Hertfordshire run by Elspeth Jackson of Ragged Life which was so enjoyable, and I visited a couple of exhibitions in London including the Kimono show again, plus Andy Warhol at Tate Modern and Tricia Guild at the Fashion and Textiles museum both on the same day. Since then though things have been shut down then reopened, then shut down again. My heart goes out to everyone who is trying to run a business or an organisation that relies on visitors through their doors to make them viable, their future is very uncertain.

I’ve made a few other garments during the autumn which I’ve been really pleased with including the Prada-inspired shirt dress and a pair of Utility pants by Trend Patterns (not blogged yet) but I feel I’ve run out of steam with my sewing right now and I never thought I’d say that. My own teaching classes restarted for a total of 5 weeks in October but they’ve stopped again. I know some have adapted by using Zoom or other platforms but it just wouldn’t work for me, I feel dressmaking is too hands-on and needs real assistance for tricky bits, holding things up to the camera isn’t good enough sometimes. And being part of a group and all that shared enjoyment is a huge part of it too. I’ve had fairly regular online catch-ups with some of my lovely sewing friends and that has been a joy, albeit not as good as seeing them in the flesh.

Mr Y was the lucky recipient of a few handmade garments too during 2020 when I made him another two Kwik Sew 3422 shirts, and not one but two Thread Theory Finlayson sweatshirts! I’m happy to say he’s delighted with all of them and I’ve got plans for another sweatshirt for him in the new year.

I’m working on my own pattern which I’ve self-drafted so hopefully that will be something positive for the new year but I need occasional assistance from more expert friends and that’s making it a drawn-out process which would have been so much more fun person-to-person.

One final project I was commissioned by a friend to make was a Christmas chasuble for her to wear as she presides over her Christmas services in church. A chasuble is essentially a fancy poncho which the priest wears over their other vestments and Wendy wanted me to create one with a Nativity scene on it. She sourced the base fabric with my advice, and a printed quilting cotton Nativity which was sent from the US. This was square so I carefully cut it into approximate thirds with the central third featuring the stable scene and the star for the front, another third with Bethlehem for the back and the remaining third I cut into two parts to use on the stole, which is the long scarf priests wear around their necks. All of these I attached by appliquéing around the black outlines (I was literally making it up as I went along!) Wendy is delighted with the finished result (thankfully) and I’m sure she will enjoy using them during the Christmas season.

As I finish writing this (2 days before Christmas) we have no idea what lies ahead…some countries seem to be slowly recovering whilst the UK as a whole seems to be sliding further and further into disaster, or maybe not? I should try to think more positively as scientists have worked tirelessly to make a vaccine which will gradually be rolled out. Personally I’m a long way down the list for it but that’s absolutely fine, we must protect the most vulnerable first.

I’m making an effort to look cheerful in this most recent Lamazi blog make, but the wine was slightly off watered down Rosé from my daughter’s fridge and it was 10.30 in the morning! I’m genuinely pleased with the dress though and in spite of everything I’ll wear it on Christmas Day because there’s plenty of room for expansion!!

This has probably ended up not being a-not-entirely-coherent post but that’s kind-of appropriate I reckon! Wherever you are and whatever the new year brings for all of us I’d like to thank so many of you for reading my posts, sending me lovely or encouraging messages. Being a part of the online sewing community and Sew Over 50 in particular has been an absolute joy and a lifeline at times. We need to lift each other up more often, call out injustices when we see them but not to the extent that it becomes bullying of individuals, that isn’t right either. 2020 has been a year of huge upheaval, I plan to restart 2021 with fresh sewing plans to help me to feel more positive about it…it’s going to be a bumpy ride!

Until next time, stay safe!

Sue

a multitasking Festive outfit

The Festive season is often a reason to make, or buy, a special new outfit to wear for office parties or Christmas Day but this year’s Festive season things will be very different for most of us. I don’t want to be entirely negative though so, as part of the Lamazi blogger team, I thought I’d make something which is a little bit Christmassy but will double up as a ‘regular’ winter dress too. 

