Yours truly has been on several times now to natter about various SO50-focussed blog posts I’ve written including fabric buying choices and batch sewing, as well as the first official meet-up back before the world went wonky! I have to say that Maria makes it so easy to chat, even though she’s on the other side of the world to me! Zoom is a marvellous invention…
I added a specific Sew Organised Style page to my blog recently so that should always link you to their latest episode.
Tune in on Thursdays to hear what the community has been up to or chatting about or sewing…
I originally wrote this as a review for the MinervaDotCom blog but I’m not actually sure if it ever appeared. Rather than waste my efforts I thought I’d publish what I wrote here instead.
I’m sure it was a combination of an over-generous stated fabric requirement, my just-to-be-on-the-safe-side ordering and then super-stingy cutting out means that I managed to get not one but TWO sweatshirts out of my Minerva fabric choice this time. At the time of writing last autumn, Minerva were introducing a collection of textured jerseys made in a polyester/ viscose/ spandex mixture which came in a wide range of colours and textures so I opted for a geometric design in lilac to try out. I would suggest that this fabric is not as firm or thick as some jerseys suitable for sweatshirts, it isn’t fleecy on the reverse for example but it has reasonable drape, is soft to the touch and has a fair amount of stretch but not in a ‘really difficult to control’ kind-of way (it isn’t like lightweight jersey for T-shirts for example) it’s actually pretty stable so manipulates well into armholes or cuffs.
I already had a pattern I wanted to try, the Maxine sweatshirt by Dhurata Davies that has interesting diagonal seams across the front which have pockets in them. This actually made cutting out a whole lot more tricky than I anticipated because the ‘check’ design of the fabric I had picked turned out not to be square but rectangular so matching the lines was a real challenge. In some areas I’ve failed so my advice would be “don’t choose a pattern that has too many intersecting seams or style lines” because you could end up tearing your hair out when you can’t get it to match! Once I’d committed though I decided to press ahead and settle for ‘almost but not quite’…not my usual route but there we are.
When it became apparent that by folding and cutting really carefully I’d have oodles of fabric left over I pulled out a very simple sweatshirt pattern Simplicity 8529 and cut that at the same time. You might recognise this pattern as the Toaster sweater by SewHouseSeven if you think it looks familiar. If you fold the selvedges in towards the centre so that you have two folds then it’s often possible to get more pieces out of less fabric, any sleeves, yokes or facings can be cut out of what remains.
I currently have a Pfaff Coverlock 3 on loan to me so I used it to sew up much of the two tops on it’s 4-thread overlocker setting but you can easily sew this fabric on a regular machine, just use a ballpoint or stretch needle and set your machine to a very elongated zigzag if you can (regular stitch length and a narrow width) or a ‘lightening’ stitch if your machine has it. Unlike some jerseys or sweatshirting you’ll definitely need to neaten the seams though because I found the fabric frayed and went fluffy at the cut edges quite badly as a result of the woven nature of the surface design. Use a zigzag stitch on the edges if you have limited options, or pinking shears.
The ‘Maxine’ is a great design which stands out in a crowded field of many other sweatshirts and the well-written instructions and diagrams are very clear and simple to follow. The tricky area could be the point at the centre where the seams intersect, I simply made this more complicated for myself by choosing the geometric design! And of course it has pockets! I’ve made another version of it since the lilac from a remnant of linen/wool which you can read about here.
The Simplicity/Sew House Seven pattern has a very simple ‘grown-on’ collar and self bands on the cuffs and hem. I cut and made this one up in less than two hours and it shows off the textured surface of the fabric very well.
I would suggest that this fabric will make very comfortable loungewear like track pants, tees, sweatshirts, dresses and children’s wear. I don’t know what the other designs in the range are like but if you are pattern match averse then this particular one might not be for you! I thought at the time it would be interesting to see how well a fabric with a raised surface texture like this wears and now that several months have elapsed I’ve found that it catches quite often and has started to pill quite significantly which is disappointing given the price per metre.
My thanks to Minerva for providing me with the fabric to write about, this is a significantly different version of the blog post which may, or may not, have appeared on their website. I did try to find it but their search function doesn’t make it very easy to find specific posts.
Firstly, I probably need to give you a quick explanation of why I’m making a fancy frock during the lockdown because it must seem rather incongruous.
