Italian cloth and hacking a ‘vintage’ pattern

First a bit of preamble, because the origins of the fabric I used for this top were important. In June 2022 me and Mr Y were finally able to return to mainland Europe again for a four day stay in Florence, one of my favourite cities. We knew it would probably be very busy with visitors during the summer but frankly I didn’t care about this, I was just so happy to be able to see all those magnificent buildings and beautiful art again.

In between looking at the art and strolling the ancient streets I indulged in a little window shopping at the stores where I can afford literally nothing, including Alexander McQueen, Missoni and Gucci.

I could get a closer look at the details in the Gucci store that is based in the Gucci exhibition (worth a visit)
Missoni….obviously, look at that extraordinary panelled dress
Alexander McQueen…be still my beating heart

Amongst all these shops though I *may* have come across a fabric emporium….In truth, there are quite a number of fabric shops in Florence, what with this being Italy and home of fabulous quality textiles.

I failed to make a note of the name of this particular shop but it was very close to the Duomo and the Baptistry. I didn’t go in (thankfully it was shut at the time!) but they clearly specialised in very high-end alta moda fabrics which were nowhere near my budget!
Stunning beaded silk cloth

I had, however, been given the name of another more accessible shop by a kind Instagram follower so we set off to find it with only the vaguest idea where it was. Bacci Tessuti is quite close to the Medici Chapel and San Lorenzo and, with a little help from Google Maps, we found it eventually.

The air-conditioned shop was a very welcome haven from the extreme heat Florence was experiencing during our visit and I was not disappointed by what I found, there is a wonderful selection of lovely cloth to browse.

The choices in a beautiful store like this can be quite overwhelming so I had a sort-of plan to buy something which felt ‘Italian’ to me. I set out looking at their fine linen, personally I would call it handkerchief linen and it’s much lighter and softer than most of the heavier and more durable linens I’ve seen on sale in the UK. I homed in on one with a large design in blue, red and pink flowers (I love a floral fabric but I don’t often wear it) but this one ’spoke’ to me. So that was great but then the helpful shop manager, who spoke excellent English, pointed out the Liberty Tana lawn he had at a very good price! I would have resisted but my husband wanted to buy some for me so who am I to turn him down!

These were going to be my total purchases but when I went over to the counter the manager told me that the linen cloth was by the textile designer for well-known Italian brand, Pucci. At this point he produced from under the counter several short length pieces of some beautiful Italian designer fabrics including Dolce and Gabbana! They were all very lovely (and still expensive) but I wouldn’t have a use for them. The one I did fall for though was a small piece of silk/cotton cloth from Pucci with their trademark psychedelic design in delicate ice cream shades. It still wasn’t cheap but it was just a bit different and there was enough to make a top of some kind. So of course it came home with me…

it’s a bit crumpled from the wash after I got it home
The linen is on the left, plus the two pieces of Tana lawn bought by my husband, and that was my view from the hotel in the background, straight over the Arno with the Ponte Vecchio just to the left.

With my purchases safely stowed away we got on with enjoying the rest of our holiday (although I spent a fair bit of time planning in my head what I was going to make when we got home!)

Initially I was going to use this ‘vintage’ Style pattern as is (I bought it new in 1988 so it’s a little upsetting to think of it as vintage!) I used it several times back in the day, and I’ve sewn it again a couple of times in the last few years. The back buttons are the feature I like, the rest is basically a woven T-shirt.

As I said earlier, I had no more than 1m30 of fabric to play with and I still wanted to do a decent job of matching the print as best I could. The basic pattern fitted on the fabric, it’s only a front, back, sleeves and facings, but I thought it might look a bit meh, and there would still be some wastage. After a bit of a rethink, by shortening the body and making two deep ruffles across the width of the fabric I knew I would get a much more interesting design and have very little wastage in the end.

