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 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.
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.
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!
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.
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.
I finally made a jumpsuit (or two) at the end of the year, it’s the Cressida by Sew Me Something Patterns.
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.
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,
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!
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.
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.
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 Oldroydwas also there having travelled especially from Northern Ireland so it a real treat to finally meet her in real life.
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.
The Cressida would also look lovely made up in a variety of fabrics including linen or crepe, or even a luxurious silk-type perhaps?
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.
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.
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
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.
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.
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.
In 2019 I decided to try something different to dresses from the Simple Sew pattern collection for my blog post so I chose the wide-legged Palazzo pants.
I always have a look at any posts or reviews about a particular Simple Sew pattern first to check if there are any pitfalls I should look out for which might influence my decision, or how I tackle making it, and the overall opinion of trousers was positive. I sorted out some fabric from deep in the stash, it’s a viscose from the now-defunct Adam Ross fabrics which has a good drapey quality, although I know it will crease so I’ll wear these permanently standing up!
There are only 4 pattern pieces to the trousers-front/back/waistband/pocket- which makes them very simple to lay up and cut out, you could even leave out the pockets if you’re short on fabric but why would you leave out pockets?!
I checked my measurements against the chart to decide my size, I also measured the pattern pieces to get some idea of the ease involved but I was optimistic they would be generally OK. If you’re very unsure, or between sizes, I’d suggest you make a toile that’s about mid-thigh in length to check the fit and comfort around your waist, hips and body length. Leave out the pockets at this stage, there are darts in the back and the front is flat, you could insert a zip in the back if it makes things easier to fit yourself but I didn’t bother. Always sew a toile as accurately as you would the garment itself because if you don’t bother cutting properly or following the seam allowances how will you know where the problems lie? That’s the whole point of a toile! Make any adjustments on the toile and transfer the changes to the pattern pieces. There are no lengthening/shortening lines marked on the midriff area of the pattern so I suggest, if you need to make either of these changes, drawing a line at a right angle to the grainline at a point midway between the waist and crotch level. Fold out or add in length through this line. There is a lengthening/shortening line for the leg length however.
It wouldn’t be a Simple Sew pattern if there weren’t some errors or anomalies to keep you on your toes and this is no different. On the back piece the pocket placement notches are only printed on size 8 and none of the others. Either transfer the markings to your size or remember to snip them when you’re cutting out the back.
The lay plan for cutting out shows the main pieces interlocking, which is fine if you have plain or multi-directional fabric but don’t forget to keep the pieces running the same way if you have a distinct one-way print. Also, I didn’t cut out the waistband until I was happy with the fit of my trousers as it’s very shaped piece and if it’s too big or too small you’ll probably need to cut another. Don’t forget to make a snip for the centre point on the waistband, it could have done with a notch for the side seam position though as there isn’t one so it’s a bit of guesswork.
I’m not normally an advocate of overlocking the edges until they’re sewn up [because if you aren’t careful you can easily lose too much seam allowance in the trimming and when you join pieces together you could start to make the garment too small, plus your notches disappear] but, as many of the pieces here require the seams pressed open and flat, I overlocked most pieces first this time.
You will find that for instructions 4 and 6 the words don’t match the diagrams but the drawings are correct
Next the pockets go in (unless you wish to check the waist/hip fit first in which case tack or machine baste the side seams and leave the back open where the zip will be inserted in order to try the trousers on) The description for the pocket insertion is a bit vague, I’ve made a second pair since writing this piece originally and found it quite unsatisfactory which is why I have updated my advice.
After I’d assessed the waist size (comfortable to loose) and crotch length (comfortable) at this point I cut and interfaced the corresponding waistband [for some reason there were two waistbands printed out but I could find no discernible difference between them so just ignore one and cut a pair in fabric plus one interfacing]
The reason the waistband goes on before the zip insertion is because the zip runs right up into the waistband to finish at the top, there’s no overlap allowed with button or hooks and eyes. You could use the overlap method if you prefer but you’ll need to add some extra length to the waistband on one end to allow for the overlap.