This is my first post as a Lamazi Fabrics blogger and before the Covid-19 pandemic reared it’s ugly head I had offered to make an outfit using a slightly ‘tricky’ fabric in order to share a few hints and tips for sewing with it. I selected the beautiful Tencel/Cupro ‘Bark’ fabric in Lavender because we were going to a wedding in late May which would be the perfect chance to make a something using this special fabric. Very sadly that wedding is now postponed indefinitely but I’m making the dress because I’ll still need something to wear when it’s rescheduled.
The fabric has a lovely weight and handle which makes it drape really well. It’s has a bark-like finish and is different on each side, you could use this to your advantage if you want to create an interesting visual effect by having some pieces with one side out and some using the reverse side.
I made life harder for myself by choosing the new Bias T-shirt Dress by Trend patterns (generously gifted to me by them) in which EVERY piece except the sleeves are singles and strange shapes which means you cut everything out on a single layer of fabric right side up (RSU). Unlike most patterns, when you are cutting pairs of parts you can usually flip a piece without too much difficulty, however if you do that for a piece which must be cut RSU you would have completely reversed the print/design to the wrong side when you try to sew it up. This Tencel/Cupro has a nice look whichever side you use but my advice is to be really careful on printed fabrics before reversing any piece labelled RSU.
Next, when cutting slippery or fluid fabrics (unless you have a lovely big cutting table) you’ll need to handle them as little as possible (by which I mean pulling them about to get them into position) which might be easier said than done. I know that cutting out is most people’s least favourite part of sewing but it’s so important to take time and care at this stage. If you’re cutting out on a table with straight sides use the edges as a visual marker to get the end of your cloth at a right angle to start with, ensure the weft (across the fabric) is nice and straight as well as the warp, pull a few threads to find the grain if necessary. If you have more cloth than will fit on the table in one go you could try having the excess rolled on a cardboard tube if you have one to keep it under control rather than sliding off the table all the time.
Because my pattern has large awkward-shaped pieces cut from a single layer I had no option but to cut out on the floor! This can be physically quite tiring so you might want to get help if you need to. This is slippy slidey fabric so an extra pair of hands could help you lay it up nice and straight, again, rolling the fabric onto a long cardboard tube would also help keep the fabric taut and straight as you lay it out on the floor. This is not a fabric to use weights and a rotary cutter on unless the whole lot fits onto a cutting board without disturbing the fabric, if you’re spending time laying up the fabric carefully so that the grain lines are straight in both (warp and weft) directions you can’t then mess it about shifting a cutting mat underneath it and the pattern pieces need to be secured in place with pins. Cut out carefully moving the pieces as little as possible and try to keep them flat after cutting until you’re ready to sew. All of this will help minimise the pieces stretching out of shape, especially as a lot of this pattern has seams running on a diagonal.
Once I’ve finished cutting out it’s vital to transfer all notches and mark darts and a couple of pivot points so I use old-fashioned tailor’s tacks (obviously you can use a textile marker pen if you prefer, I often do but it’s a pale fabric and I didn’t want to risk any marks being left) It’s a habit of mine to keep all the pattern pieces attached by just a couple of pins to the fabric until I need it, so that I don’t them get muddled. These are curious-shaped pieces so the chance of having them the wrong way round could be quite high! Next I stay-stitched all the neck edges on the machine 5mm in, if you have a very loose weave fabric it would probably be sensible to stay-stitch the bottom edge of the front bodice piece to prevent stretching. If you’re using a particularly fine fabric like chiffon you should stabilise the neck, and any other seams which could stretch, by hand-stitching very narrow cotton tape or ribbon over the seam line on the wrong side of the fabric. When I worked for bridal designer David Fielden many years ago we would cut the selvedges off the silk habutai linings for the seamstresses to use on necklines.
There is just a little fraying on the cut edges which I overlocked singly as I went along, as per the pattern instructions. Whether you’re sewing or overlocking the fabric I strongly suggest you have the whole piece supported on the table in front of the machine rather than feeding up from your lap. This is to prevent the piece becoming stretched as you’re sewing and possibly causing it to become misshapen.
If you find, as I did, that there’s a slight discrepancy between two seams (assuming that it isn’t an error in cutting or adjustment of the pattern) then pin it with the excess on the underside so that when you sew the feed dogs will take up the ease.