I’ve chosen the cord velvet from Danish Design in a gorgeous shade of aubergine-I’m always a sucker for purple-but it comes in several other beautiful rich shades including a sumptuous gold and a stunning teal too. I picked this fabric because it’s a medium weight stretch jersey and has soft pile which makes it lovely to the touch. I’ve made a dress but you could easily make tops or wide-legged pants in it, or babies and children’s clothes too because it’s washable and crease resistant. 

Whilst I love a complex make to really get my teeth into I felt this wasn’t a garment which warranted lots of time. Making a special Christmas once-worn garment wasn’t appropriate any longer so I wanted something quite simple but adaptable and for that reason I’ve picked the Somerset T-shirt by Maven Patterns. I’ve made a few of these now, the bones of it are beautifully simple, it has a self-neatened bateau neckline, a slightly fitted silhouette and four sleeve options. I’ve chosen the Bishop sleeve with a long cuff but I’ve hacked the sleeve to make it even fuller, and I’ll lengthen the body to create a dress finishing below the knee.

Another idea was to add a flared skirt which looks nice but didn’t think I would use it as much as the straight version.

The Somerset has excellent very full instructions with lots of tips and advice to get a good finish. There’s a useful sheet to write all your information including body measurements and fit alterations, and a fabric stretch gauge to check you have enough stretch for the pattern to fit properly. You can also list the needle type and size you’ve used, stitch type and length and anything else you might want to remember for another time. 

To increase the size of the sleeves I took the bishop sleeve pattern and drew 5 vertical lines from each of the notches from shoulder to hem. Each segment will become slightly wider as it gets nearer the bottom edge so make sure they are even in size.

Cut a piece of spot and cross or tracing paper bigger than the pattern as it is, mark a grainline running right down the paper and then lay the pattern piece on top of it, matching the grain on the pattern to the grain line you’ve just drawn. Next, I carefully cut up to the top of the marked lines taking care not to snip right through at the top, keep it attached by a tiny amount to act as a pivot point. [If you don’t want to cut your original pattern piece I suggest you trace off a new one to use instead] Then you splay the hem edge apart by a few centimetres each, I added 2.5cms between the each of the ‘side’ segments and 5cms to the central one. By doing this you’re adding fullness at the hem but not altering the sleeve head. You could put additional fullness to the sleeve head by opening the top edge too if you wanted. I lengthened the sleeve by 5cms too so that it would have plenty of blousy fullness into the cuff. 

Trace around the new shape using a tracing wheel or pencil and cut out the new piece transferring all markings. One final change I made was to add a bias grainline because I knew I wanted to play with the stripe direction of the rib on the fabric.

I had pre-washed my fabric and partly tumble dried it on ‘low’ before letting it dry completely on the clothes airer, it seemed to survive the experience just fine. 

I made an arbitrary choice of how long to make the dress by simply holding the tape measure at my shoulder and seeing where it came to at about mid-shin! I attached another piece of spot and cross to the bottom of the front and back pattern pieces and drew on the skirt length I wanted, plus a generous hem. I knew I would have to make some adjustments to the hip and thigh during the fitting stage, just make sure that the hip and thigh measurements are plenty big enough because you can always remove some, it’s much harder to add later! 

The ‘cord’ runs across the width of the fabric and I wanted the rib to run down the length of my dress which meant I had to fold the fabric across the width. Try not to twist the fabric if you have to fold this way, I marked a single rib by following it across the width with pins so that I can see it clearly. Fabrics like corduroy, velvet or velour have a pile or ‘nap’ which will shade so if you cut some pieces facing one way on the grain and some pieces running the other way then you will end up with a garment that looks like it’s been made with two different colour fabrics, even though you know that isn’t the case. If you’re unsure what quantity of this type of fabric to buy go with the ‘with nap’ amount on the pattern information and follow the one-way layplan to cut out.

I marked the rib across the fabric with pins so that I could be sure it was folded correctly and would not be twisted.