Basically it was a case of working out how long I could afford to make the top section and still get ruffles that were a balanced length [I had the Merchant and Mills Florence top in my head as inspiration] I took a line horizontally straight across to the centre front/back from the side seam approximately 15cms down from the bottom of the arm scye of both the front and back. What I should have done if I had stopped to think about it was make the centre front longer, I didn’t though and as a result the front hem lifts up because of my bust. The back is fine though.

The first dashed line is roughly where I folded out the pattern to make the horizontal seam, the curved dashed line on the front is how I should have shaped it.

I was able to cut the front and back pieces side by side on the folded cloth which meant the design ran smoothly around the garment. From the remaining fabric I calculated how deep two full widths of the fabric could be (approximately 28cms each strip) and still have enough to get two sleeves and the neck facings out too.

Once I had all the pieces it was just a case of assembling. First I did my usual scavenge through my button boxes to find enough suitable colours in matching sizes. After joining the shoulder seams and attaching the neck and back facings I sewed all the buttonholes at this stage, by doing this first it meant I wasn’t fighting the bulky seam of the gathered ‘skirt’ later.

My usual mash-up of various buttons down the back
By sewing the buttonholes at an early stage meant I didn’t have to struggle getting the bottom one under the buttonhole foot with the gathering in the way.
All finished. I know I’m just being fussy but you can probably see what I mean about the top rising up at the front slightly. There is no bust dart on the pattern which would have made a difference.
I’m pleased with how the top uses almost all the fabric and shows off the print to good effect, I didn’t want to chop it up unnecessarily and there weren’t many options with the small quantity I had anyway. I had to use a very narrow pin hem on the ruffle to maximise the length, the sleeves had their normal hem allowance on them. If you want a few more ideas for finishing hems I wrote this blog a couple of years ago which you might find useful.
I opted to have the ruffle run straight across the back rather than have an opening (this was because I was being lazy and didn’t want to make a facing and sew more buttonholes!!)
The top is shorter than I’ve worn in the recent past but I like the look, especially with the flat-fronted Eve pants by Merchant and Mills
Out in the wild at Africa Fashion which is on at the Victoria and Albert Museum in London until 16/4/23

As for the other Italian fabrics, I have plans to make a shirt dress with the beautiful linen, I have a design I’ve drafted and sewn a couple of versions of but there’s probably still a few tweaks I want to make to it before making it in the ‘real thing’. The Liberty lawn is waiting for the right project to present itself too, no need to rush these things. I’m all for sewing the good stuff but it’s really upsetting if you sew a dud with it!

Until next time, happy sewing

Sue

Sewing and other bits in 2021

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

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

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

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

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

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

Moving on…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sue

Tips for sewing with linen jersey, a new Lamazi post

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

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

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

Plenty of steam will help remove most unwanted bagginess like this

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

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

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

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

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

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

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

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

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

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

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

all finished

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

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

Until next time, happy sewing,

Sue

Trend Utility trousers TPC12

My first blog of 2021 features my last make of 2020. After several quiet weeks where I didn’t sew any garments, I had cut this project out a couple of months back but then hadn’t felt motivated to make them at the time…the days between Christmas and New Year was the right time to get my head around a nice involved project though. There has been so much going on in the UK recently, (understatement!) especially in these last few weeks, that I wanted something I had to concentrate on to take my mind off other events outside of my control.

If you’ve read my blog in the past you’ll know by now that I’m a big fan of Trend Patterns but these are the first trouser pattern of theirs that I’ve tried.

I saw Lucy wearing her own version of TPC12 on her stand at the Stitch Festival in London back in early March 2020 (just before everything went weird) and it was the unusual split hem detail that initially I really liked. On closer inspection there are some other nice features too, like the topstitched front seams with optional faux pocket flap, and a button fly. These are the kind of details that attract me to a pattern but I would say before I go much further that this is definitely an intermediate pattern as a result, you will need to be a confident sewer or at the very least game to increase and expand the skills you have already. Before I left the show that day I bought some nice heavier weight plain black linen from Rosenberg’s to make them with.