My photos should make it clearer, a good press will help steam out some of the excess too. Also, to minimise the risk of making a shiny patch on the fabric make sure you use a pressing cloth, you can often buy silk organza ones although I have a piece of plain fine pure cotton lawn which I’ve overlocked around the edge. I use this when I’m pressing darts or turning points or corners out too.
To sew an invisible zip into the diagonal seam across the back I machined the seam closed but I used a long basting stitch just for the section where the zip will go. This stitching will be removed later.
Once the zip was in and side seams sewn up I checked the fit on myself. I cut a UK 16 and overall I’m happy with the fit and apart from the length I made no alterations to the bodice. Because I made the linen version first I already knew that the shoulders were a bit too broad for me and the sleeves dangled too much off the crown of my arm. I calculated that I needed to remove approximately 3cms to lift them up to a slightly better position. I found I didn’t need to alter the sleeve head though, fortunately it still fitted into the armhole. Another thing I did decide at this point was that the sleeve needed ’something’ else so I mocked up some small pleats and pinned the sleeve into the armhole to try out the effect.
After making the pleats in the sleeves and sewing up the underarm seam I used a ‘pin hem’ to finish the edge. This is similar to a simple rolled hem but even narrower. Begin by stitching a turning of approx 1cm very close to the edge, trim this carefully
I love the 1930s/40s vibe of this dress, the drapey qualities of the fabric enhance the bias lines of the skirt in particular. I really enjoyed the challenge of putting the dress together, there are no particularly difficult techniques as such but it’s an interesting puzzle which you’ll need to spend a little time concentrating on, you’ll be rewarded with a striking but really wearable dress.
Thank you to Trend Patterns for gifting me the pattern, there was no expectation to write a review. You can read my previous review of the Square Dress pattern here. The fabric was provided by Lamazi Fabrics in return for a review which is also published on their own website.
I hope you find some tips and advice in here that might be of use to you if you’re thinking of using a fabric that needs a bit more forward planning than you’re used to. Trend have created another beautiful pattern with stunning and unusual details but the pieces cleverly work with the grain of the fabric so that working with the bias cut is a lot easier than it usually is. They have been gradually increasing their size range too so the TPC26 comes in UK sizes 6-22.
Quite a long blog this time so thank you for reading this far and, until next time,
A lot has happened since I wrote my last Simple Sew blog post, Christmas for one thing, and I had a lovely holiday in the sunshine too but now we are all confined to our homes because of Covid 19. Without wishing to trivialise the gravity of this situation, one of the side effects of it is that you might have more time to sew.
I’ve had a rummage through my Simple Sew patterns to find one which I haven’t already shown you, and which has opportunities to hack, and I settled on the Chelsea Collection. This is a capsule wardrobe of a short sleeve blouse with two variations, a pair of trousers and a button-front skirt in two lengths. I liked the blouse with it’s shirred sleeves and keyhole back detail but I decided to mix it up a little by adding a button front. Normally we are able to select fabric from a couple of generous sponsors but I wanted to ‘shop my stash’ to find something this time. I found a very pretty vibrant floral John Kaldor cotton lawn which I think I picked up from a swap table sometime and I knew would work well for the blouse.
I didn’t want the blouse to be overly tight so, after checking my measurements I opted for a larger size than I’ve made previously. If you’ve been a regular reader of my posts you’ll know that I tend to check Simple Sew patterns for any discrepancies before I start. There didn’t seem to be any glaring ones but I just added a slight curve to the back hem so that it dipped in the same way as the front and I trued the shoulder seams so there was a smooth flow from front to back.
As I wanted to alter the front significantly I had to make some changes there first. In order to create a button-stand I simply added 2.5cms to the centre front all the way down what would have been the fold. [2.5cms was a fairly arbitrary figure because it depends really on what size buttons you’re using, a general rule of thumb is that the bigger the button the bigger the button-stand needs to be so that there’s enough overlap and the garment doesn’t end up too tight because the overlap isn’t big enough.]I was able to do this by drawing directly onto the tissue before cutting the piece out as there was enough space to do so.
If you’ve already cut a pattern that you want to add to just stick some extra paper to the centre front fold line, or trace off the whole piece again adding the extra. The original front had a facing for the neckline so now I needed to create a new facing which would neaten both the neck edge and the button-stand. To do this I simply traced off the whole of the new front opening including the neck edge and made the facing a depth of 7cms all the way down from shoulder to hem, with a smooth and gradual curve. The photo should make this clearer. The back neck needed a new facing too because the existing one took the armhole into account. Again I traced off the section I needed making it 7cms at the shoulders to match the front facing.