The lack of indication of the side seams on the waistband means you’ll need to pin carefully to evenly absorb any fullness of the trousers to ensure a good smooth fit to the waistband. [the side seam is probably at the halfway point but not necessarily, especially if you’ve made any fit adjustments to the waist]
With the benefit of hindsight I would make the waistband in two pieces, a front and two backs with the join at the side seam. This is for two reasons, first, it will allow you to make adjustments for fit more easily and, secondly, I’ve found the centre back has become slightly pointy and misshapen both times I’ve made these now. I believe this could be because the length and curve of the waistband means that it the centre back is very off grain, usually the centre back seam would be cut on the straight grain which gives it stability.
The instructions and illustrations for inserting the zip are reasonably clear however there seems to be a contradiction with an earlier instruction which tells you to sew up the back crotch seam. Illustrations 13-15 appear to have the CB seam unsewn and 16 tells you to sew it up after inserting the zip but previous diagram 6 tells you to sew it up! No wonder I got in a muddle!! My suggestion would be, if you’re using an invisible zip as suggested, leave the CB seam unsewn AND ignore instruction 11 to sew up the inseam until after you’ve inserted the zip. Alternatively, use your preferred method of inserting an invisible zip. Before sewing the waistband down I added two hanging tapes to each side seam so that I had an additional means to hang the trousers up if needs be.
On my second pair I’ve added a small button and loop inside the waistband because I found the zip a bit of a faff to do up without anything at the top of it.
Hopefully you’ve now arrived at a finished pair of trousers which simply need hemming. After checking the length wearing shoes (they come up pretty long) you could use the simple rolled hem finish as per the instructions or, as I did, leave a sizeable hem of about 5cms to give weight to the very flared leg width. I overlocked the edges to neaten and then used my blindhem stitch with the appropriate foot on the machine to finish [incidentally the photo is of a different project] I don’t use this technique often but it’s a good, and quick, finish on hems that don’t have too much, if any, curve. You could also slip hem by hand of course.
The Palazzo pants are worth persevering with as they have a pleasing smooth fit over the waist and hips which is very comfortable and the leg is wide without being crazy-big. You could shorten them to culotte length very easily, they would work well in a variety of fabrics including linen, chambray or crepe, fabrics with a bit of drape and fluidity will look nicest as you don’t want to look like Coco the Clown!
Overall I’m pleased with these trousers, they are a good fit and make a nice alternative to a skirt or close fitting trousers especially in warm weather.
I noticed that this particular post gets a huge amount of traffic so I hope this update clarifies any issues you might have had with the pattern. In fairness, it might have been updated and corrected since my copy was produced in which case you may be able to disregard some/all of what I’ve written!
It’s a new year (apparently?) so it’s time for my next Lamazi blog and I’m sewing something for Mr Y! I don’t know about you but I’ve felt I needed to work on something a little different to most of my other recent makes, I’ve made myself some lovely garments that I’m now frustrated not to be able to wear much as I want but Tony has been in need of some new clothes for a while now so it’s his turn to be on the receiving end!
I don’t know what you think but I’ve found that men’s wear patterns and suitable fabrics are definitely a bit harder to come by than women’s or children’s, they are out there if you’re prepared to look but it’s not easy. I’ve made him some nice shirts in the past which you can read about here, and I had made him a couple of Thread Theory Finlayson sweatshirts recently and then my good friend Claire told me about their Carmanah top which was quite a new pattern. It has several options so you can individualise it, for example with full length or quarter zip, hood or collar, and with or without kangaroo pockets.
Lamazi offers a range of co-ordinating See You at Six fabrics with plain and patterned French terry, and ribbing, all dyed to be a perfect match so we chose the ‘Clouds’ design in Bistro Green.