Once I’d cut all my pieces I followed the making instructions which are very comprehensive. If you have a walking foot for your machine I strongly recommend you use it because velour like this has a ‘pile’ and has a tendency to ‘creep’ as you sew so you might find that it starts off with all the edges matching but by the time you get to the other end the two fabrics are no longer matching. I also strongly recommend you tack any seams you are unsure about. You could use a million pins but by the time you’ve done all that you could have basted it in place which does the same job and usually more effectively. I was able to coverstitch the neck and the skirt hem on the Pfaff Coverlock 3.0 I have on loan as a brand ambassador but it works just as well by overlocking the raw edges and twin-needle stitching them down, or zigzag and twin-needle, or two rows sewn singly if you don’t have a twin needle. When it comes to pressing a fabric like this, if you don’t have a special needle board (and few of us do) then you should press on the reverse at all times. You could place a towel on your pressing surface and lay the fabric on top so that the pile of the cloth is against the pile of the towel which will help protect it. Use a pressing cloth as well. These tips will also apply to regular corduroy or any non-stretch fabrics with a pile too.

The bell of the sleeve is gathered using shirring elastic which helps to retain some of the stretch required for the cuff. 

Once the sleeves were in I sewed up one side seam directly on the overlocker and then pinned the other side seam to fit myself. This was because I didn’t know if I’d need a split at the hem to be able to walk in the dress and I didn’t want to end up with loads of unpicking!

First I tried it right side out to get an idea of how it was fitting initially, then I turned it inside out to pin.

I looked at the fit in the mirror first of all and the sewn side seam was quite wavy, this could be cured by either adjusting the differential feed on the overlocker so that it doesn’t happen, or you could stitch the seam on the sewing machine and then overlock the edges [This is what I opted to do because I could see I had to take a fair bit off the side seams anyway to achieve a fit I was happy with] Then I put the dress on inside out in front of the mirror and pinned out the excess. I turned it right side out and tried it on again to check the fit, then finally sewed both side seams on the sewing machine, I used a ‘stretch’ needle, a ballpoint or jersey needle performs the same task. Either use a short straight stitch or a straightened out zigzag, make some samples to see which works best for your particular fabric. 

Now I tried it on the dress inside out to adjust the seams
I pinned out a fair bit of the side seams to give more shape through the waist and hips.
still Inside out
Finally I put the pinned dress back on the right way around to check I was happy with the fit before making the adjustments.

Lastly, the cuffs go on and the skirt is hemmed. 

And that’s pretty much it, it pops straight over the head so no tricky closures, because of the stretch it didn’t need a split, and that means there’s room for Christmas lunch and it won’t look like a dish rag after spending the afternoon curled up on the sofa watching Christmas telly!

cheers!
I’ve dressed it down with an ancient knitted gilet plus a wide belt, long boots and my much loved Alexander McQueen scarf
I love a scarf to keep my neck warm!
It could be the strangest of Christmases but let’s raise a glass to a much better 2021

I have to say that I’m really happy with this dress because it ticks all the boxes I wanted it to. It’s comfortable but it looks Christmassy, it looks great with opaque tights, heels and jewellery, but also with boots, a chunky belt, a roll neck top underneath for extra warmth or a cosy scarf…and did I mention it’s comfortable! #secretpyjamas It also has the advantage of rolling up and going in the corner of a bag or suitcase and coming back out again not needing a press. Bonus!!

If you have a favourite T-shirt pattern you could try lengthening it into a dress, Tilly and the Buttons Tabitha from Make it Simple does that. You could browse the SewOver50 post I wrote listing loads of go-to T-shirt patterns for inspiration, or maybe copy a RTW one you already have?

At 160cms the fabric is very wide so a little will go a long way, and because it’s so soft it would be lovely for children’s wear too. It needs a little bit of careful handling but a lot of that is in the ground work. Make sure you lay it up and cut it accurately to minimise unnecessary stretching or distortion (try to keep it flat on the table or lay it up on the floor) pin or tack the seams so they don’t move about and press carefully as you go and you should be fine. 

It’s been an incredibly tough year for so many and I wouldn’t blame you for not feeling like making anything new to wear. However, if crafting and creating bring you joy and respite then you could view it as a gift to yourself, and when you choose to buy from small companies like Lamazi and Maven then you are helping them too.