It was then literally months before I decided to tackle the pattern though. I’m not going to lie, and don’t judge me either, but I had piled on weight during lockdown which I wasn’t happy about and as I got bigger the last thing I wanted to do was make a pair of trousers that emphasised that fact. Eventually however I began dealing with the weight issue which in turn encouraged me to revisit the Utility trousers in the early autumn.

Instead of using the linen for the first pair I bought some grey stretch cotton twill from Backstitch near Cambridge. It’s lovely fabric for trousers and a very good quality at a reasonable price. Because the Utility’s are a fixed waistband I went by my waist measurement at that time (it was shrinking!) so I chose the UK 16 and I could tell that the hip would on the big side but that was OK.

I patiently traced off all the pieces which took a while because there are quite a number of unique pattern pieces that need to be cut right side up (RSU) Labelling them all is of paramount importance so that you don’t end up with unusable pieces of fabric cut the wrong way. Once I had cut the fabric out I left all the pattern pieces attached to the fabric until I had either interfaced them or until they were ready to be sewn. I made both my versions exactly (apart from fit alterations) as the pattern but you could leave off the pocket flap detail by cutting a pair of side fronts, or you could have two pocket flaps by doubling up those pieces instead. An advantage of having so many single pattern pieces is that you might have a more economical layplan because they will interlock better, folded fabric is a much less efficient way of cutting out, a single layer just takes a bit longer.

I said at the start that this is an intermediate pattern in my opinion and that is largely because the hem vents and the button fly are quite involved, although not actually difficult, plus I found the instructions and diagrams were a bit tricky to follow. I didn’t go wrong but they do require absolute concentration. What I’ll do in this blog, so that’s useful to you if you decide to make the trousers, is simplify the order of making down to a basic list which you can use in conjunction with the actual instruction booklet. I won’t give you specific, press here, topstitch there, instructions though, they are in the booklet and the diagrams are very detailed.

My first piece of advice, after you’ve attached all the interfacing to the relevant pieces and transferred all markings to the fabric, is to overlock all the cut edges (except the waist and fly front) first. I don’t normally do this because I prefer to overlock as I go along but it makes more sense here to do it as a batch process, just make sure you don’t trim away too much or lose your notches in the process.

Start by making the ‘pocket’ flap [make up the optional pocket bag if you are going to have one but set it aside for the moment] also, make the back darts and set the pieces aside for now.

Join the front seams for both fronts as far as the vent markers, do not join the fronts to the backs just yet. I found it easier to have only the vent sections to work on flat first although the instructions tell you to join the fronts to the backs. Once you’ve made both the vents except for the final single topstitching to hold the flap in place and are ready to turn up the hem join the fronts and backs at the side seams first. Now complete the topstitching to hold the vent in place then join the inseams, turn up the hem and topstitch to finish. [If you’re using the additional pocket bag I would add it whilst the leg is still open and flat, before sewing up the inseam. I sewed mine on earlier and it got in the way a bit when I was joining the various leg seams]

Pin and partially stitch the crotch seam as per the instructions then apply the outer waistband and press the seam up towards the waistband. [If you want to include belt carriers I would add them before attaching this waistband so that they are caught in the waist seam, the tops of the carriers will be enclosed when you add the facing]

Next, make the right fly section and buttonholes as per the instructions and diagrams. I’ve included a photo of where I stitched through the layers of the right front to hold them all together, I’m not sure if this is quite what is intended but it works-I couldn’t make sense of it otherwise!

the pencil is pointing to where I’ve added the row of stitching to keep the layers together.

Make the left fly front and attach the waist band facing, I’ve included the photo below of how this should look from the inside (yes I did use jazzy overlocking thread just because…)

the completed grey version showing the button fly and jigger button

Sew the remainder of the crotch seam to complete it, then sew the entire crotch seam again about 1-2mm away from the first stitching line.

Sink stitching-to complete the waistband-is simply the industry term for ‘stitch in the ditch’.

Obviously there are points where you would be advised to try the trousers on to check the fit as you go so you could do this by pinning on the stitching line (parallel, not at a right angle!) to avoid unpicking. The advantage of having a split waistband on the centre back seam (like good quality men’s trousers) is that you can fit into the small of the back more effectively.