I’ve never purchased ribbing fabric before so I was unsure how much to buy, initially I requested far too much because the pattern instructions made no sense to me. Liana at Lamazi and fellow-blogger Sharlene advised me so I had 1metre in the end to be on the safe side and that was sufficient for an adult garment. If you find yourself in a similar situation I suggest you measure the appropriate pattern pieces to get an idea, or try contacting the fabric seller and I’m sure they would be happy to advise. For an adult garment it almost certainly needs joins whilst something for a child probably wouldn’t.
Based on T’s measurements (he’s 6’3” and, although he’s lost about 28lbs during lockdown, he’s not skinny) I cut him a size large but I added about 2cms at the CF and CB folds at the bottom because the previous version was just a little snug at that point. He likes the body length which comes down to about hip level, and the sleeves are nice and long too so I didn’t need to add any length to them.
The making up instructions and diagrams are quite clear, I got into a bit of a pickle using the twill tape neatening method though, partly because I printed off the booklet a bit small so I couldn’t easily read the instructions(!) and partly because the green twill tape I had managed to buy was wider than required! Anyway, I persevered and it looks OK in the end. This tape method wasn’t essential and overlocking is perfectly satisfactory, I just thought I would try it for a nice finish on the inside, it definitely adds more complexity if you want to up-skill though. The collar version has a nice detail of the chin guard over the zip which is worth adding for a quality finish.
This fabric is quite pricey but, in my opinion, it’s really lovely quality and it sewed together beautifully. There’s just enough stretch and it would be a good weight for sweatpants or a sweater dress too if you’re tempted. This is the first time I’ve used a range of co-ordinating fabrics and the finished result is really pleasing. Equally you could mix and match colours or prints using remnants for this pattern too, because of the way it’s cut in segments, especially if you go for the full zip version.
T has gallantly modelled the finished result-he’s delighted with it-he’s usually my slightly impatient photographer so the boot was on the other foot today!
Have you sewn anything for the men or boys in your life? How do they feel about it? Luckily T isn’t very demanding where his threads are concerned and he’s always been very happy with the items I’ve made him so far…..I haven’t attempted trousers in years though so perhaps that will be next? I’d interested in which patterns or fabrics for men you have been able to source, I think it’s an area for improvement in sewing terms.
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 velvetfrom 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.
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.
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!
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.
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!
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!!
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.
Much as I’m a big fan of sewing and wearing dresses, I do love separates too, especially tops. I think this version of the Amaya shirt by Made My Wardrobe may just have gone to the top of my favourites list! [Full disclosure, Lydia offered me my choice of one of her patterns as a PDF with no expectation of a review and I selected the Amaya with its gathered neckline, raglan sleeves and full floaty cuffs] I printed it off but then didn’t start it for a while until the ‘right’ fabric came along.
As a Lamazi Fabrics blogger we each volunteer for a number of slots throughout the year but Liana was short of a post for early August so I offered to do it. I thought the Amaya would be a good option as it’s not complex and I could probably sew it quite quickly to meet the deadline. When my eyes fell on the beautiful printed Broderie Anglaise I knew I had my perfect match!
When the fabric arrived it was absolutely gorgeous, so soft and pliable. Broderie Anglaise can often be quite stiff and crisp, which may be what you want, but I’ve also found it to be a disguise for a cheaper quality cotton fabric with lots of dressing or starch in it so do be slightly wary of very cheap Broderie Anglaise. This version is a printed soft cotton lawn which is then embroidered, there are lots of eyelets so personally I’ll probably be wearing a plain-coloured RTW camisole underneath as no one needs to see my undies or midriff thank you! This specific fabric does not have an embroidered edge which some Broderie Anglaise does, and also be aware that the embroidered part of the fabric doesn’t run right up to the selvedge, this is normal with this type of fabric. On this particular fabric there’s a wider gap down one side than the other so you may find the useable part of the fabric isn’t as wide as you would think. In other words, don’t scrimp on the quantity of fabric when choosing Broderie Anglaise for a project because you could find yourself a bit short by accident.