Thank you to Lamazi for providing me with the fabric for me to write my review, and I hope you find it helpful. 

Until next time, Happy sewing

Sue

Prada-inspired shirt dress

This whole project all came about because I couldn’t resist some ex-Prada fabric I spotted on my friend Dibs’s website, Selvedge and Bolts! She specialises in sourcing gorgeous quality high-end and ex-designer fabrics from Italy and France. This one caught my eye because funnily enough it doesn’t scream ‘designer’ but I liked the graphic print which stands out amongst so many florals.

I ordered 2 metres although I didn’t have a plan for it, then it occurred to me that I should look at actual Prada designs to see if there were any that were at all wearable by someone like me (ie. not six feet tall or looking about 17 years of age!) Somewhat surprisingly there were some really lovely shirt-dresses in eye-catching fabrics.

This was just the springboard I needed so, after a bit of a search through my patterns, I found this McCalls 7470 which had originally been free with Love Sewing magazine at some point in the recent past. The Princess seam lines and shirt styling were exactly what I wanted except I would change the skirt to be a dropped waist dirndl to echo the original.

The #7470 is a Palmer Pletsch fitting method pattern which I’ve never attempted before. I’ve been thinking lately that many of the garments I’ve made in recents months have either been old favourites or very simple shapes with little use of interesting techniques or style lines. I needed to stretch my sewing muscles a bit more-use them or lose them-so I set about following the instructions to tissue fit the bodice first. By a combination of body measurements, knowing my body quirks, periodically trying on the pinned tissue and using my padded-out dress stand Doris I arrived at a fit that I was happy with.

I’m not going to claim it was particularly easy but there are a lot of written instructions on how to approach it on the accompanying sheets to help you, plus online tutorials too. I’d recommend making a toile (or even two) if you need to before using your fashion fabric to avoid expensive mistakes.

I knew fairly early on that my 2 metres of fabric wouldn’t be enough for what I had in mind, and I didn’t want to waste my lovely Prada fabric so I opted to make the pattern instead in a vibrant printed stretch cotton which I’d bought in Paris at last year’s Sewcial event.

I took my time sewing the dress, I wanted to enjoy each part of the process. There is a two-part collar for example, pleated patch pockets with flaps, and a band running right down the front. I had a few problems with insetting the sleeves though. I’d made a small alteration the back of the arm scye which resulted in it getting a little smaller so I expected there to be a discrepancy but it was much bigger than I anticipated, the sleeve head was far too large and wouldn’t fit without puckering and gathering. I looked at a few examples of #7470 on Instagram and many versions were either sleeveless or didn’t mention it as a problem. Anyway, after a lot of fiddling about in the end I dropped the arm scye down to make it larger so that the sleeve head fitted properly.

The skirt was simply 3 rectangles, two for the front and one for the back which I pleated onto the shirt top using a fork to make each pleat even.

I used some plain white cotton scraps to make a faced hem.
I joined them into a long strip, folded lengthwise to about 5cms in width.
It was sewn onto the hem, all raw edges together.
At the centre front I enclosed it within the band for a neater finish.
the turned centre front band
the final stitched hem-it needs a good steamy press here. You can read more about hem finishes in my recent post here.

So what started as a Prada-inspired dress for one fabric has still ended up as a Prada-inspired dress but made in a different fabric! I finished the whole thing off with these beautiful buttons from Textile Garden all the way down the front.

the buttons look great
I love the detailed pockets too.
the collar is nice and crisp
the sleeves are two-part with a deep cuff
Yup, I’m happy with that!
I would have added a self-fabric belt like the Prada original but there wasn’t enough fabric left, just scraps.

So that’s my Prada-inspired dress up to this point, just not made with actual Prada fabric. I have a plan for it though because there was another shirt-dress that caught my eye…

I love the idea of a completely different fabric for the sleeves and the back
The front isn’t as I’d want it but I really like how the sleeves are such a contrast.

I’m really pleased with the outcome and the way it fits, and because I took my time and didn’t rush, it was an enjoyable process. I’d fallen into the habit of making simple projects, I felt something more complex was needed.

Until next time, happy sewing

Sue