So that’s, hopefully, a simplified method for you, it isn’t that I think the instructions aren’t good, it’s just that I got a bit confused between what was written and which diagram to follow, and that’s why I wrote it down in a clarified form as I made the second pair.

The fit of the first pair is technically not that good but they are soooo comfortable. The waist was a good fit initially although I’ve lost more weight since then so it’s very roomy now. The major issue (and I’ve read this in a few reviews) is that the crotch length is very long and looks quite droopy. You can see this in the photos of my grey pair, and this makes the cropped leg length look a bit too long as a result. For the second pair in the black linen I redrew the pattern down one size and also folded out 3cms horizontally at hip level on every pattern piece to reduce the rise. The second pair are a much better fit but that won’t stop me wearing the grey pair, it doesn’t particularly bother me that they are overly generous because the shaped waistband can’t fall off my hips anyway. Yes the grey pair are very baggy but that’s fine.

The black linen pair are a better fit at the waist, there’s still plenty of room (too much room?) over the thighs but I don’t mind that. Maybe I’ll shave a little off the next pair, or maybe I won’t…

Overall I’m a big fan of the Utility trousers and I’ll probably make more, now that I’m getting better with the fit. The design details are worth the effort but it is a project you’ll want to take some time over, I had to turn off the radio so that I could concentrate completely and I read aloud each instruction several times to ensure I was going the right way. I sewed matching topstitching but you could use a contrast thread, or maybe you could line the waistband and button stand with contrast fabrics? Apart from the pocket bag if you add one there are no other pockets so you could add some in the side seams quite easily I would have thought, or patch pockets on the back perhaps? I quite fancy a pair made in chunky cord too…

I hope you find this useful, or I’m happy to try and help if I can.

Until next time, happy sewing

Sue

Revisiting a ‘vintage’ blouse pattern

I know many of us often sew patterns multiple times because we like them but I’ve taken this to a new extreme recently. I last sewed this blouse pattern Simplicity 8704 when I was around 16 or 17 years old, the date on the back is 1978 so I must have made it while I was still at school! I remember I used a burgundy-coloured viscose (or similar) with a floral print on it and it was definitely one of my favourites as I wore it a lot, probably swanning about in the Sixth Form common room!

There have been several times when I’ve been tempted to revisit it but for one reason or another I’ve put it back in the box for another day but this time I kept it out and went in search of fabric in the stash. Initially I was going to use a really pretty pastel pink lightweight checked cotton I got from Sew Me Sunshine (I can’t see it on the website now though) but when I realised I was going to have to pattern match the deceptively tricky check I thought better of it. I wasn’t in the mood for taking an age over that so I continued to rummage until my eyes fell upon the (also) pale pink linen I acquired from the local Scraps Store last year. I found it in a container full of various unwanted fabrics and there was nearly 5 metres of it so, for a donation, it came home with me! I laundered it at the time but put it away. I thought I might make a dress with it originally but, because it’s such a pale pink, I didn’t want to end up looking like a blob so I left it for another time.

A plain linen blouse appealed to me though and I didn’t have to fiddle about pattern matching so away I went and it was cut out in no time. Even though the pattern was a single size-this is how most patterns were sold until multi-size patterns were introduced-and my size has fluctuated to say the least over the years, amazingly it was still going to be the right size with no alterations.

There’s not much else to say about making it up except I remembered that an @SewOver50 stalwart, Lisa, had shared on her grid the day before that she had used a wing needle to decorate a plain linen tunic she was making which reminded me that I’d intended to find a use for the same effect at some point but forgotten all about it-Thank You Lisa!

The wing needle (I’ve also seen it called an ‘heirloom’ needle recently too) is like a regular needle except it has fine metal ‘fins’ to each side of the shaft which creates a little hole like a tiny eyelet in the centre of the stitch as it forms. A stitch which looks like a little star works best for this effect but you could try experimenting to see if any others look nice

I made a little video of my machine in action.