I opted for a UK size 14 with no modifications according to my measurements but I think I will go down a size when I make another, the fabric you choose could make a significant difference to the finished look so a soft and floaty georgette or silk crepe de chine for example would look divine with plenty of volume but a firm linen, or a cotton poplin could give you the appearance of a ship in full sail! (that may, of course, be the look you’re after!)
This fabric has a one-way design but I chose to turn the upper sleeve pattern piece to interlock better and make it more economical to cut out, I really don’t think it’s that obvious on the finished garment, always worth checking though!
It’s pretty well impossible to see snipped notches or even triangles on this fabric so, in order to tell the front of the sleeve from the back, I marked the single and double notches with long thread tacks and this seemed to work well.
I used a French seam finish on the cuffs but found there wasn’t any particular advantage to doing this, for the rest of the construction I sewed regular seams and overlocked them together.
The pattern calls for interfacing to be attached down the centre front seam to stabilise it but I chose not to do this as it would show through the eyelets, I simply neatened the edge of the self-facing with the overlocker. I had a rummage through lots of the miscellaneous trims and ribbons I’ve had from past projects and tried a few ideas out with them but in the end I only used a white cotton trim down the front and simple edging lace on the sleeves, I would have used this on the hem too but there wasn’t enough, more on that later.
I added a triple zigzag stitch to embellish the sleeve ruffle seam too.
The neckline is gathered up into a bias-cut band but instead of cutting it on the bias I used a straight strip of the printed lawn from near the selvedge. I did this because a bias strip of such holey fabric wouldn’t have worked well at all, the one drawback of the tie being cut on the straight is that it doesn’t curve around the neckline quite so smoothly but it’s fine. The tie is topstitched close to the edge so, to match the sleeve, I used the triple zigzag stitch again.
Finally I had to finish the hem, I could simply have turned up as per the instructions but I wanted some kind of pretty finish to echo the cuffs. As I didn’t have enough of the sleeve trimming, or any other edging lace which I felt worked alongside what I’d already used, I opted to try out one of the satin stitches which my Pfaff machine is capable of.
I’d never tried this before so I did a couple of experimental tests with a few stitch designs that appealed to me, I used Vilene Stitch N Tear as a backing behind it to stabilise the fabric.
This seemed to be satisfactory so I sewed the whole hem by this method a few millimetres away from the edge. The Stitch N Tear is then carefully torn away to leave the actual embroidery and then finally, as accurately as possible, I snipped away the excess fabric to leave the pretty scalloped edge.
I’m very happy with this finish on the hem BUT it’s just possible that it might not be very durable in the wash, I’m half-expecting that it might start to come away in places. If this happens then I’ll have come up with another idea but for the moment it looks nice.
I hope you’ve found my tips for working with Broderie Anglaise helpful, and things to look out for with it. It’s certainly a fabric that is having a ‘moment’ at the moment, it’s timeless and feminine and I’m looking forward to wearing my Amaya for a few years to come.
Thank you as always to Lamazi for providing me with the fabric to be able to write this, and thank you to Lydia at Made My Wardrobe for generously giving me the pattern.
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,
After a couple of months in the planning I can hardly believe that the first ‘official’ Sew Over 50 meet-up is over! This isn’t really a blog as such, it’s more of a photo album so that those who were there can look out for themselves and to prove that it did happen and a great time was had, new friendships were made, information and tips were shared, fabric was stroked and support and encouragement was offered.
Judith and I were simply overwhelmed by the feeling that was in the room for those 3 hours. The Village Haberdashery in West Hampstead, London proved to be the perfect venue to hold the meet-up with it’s mix of light-filled studio space and retail opportunities! Whilst quite a few of us already knew one another, and had met in the past, there were many others for whom this was the very first time they had gone to such an event. The distances some people travelled was extraordinary too, south Wales, Cumbria, Cheshire and north west England, Scotland, East Anglia, the south coast and Cologne, Germany were just some of the places people had come from. This represented a really big deal for some because it took them a long way outside their personal comfort zone to go on a long train journey to London and meet lots of strangers who they only ‘knew’ through the medium of little Instagram squares. So far as we can tell all of them thought it had been worth the effort and anxiety because within minutes of arriving they were chatting with fellow sewers and crafters as though they had known each other for years. That’s what the Sew Over 50 community seeks to encourage, to nurture and expand each others skills and talents, we try to make it a positive and supportive place to share our makes whether they are completely successful, or a dismal failure!