The final change I made was to lengthen the sleeve a little and add some more fullness to it. I started by making the sleeve 5cms longer and then I drew 3 vertical lines on the pattern at approximately the front notch, back notch and shoulder seam points. [Depending how much extra fullness you want to add to a sleeve you could use more places than this but do try to space them evenly apart.] Next I cut up each line from the bottom until I reached almost the top, I left this very slightly attached. With the piece flat on the table I spread the bottom of each slit by about the same amount, probably about 4 cms, then taped slithers of paper into each gap.
If you don’t want to cut the pattern up you can do the same process by still marking the vertical lines on then pivoting the uncut pattern at the top of each line, use a pencil or your finger as the axis. Draw or trace around the first section, which remains stationary, then each subsequent section after you pivot it to so that you get the extra fullness being added at the hem. Opening up the wedges in this way means you’re adding fullness to the hem but not the crown of the sleeve, if you want extra fullness in the crown spread the whole piece more or less parallel. The grainline should run equidistant down the centre of the new piece (unless you want to cut it on the bias)
Having done all this I cut it out and was ready to sew!
I started by joining the shoulder seams of both the blouse and the facings (which I’d interfaced and neatened) then I attached the facings to the neck edge, turned, understitched and pressed. The keyhole back calls for a small rouleau tube as a button-loop which needs to be inserted at the same time as applying the facing although you could choose to make a hand sewn thread loop and stitch that at the end. In fact it isn’t even vital that this is a functioning loop if you’ve got a front opening, the keyhole is purely decorative now.
I put the blouse onto Doris to check it was looking OK and this was when I found that the keyhole appeared to be bagging outwards quite significantly. I decided not to do anything at this point and I would check again once I had sewed the side seams and put the sleeves in, then I would get a better idea by trying it on myself.
I made three rows of shirring on the sleeves next, using my quilting guide to make sure the first row was 5cms from the bottom edge, the next two rows were then sewn parallel to the first. [Refer to a previous blog post on how to sew shirring if you haven’t done so before] Next I sewed up the sleeve seams and pin-hemmed the bottom edge to give a neat finish.
After sewing up and neatening the side seams I inserted the sleeves. At this point I tried the blouse on again to check the keyhole on myself and, with real shoulder blades under it, it didn’t seem so noticeable. Two other things struck me though, the blouse was a little too big so I took it in on the side seams and also the blouse was a bit shorter than I expected. In order to take as a small a hem as possible I made some bias binding from offcuts of the fabric then stitched it (folded in half lengthways and with the cut edges together) to the hem using a narrow 5mm seam allowance [This is a useful finish to any hem or edge where you need every spare centimetre of fabric.] Have a look at the photo which shows you how to get the ends of the binding enclosed within the front facing. I turned the binding up and top-stitched in place.
Finally, I found some ‘vintage’ buttons amongst my treasure trove and there were just the right number meaning the whole blouse had been sourced from what I already have!
Well I hope now that I’ve made it that I’ll have a chance to wear my Chelsea blouse somewhere other than in my own garden this summer, who knows? Maybe you’re reading this long after the emergency ended and life has returned to some sort of normality, although it definitely won’t be exactly as it was before.
Sewing our own clothes is an activity which gives us so much enjoyment for a variety of different reasons and, right now, the simple act of creating something is chief amongst them for me. It’s absorbing and the problem-solving gives me something else to think about.
I think the keyhole back is, by and large, just about acceptable when I’m wearing the blouse. I also think the cure could be to add a centre back seam instead of cutting on the fold so that the point of the keyhole could extend beyond the centre back line, this would hopefully bring the button and loop closer to one another when they are done up…this is just my theory based on experience and I haven’t tried it out. It’s such a nice little detail that I’m disappointed it hasn’t worked out quite right. I also regret not reading my fellow Simple Sew bloggers reviews of the blouse because then I would have known how short it comes up, personally I would add a minimum of 8-10cms to the length next time.