It’s worth bearing in mind a couple of important points if you’re going to use this decoration. Firstly, you can’t easily pivot at a corner with the needle down in the work-I sewed the collar in three separate moves, secondly you won’t be able to use the automatic threader if your machine has one and thirdly (thank you Lisa for telling me this because I don’t have this feature) you can’t use your automatic thread cutter if you have one.

As well as the collar I embroidered the cuffs, the front raglan seams and down the button placket, although I did this last one after I’d hemmed the bottom and sewn the buttonholes so that it was the exact distance from the edge and the buttonholes.

I love the way the blouse gathers into the collar, which is a two part construction incidentally, the raglan sleeves are straightforward but the gathered cuffs add a nice touch. I found a selection of Mother of Pearl buttons amongst my tidied-up button boxes to add another of my usual quirky details but otherwise that’s it. It’s a reasonably quick make but it was lovely to sew the details of collar construction and the cuffs, there’s an elegant simplicity to it I think. I will either wear it loose over the top of trousers or tucked in, or underneath a pinafore dress maybe?

It might sound strange but it feels a bit like an old friend has come back to visit, and I might even make the placket front version now too!

Until next time, keep sewing!

Sue

New Trend pattern TPC26 plus tips for handling a tricky fabric.

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. 

I felt that the length of the dress would probably be too long for me so I took some of the length out of the skirt pieces before I cut them out in fabric.
I calculated that approximately 5 cms would be sufficient to take out of the length so first I drew a line at a right angle to the grainline, then a second line 5cms from the first.
I pinned each piece to it’s ‘partner’ so that I could see if it would still align correctly after I folded out the 5cms.
It was really just educated guesswork but, eventually, by folding out the 5cms horizontally from each panel I was reasonably confident it would be pretty close.
Why didn’t I just take it off the hem at the end? You could easily do that but because I had just 2.5m of fabric, which may not have been quite sufficient, I could not take that risk so I did it this way instead. It took longer but removed the element of uncertainty.
This is almost everything laid up on the floor, I cut a linen version at the same time which is what you can see on the top. Whilst a single layer is often a very economic way of cutting fabric it’s usually more time-consuming to cut out so I did the two at the same time which was slightly risky but it worked out.

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.

You can see the lower layer is a little longer than the top one and by sewing it with this on the underside means the feed dogs should take up the excess.
After sewing but before pressing it looked like this.

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.

Line up the teeth with the basted part of the seam, this has been lightly pressed open already.
Pin the zip tape to the seam allowance with the seam and teeth matching.
I prefer to tack the tape to the seam allowance at this point but you could use Wonder Tape if you have it.
Now I removed the basting stitches and sewed the zip in using an invisible zipper foot. The zip I was using was longer than I needed.
Make a new stopper for the zip by carefully sewing backwards and forwards a few times over the teeth, cut off the excess then secure each side of the tape to the seam allowance using a regular zip foot.

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.

I mocked up some small pleats with the sleeve pinned into the armhole.
I drew some markings so that I could then transfer the pleats equally to both sleeves.
More old-fashioned tailor tacks to mark the pleats.
The pleats are equally divided across the centre line of the sleeve.

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  

Sewing a pin hem, this is useful technique well worth mastering because if you haven’t got a rolled hem foot which could do the job, this gives a beautiful hem finish to fine or delicate fabrics.
Finished pin hem on the sleeve
Because I’d made the pattern alterations to the skirt length I wasn’t surprised to find there was a slight discrepancy in levels at the hem. Using a long ruler I averaged out a new straight line and then pin-hemmed it.

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,

Happy Sewing

Sue

Trend ‘Square’ dress in Selvedge and Bolts linen.

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 folded out a parallel 5cms segment of the lower skirt panel to reduce the overall length of the dress.

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…

The shoulders are designed to be wide so there’s plenty of bra-strap coverage if you need it.
You can see the deep hem in this shot, it’s ‘grown-on’ not a separate facing and you mitre the points at the front and back. This helps give the skirt a lovely weight and fluidity.