I would personally like to thank every single one of the companies and individuals who gave me prizes for the charity raffle in response to my requests, and several others who offered without me even asking.
Have a browse through the photos (please ask permission and credit me if you would like to use them elsewhere though, thank you) these are just a few of the hundreds that my daughter Bryony took for us but without them I don’t think there would be much record of the event having taken place…hardly anyone else took photos because they were too busy chatting!
I had opted to raise funds for The Samaritans, a UK-based charity who offer support at the end of the telephone to those at risk of suicide and the raffle made over £550 which is magnificent.
Thank you so much to everyone who came along and made it so enjoyable, thanks especially to Judith for having the courage to start the account in the first place. We’re approaching 18K followers and there have been almost 52K uses of the hashtag #sewover50 That’s a LOT of work which Judith and Sandy put in every day to ensure it’s such an enjoyable, interactive and mutually supportive community. I for one hope it continues this way. I’m sorry to those of you who couldn’t get a ticket, or are simply too far away, we want to actively encourage you to create your own meet-ups like this, there was no sewing at this one but you just need a venue where you can chat, a friendly cafe? your local sewing shop? Now we’ve started the ball rolling don’t forget to use the hashtag #so50meetup so we know what you’re up to.
It’s been almost a month since I was loaned a Pfaff Coverlock 3.0 to try out so thought I would give you a ‘half-term report’ on how I’m getting on with it.
First thing to say is that it’s quite a beast! It’s a very substantial piece of machinery and so is fairly heavy as a result. That being said, this is normally the case with coverstitch machines because they are generally bigger than overlockers so the weight isn’t unusual. It does have a good-sized and comfortable carrying handle though.
Ok, so, the Coverlock 3.0 is a combination machine in that it is both an overlocker and a coverstitch machine. I’m sure you already know that an overlocker will trim and neaten raw edges and often sew the seam as well if you have 4 or 5 thread version. What you may not know is that a coverstitch machine doesn’t trim any edges, it will sew two or sometimes three rows of top-stitching on the outside of a garment whilst covering the edge of the fabric on the inside with loops of thread to ‘cover’ it. It has the advantage of being stretchy too. If you’re still not sure what I’m talking about have a look inside the hem or cuffs of a RTW jersey garment and you should see.
The first thing I had to do was not only rethread the machine as it didn’t arrive pre-threaded but I also needed to change it’s function from coverstitch to overlock. A major part of what I want to assess for you is how quick and straightforward it is to go between the functions. This is partly why I didn’t plunge in with a review as soon as I got it because I didn’t think it would be balanced or fair. Indeed, I will certainly write another review in due course after a decent amount of time and usage has occurred.
Because the machine was merely delivered to me without any demonstrations I’ve needed to use the instruction book a fair bit. If you have difficulty following written instructions and/or diagrams this may not be ideal for you but there is a (silent) DVD included with very clear animations of exactly what you need to do for each of the stitch variations possible. [I didn’t find this straightaway though so I muddled through with the booklet! I’ve also since found a few very helpful You Tube videos which were useful]
I’m not going to lie, it does take a bit of time to make the changes because you’ll need to remove and reinsert the needles to different positions as well as thread the machine in different ways depending on the function. This will eventually take me less time and I’ve added Post-it notes to the relevant pages in the book so that I don’t have to keep searching for the two I’ve favoured most. The machine is capable of up to 23 stitches using 2, 3, 4 or 5 threads and up to 3 needles. So far I’ve only used the 4-thread overlock and the coverstitch but I will endeavour to use more, including the flatlock, and report back.