The sleeves are pretty and feminine but maybe they are a little too girly, the jury is out…
It’s back! After the success of the first #so50visible challenge in 2019 we thought you might like to do it again, especially the thousands of you who have discovered @sewover50 since last year and who might have missed joining in.
In early 2019 we set you a challenge to find a pattern which featured an older model (at least 45+) and make it. If you thought this would be easy then you would have been mistaken, because once we had started looking more closely we realised that this was going to be much harder than it sounded.
Rather than me reinvent the wheel again here I suggest you take a read through the extensive post I wrote at the time, and its follow-up, so that you have some understanding of the challenge we set and how the whole idea came about. There is also a VERY extensive list of as many patterns as we could source at that time.
Since last year I’m cautiously optimistic that the situation seems to have improved somewhat. Sandy and Judith have been diligently saving in Highlights over on the Instagram account many of the new patterns that have been released in the the last twelve months which feature older models-male as well as female. Some of these patterns are by companies which have been consistently good at using a variety of models of all ages whilst for others this is a first toe in the water, which is great to see.
It seems that a lot more companies are actively using older women amongst their choice of models now (although a few still think we all want to wear the frumpier selection of what’s on offer-very wrong!) For the most part though, of the pattern companies who are choosing older models, they realise that we can be stylish, creative, outspoken individuals who do not have a shampoo and set once a week, don’t want to be stereotyped and who have money to spend on quality products.
I’ll list as many of the new patterns as I can but, if you’re tempted to join in with the challenge, I would strongly urge you to take a look at those I’ve already listed because each website will include that brand’s new patterns anyway.
Among the new ones we know of are, in no particular order:
Cashmerette-Washington dress and Rivermont Top and Dress
The Maker’s Atelier-there is wide range of patterns to pick from including several new designs Shawl Collar Dress, Shawl Collar Coat, Over-sized shirt dress, Blazer and Wrap Dress
Style Arc-Sheryl stretch or woven pants, among others.
That Wendy Ward-brand new book ‘Sewing Basics for Every Body’, the Kim jumpsuit and the Dylan Peacoat particularly
Simplicity and Butterick have improved considerably since last year and we have been told that they are actively including more mature models in their catalogues now, let’s hope this is the case. There are now a reasonable number of patterns to choose from (too many to list here individually) so browse their website or catalogues to see if there’s something that appeals.
I’m going to leave it there because I’ll never quite know where the end of this list should be! I would urge you to look through pattern company websites, books and catalogues for your inspiration if you’re keen to participate. I would also add that there are quite a number of small pattern companies who are hugely supportive and involved in our community but they either don’t use older models, or they use illustrations, so we can’t include them for this challenge. That said, we are very appreciative of every repost, share and use of the #sewover50 hashtag that any pattern company gives to a SewOver50er, they are always welcome and it helps to keep our little, occasionally slightly wrinkled, faces in the public eye to prove that we’re still here, and have no intention of keeping quiet.
We’ve got prizes again too so thank you to our list of sponsors (so far) who are offering a selection of patterns, and Wendy Ward is offering a copy of her new book too. Winners will be chosen at random after the challenge closes. You’re welcome to share works-in-progress but only completed garments shared with a photo of the original pattern after the closing date will be eligible to win a prize.
Stay in touch with the Instagram account while the challenge is on because that’s where you will find any new information as it crops up. Make sure you use the new #so50visible20 hashtag although the original #so50visible is OK too. If a pattern company reposts your outfit (which obviously we really hope they will!) use the #so50thanks hashtag too. Keep an eye on their Stories feed too because sometimes they forget to tag us, or the tag doesn’t work for some reason.
The #so50visible20 challenge begins on March 1st and runs for the whole of the month so what are you waiting for? Share a photo of your garment along with the source pattern, have a look in saved highlights on the IG account for various ideas how to do this, it doesn’t have to be a brand new garment this year but it should be a new photo of it, not one you’ve shared before. You could even use a flatlay this time, particularly if you don’t like putting yourself in the frame. Have a look at #so50flatlay for ideas on this. There is no limit to the number of entries you can put in either.
We can’t wait to see how SewOver50ers rise to the challenge, the more we keep this in the public eye then the more chance we have of seeing older faces featuring on pattern covers, in magazines, in sewing books. And part of the worldwide fun of this challenge is seeing makes for the opposite seasons to the one we might be living in because, let’s remember, we’re a global account, and that’s a really big deal!
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.
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!