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!

Until next time,

Happy sewing

Sue

Simple Sew Zoe dress hack

I haven’t written a Simple Sew blog post for a few months but now that Sam Sterken has taken over with the organisation whilst Gabby is having her maternity leave we’re up and running again.

I had a bit of an idea in my head of what I’d like to do using the Zoe pattern which I already had so I chose some medium-weight enzyme washed linen in dark turquoise generously provided for us once again by Doughty’s Fabrics. I was really pleased with it when it arrived as it wasn’t too droopy but not over-firm either. Incidentally, it’s been terrible to photograph accurately, the final outdoor photos are definitely the closest to the real thing [to see how I altered the Zoe neckline so it wasn’t so wide have a look at my previous blog post in early 2018)

I drew a few sketches of ideas which all involved using the top half of the Zoe-initially I was going to extend the sleeves with wide pleated frills and keep the dress straight but I went off that idea as I felt the fabric was too firm for how I wanted it, I thought it would definitely work well with a peg-top skirt instead however. I wanted a shape that wasn’t too voluminous at the hem and by using an inverted A-line shape I could add pleats at the top but keep the hemline slimmer.

I went with option 4

I tried on one of my existing Zoes (I’ve made 3) so I could assess what length I wanted the top section, and took an arbitrary measurement of 34cms from the centre of the front neckline to where I wanted the waist, which is slightly higher than my natural waistline. As the Zoe has centre front and back seams I then measured from the top edge down to the point where I wanted the waist seam and drew a line at a right angle on the pattern across from that point. I took that line across to the side seam but at the point where the line met the side seam I made it a right angle, which creates a very slight curve on the line. Because the back neck sits a little higher than the front I matched the side seams to one another first and created a similar line across to meet the centre back seam. [It’s important that these lines are at a right angle where they meet at the side seams because otherwise you would have a slight V shape rather than a smooth line from front to back] 

I already have a skirt pattern that I’d drafted last year for a similar peg-top shape, it’s essentially an upside down A-line skirt (the hem becomes the waist and the waist becomes the hem) I’d used it gathered though and I wanted pleats on the new dress. Initially I attempted to work out how to get 3 even sized pleats by folding and refolding the paper but I couldn’t quite get it. In the end I decided to cut the pieces in fabric as they were-with a slight modification for the front skirt as that piece was quite different-and then I’d work out the pleats once I was ready to attach the bodice and skirt together.

I cut all the bodice/sleeve/neck facings and assembled the bodice first. I’ve found that it’s easier to sew up the shoulders and attach the neck facings as described in the instructions but then attach the sleeves with the bodice open flat before sewing the side seams rather than in the round. The photos should help make this method quite clear. I added rows of contrast triple straight stitch to various seams as I went including around the neck [I used the quilting guide which came with my machine to do this accurately]

the sleeve is pinned on with the bodice opened out flat
the seam is pressed towards the sleeve
then the sleeve is pressed up towards the shoulder
the underarm seam is sewn up, overlocked together and then the sleeve is folded up again and top stitched into position.
On the outside I used the quilting guide on my machine to sew 4cms away from the finished edge of the neck.
top stitching on the neck edge.
the finished bodice

Next I cut the front and back skirts from the remaining fabric, plus I also cut two pairs of pockets for the side seams using the cardboard template I’ve made. [Just choose a pocket pattern that suits the size and shape that you mostly use to go in side seams and then make a cardboard version, mark the grainline and then all you need to do in future is place it on your fabric and draw around it with a pencil or chalk, it saves a paper piece getting scrappier and scrappier with constant use.]

card pocket template
the back and front skirt sections, the back is placed again the selvedge and the front is placed 10cms from the fold to form a whole front, I didn’t cut down the righthand side of the pattern as it looks here.

I made up the front and back skirt sections, adding the pockets to the side seams, then top stitched the CF seams as before, I didn’t top stitch the CB seam at this stage as I wanted to be able to sew in a continuous line with no breaks and I couldn’t achieve this until the hem was turned up too. Incidentally, as many of the seams were going to be pressed open inside the dress I overlocked the edges of most of them first then sewed the seam and pressed open. 