I decided on making a hacked version of the Tilly and the Buttons Nora top which I’ve made a couple of times before as I didn’t want any nasty complications by attempting an unfamiliar pattern with a new piece of machinery!
The beautiful jersey with an amazing ‘tie-dye’ print is from Lamazi fabrics and was my choice as a July/August maker of the month [it could be you if you tag them on Instagram] I cut the sleeve to approximately 3/4 length and also cut two cuff pieces which were again approximate, initially about 20cms in length and then my wrist measurement at one end and my mid-forearm measurement at the other. I added a couple of centimetres for seam allowance to all sides.
I’d definitely say you need to do a bit of forward planning if you intend to use both the overlock and coverstitch functions on a project because of the swapping between the two. For example, on my Nora I needed to coverstitch just the cuffs and the hem, everything else could be sewn either directly using the 4-thread overlock or on my Quilt Ambition 2.0. I opted to sew the top together first and complete the hems at the end, in the usual way although there may be times when it’s better to hem first, we’ll see.
If you’re merely changing the thread colours it can be done in the same way as regular overlockers by snipping the threads near their spools, tying on the new colour and pulling each of them gently through, plus rethreading the eye of the needles. On one occasion when I altered the function I completely rethreaded but the stitch was much too loose-what had I done? It was all done correctly and yet it was way too loopy. I checked the manual for hints on troubleshooting but it didn’t make much difference. I was starting to pull my hair out when I realised I had threaded the machine without lifting the handle out of the way-the threads MUST go under it or they don’t sit in the tension discs! (Had I watched the helpful YouTube video first I would have known this…) Another thing I learnt the hard way was when the spool holder kept falling off the back of the machine and I was ready to chuck it out of the window I noticed it has to be slid sideways to click securely in position-doh!
The next two projects I made I didn’t use the coverstitch function as both the sweatshirts had cuffs and waistbands but I constructed much of them using the 4-thread overlock stitch. I used fabric provided to me by Minerva and they will appear on their blog in the new year. One of the patterns I used was the gorgeous Maxine sweatshirt given to me by it’s designer, Dhurata Davies. I’m going to make another one soon so I’ll write an individual blog on it then. [I got both tops out of 2.5m of fabric!]
For the final project I want to talk about here I took a different approach. It’s an Amy top by Brilliant Patterns and which I’ve made a couple of times before. I had a 1m remnant of loop-back cotton sweatshirting which I bought from Sew Me Something at a show for £8 and by shortening the sleeves very slightly, cutting the neckband in two parts and joining it I got a WHOLE sweatshirt out of the one metre!!
This time I set the machine up with a wide 2-needle coverstitch and I used my regular sewing machine to sew most of the seams. What I did at each stage of construction was to press the seams flat and top stitch them using the Coverlock. This meant that there would be two rows of top stitching on the outside and the raw edges were covered on the inside. This was generally OK although as I’ve yet to ‘get my eye in’ with lining up the foot against a seam or other visual marker a couple of them do waver more than I would usually like. It turns out there is a large removable flat bed included to increase the working area (it was tucked down inside the box and I’ve only just found it!!) this will support your work while you sew but it does take up a bit more room.
So to sum up (for now) I’ve been impressed with the quality of the stitches I’ve used so far on the Coverlock 3.0 and I will definitely look for opportunities to try others whilst I have it. I’ve yet to be convinced about swapping between the stitch-types but obviously, as I get more familiar with it, I should get faster at changing between them. There are few processes which have to be gone through to make the changes but I’ll probably work out an order or procedure to follow to speed it up. If you are short of space a combination machine might be useful, they aren’t cheap though. You’ll almost certainly use the overlocker stitches more of the time so possibly changing occasionally to coverstitch will be sufficient. I would definitely say you should have a thorough demonstration of the machine so that you know what is involved and what it is capable of. Unlike washer/driers which don’t do either job very well this machine does both functions to a very high standard.
Thank you to Pfaff for giving me the opportunity to try out their machine and if you have any questions about my experience so far then do ask.