Next I pinned on the skirt starting by matching the centre front, back and side seams. Because I had no other markings now I played around with different positions for the pleats until I happy with how they looked. This will vary according to what size you’ve cut the waist but for mine I settled on 10cms each side of the CF seam for the first pleat and then the second and third pleats were a further 4 cms away from the previous one. I checked all the measurements to ensure that they were each symmetrical and well-balanced before I sewed it all together, overlocked to neaten and added another row of top stitching to the waist. 

Initially I tried to work out using my existing skirt pattern where the pleats would go but I couldn’t quite get my head around it so I chose to try it freehand in the fabric which, in the end, was a lot better.
the pins mark where I would match the pleats to the bottom of the bodice.
finished pleats!

This just left the hem length to check, I had opted for quite a long skirt length because I wanted the dress to be a fairly loose throw-on shape but not too baggy or undefined. I was happy with the length I’d plumped for so I used the triple straight stitch once again around the bottom and then down the CB seam, creating an angled line to define the facing which finished the slit opening. 

I’m not always super-happy with everything I make (and in truth I’ve positioned the pockets a little bit low in this dress) but I can’t wait to wear this dress during the summer! I’ve only ever worn my previous Zoes with long-sleeved tops layered underneath in chilly weather so it’s a bit of a revelation to realise that the sleeves are the perfect length for a summer dress. I think the skirt shape is more interesting than just a gathered dirndl and the lime-green contrast topstitching is a bit of fun. The linen is a great weight for this too, it will be crumply but that’s part of the charm of linen fabric…I think I may have to make more of this frock!

Until next time,

Happy sewing

Sue

The Heron dress by The Sewing Revival

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.

It’s more pale blue than grey, you’ll see in my later photos.

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 neck edge folds over and the stitching encloses the elastic. It’s a very simple method.

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 used the quilting guide on my machine to keep the correct distance away from the first row of stitching [it’s the piece of bent metal that might be included with your other machine attachments. It slots into a little hole just behind the foot usually and you tighten a little screw to keep it the distance you want] The elastic is wide in the sleeves which means you can’t see any of your usual visual markers and this saves having to laboriously draw on markings.

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.

worn without the belt
…and with the belt.
rosy cheeks after a run and no make up!

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!

Until next time,

Sue

Fashioned from Nature at the V&A museum

This is one of the most recent exhibitions to open at the Victoria & Albert Museum in London and it’s a very thought-provoking one exploring the relationship between man, fashion and the natural world. It’s divided into the now familiar format of the historic element downstairs with the larger more modern and forward-looking section upstairs.

This works well because there are displays containing beautifully conserved clothing and accessories dating as far back as the 1600s alongside helpful and fascinating short films and information about the origins and manufacture of textiles using both traditional sources such as cotton, flax, silk and wool but also the more unusual such as pineapple fibre.

The items chosen for display demonstrate both the influence of natural subjects in the design-primarily plants and animals, and the effects of textile production on society as a whole. Cotton and wool for example were a huge part of the success of the UK for hundreds of years and made fortunes for a relatively few people but at vast human suffering for many in the form of slavery, overwork, terrible working conditions and resultant illness. Added to this was the decimation of animal and bird populations to supply the demands of the burgeoning fashion industry with feathers, fur, tortoiseshell, whalebone etc and you have a some uncomfortable viewing.

The origins of the RSPB in the UK started towards the end of the 19th Century when Governments around Europe became concerned for the welfare of bird populations brought to the point of extinction in places.

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This albatross was destined to become a muff to keep a fashionable lady’s hands warm.

Ostrich feathers were extremely popular on evening gowns and fans, this little hat is labelled as being the ‘improved starling’ hat with it’s printed feather decoration, the natural beauty of the feathers not being quite good enough presumably?

Seal populations were hugely reduced by the desire for seal fur to make or line coats, muffs and hats, as were whales for their flexible bones which were used in corsets, amongst other things. And then there’s ivory for buttons, umbrella handles and hair decorations, the list goes on…

New resources such as rubber found uses for footwear and to give elasticity to things like stockings and mens braces.

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These natty rubber-soled boots are actually for a man (Oscar Wilde I’m thinking…)

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Mother of pearl and seashells have long been popular for decorating objects as well as practical items like buttons.

Not everything is doom and gloom in the exhibition, there are some stunning pieces of embroidery and garments which are a visual delight. One of my favourites was an Eighteenth century man’s waistcoat embroidered with Macaque monkeys.

Floral motifs are a perennial favourite both as woven cloth and as embroidered fabric.

I was surprised to discover that using pineapple fibre to make fabric has been around for a couple of hundred years, especially given they were such expensive fruit in their own right.

This evening gown uses pineapple fibre fabric, and the handkerchief is cotton embroidered with pineapple-fibre thread.

Moving upstairs you will discover garments by designers keen to explore and embrace new textiles and technology. Stella McCartney is a well-known exponent of these with her refusal to use any animal-based product and there are some interesting examples of faux leather being made from the waste by-products of the winemaking industry, and ‘leather’ made from a type of mushroom protein! [Incidentally the episode of Desert Island Discs featuring Stella McCartney is very enjoyable and she talks about her use of ethical fabrics and textiles during it] Extraordinary stuff and virtually indistinguishable from real leather. These are ‘designer’ products though so I have no idea of the cost but like any new technology it has to start somewhere and will hopefully filter down eventually to be more affordable.

There were other examples of flora and fauna in the textile design including my favourite Alexander McQueen with a reptile-inspired dress from his Plato’s Atlantis collection.fullsizeoutput_258bfullsizeoutput_258a

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An ‘under the sea’ evening gown by Zac Posen

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Not fur but bugle beads!

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This ‘leopard’ is made entirely from beads by Jean-Paul Gaultier

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Another beautiful evening gown, this time by Giles Deacon, this one features a gorgeous fabric printed with birds eggs

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A heavily embroidered skirt by Christopher Kane with the reproductive parts of plants!

There is plenty of information and several films which go into greater depth about the effects not only of over-consumption of textiles but also the damage it’s production does to the planet and the workers. Denim, and therefore jeans, for example if the most water-wasteful and polluting of any fabric being produced, we have to address this fact and soon. I’ll be honest and say that I was flagging a little by this time, absolutely not through boredom, far from it, but from information overload. If this is your primary interest in visiting this exhibition then go straight upstairs because there’s so much fascinating, often shocking, but ultimately encouraging information to explore.

Also, did you know that Velcro got invented because a Swiss scientist Georges de Mestral noticed while walking in the Jura during the 1940’s that burrs from plants were clinging to his clothes and his dog’s fur so he investigated further and found they were tiny little hooks. Eventually this discovery became the basis for the product we know today!

Up-cycling is another area that’s looked into, reusing textiles be it unwanted clothes or end-of-line products like ribbon to make new products. Refashioning is not new but it fell out of favour, now it’s making a return.

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This outfit is made from maps printed on silk for wartime use but was actually only made in 2017.

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This collar is made from leftover rolls of ribbon.

I could go on, adding more photos of everything but I urge you, if you get the opportunity, to go for yourself and see this exhibition. If you’re interested in fashion and clothing it will really open your eyes to some of the facts about it’s production which you might not be aware of and make you think about how we can improve the situation by our own consumption of goods.

Vivienne Westwood is a leading advocate of choosing fashion wisely, her motto being Buy Less and Buy Well, in other words buy the best you can afford because it’s more likely to have been ethically made from better materials and will last you longer. I know personally I can’t always manage this but by making my own clothes most of the time and wearing them frequently is making a start.

Fashioned from Nature is on at the V&A until next January 27th 2019. I’ve not been sponsored to write this piece, I have my own membership which I use frequently!

Happy sewing, and visiting!

Sue