2020-Sewing in a Time of Pandemic

Well what a year 2020 turned out to be!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time, stay safe!

Sue

a multitasking Festive outfit

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time, Happy sewing

Sue

Two years of Sew Over 50!! (where did that time go??)

So, here we are TWO YEARS on from the first SewOver50 post, on August 18th 2018, and the account now stands at nearly 21K members worldwide! 

Personally, I’d really like to thank Judith and Sandy for the amazing amount of work they undertake so graciously in order to steer the Mothership through some interesting and turbulent territory, especially the second half of these last twelve months. 

We were all trundling along in our own way when suddenly, in early 2020, the world went very weird indeed. As the impact of Covid-19 started to take effect many of us were locked-down at home, some still working but in a whole new way, reliant on technology to carry on, it was an extremely stressful time for many who could have no contact with their loved ones or friends, lots of sewing-related events we so enjoy were cancelled or postponed. Many of us found that our sewing and creative making was a safe haven amid what was going on around us. For example, did you make a pouffe? I had the luxury of being able to sew whenever I wanted, because I couldn’t go anywhere, and I noticed others embarking on this project so I took the opportunity to use up SO many scraps of fabric and stuff them all into a footstool, I made my own pattern but I know many of you used the ClosetCore free pouffe pattern. I know many others couldn’t sew as often but, from chatting with friends, the time that they were able eke out to sew was vitally important to them, helping them to de-stress and shift their focus for a while. Shopping for fabrics, patterns and haberdashery online became a way, almost the only way, of supporting some of our favourite businesses, as people found new ways to adapt and do business. Sales of sewing machines worldwide increased exponentially with many manufacturers and retailers struggling to keep up with demand. Some of us had sewing sessions with our friends via Zoom, which was occasionally technologically-challenging but it enabled us to be in touch with each other whilst participating in our shared interest. I’m not going to dwell here on the pandemic though because it’s been different for all of us, sewing and being in touch with my sewing friends around the world has been an absolute lifeline for me personally. In fact, rather than watching the all-too-overwhelming daily news stories, it’s enabled me to hear and appreciate what people I feel I’ve come to know have been going through. At one stage it seemed anyone who was able to was using their sewing skills to help with the desperate shortages by making scrubs here in the UK, and possibly elsewhere, and mask-making has become something that people with little previous sewing experience have found themselves being able to contribute. Face coverings have become compulsory in many places now so this will be an ongoing activity in future.

Moving on, as a group @SewOver50 has always strived very hard to be inclusive of anyone who wishes to follow along, after all, part of the reason it started in the first place was because we felt somewhat excluded from sections of the sewing community by virtue (?!) of our age. Following the murder of George Floyd in the US we were all called to question the part we play in our world, even within our sewing community we had to examine our consciences to ask if we were doing enough. #BlackLivesMatter was rapidly followed by #BlackMakersMatter and there is now an Instagram account @BlkMakersMatter where you can see, and follow and support, the massive diversity of BIPOC makers, and not just sewers but crafters and makers of many beautiful things. Many of our wonderful stalwart SewOver50 followers including Diary of a Sewing Fanatic are vocal advocates, I’ve always got time for Carolyn’s no nonsense plain speaking! We shall endeavour to continue reflecting our membership, and involve a diverse range of contributors and guest editors in the future. If you have ideas for future topics, especially if you think we’re missing something important, do please let us know.

So, very briefly, that’s the worldwide picture (as it currently stands) in which there have been quite a few SewOver50-related things going on during the past 12 months too. My personal favourite was our very first, and fortuitously timed, official meet-up in London in late February. Judith was able to join me to co-host and I was thrilled that so many generous companies large and small sponsored prizes for the charity raffle we held. I think, without exception, everyone who attended enjoyed themselves and agreed we would have liked even longer to chat and create new friendships in real life, just weeks later the event couldn’t even have happened. We had high hopes of more of you being able to host your own meet-ups where ever you are in the world but that’s still not really possible, make sure you let us know if you do manage it! Above all though, stay safe! 

still no luck for Judith using my homemade teleportation device…must try harder

Stalwart supporter Maria Theoharous in Sydney started her own podcast Sew Organised Style in September 2019 and she generously created a space for Sew Over 50 every Thursday! Judith, Sandy and myself have all chatted with her but you can also listen to a growing list of our fellow followers every week chatting about what sewing, crafting and Sew Over 50 means to them. It’s really lovely to actually hear their voices, talking with enthusiasm about things they are passionate about. 

At the beginning of May ClosetCore Patterns paid the ultimate accolade to one of my personally most inspirational sewers, Blanca, by naming a pattern after her, it’s a stylish flight/boiler/jump suit (call it what you will) but I love her personal aesthetic and she absolutely rocks this outfit! 

photo credit Blanca via Closet Core Patterns

In the UK during the spring, and at the height of lockdown, we had series 6 of the Great British Sewing Bee to enjoy. It featured several fellow dressmakers who we can claim to be representing ‘us’ on national TV. Yes, we know they are ticking boxes to cast certain ‘types’ but at least this time it’s positive discrimination! Even so, 10 weeks went by far too quickly!

Over the year the account covered all sorts of different topics for discussion including, do you always make a toile or just happy to wing it? What are you pet sewing peeves? (cutting out and pattern tracing seemed to be top for this one!) The art of tutu making was a personal favourite, having always loved ballet and especially the costumes. Tips for better and more accurate top stitching was another goody and @SewitwithDi gave us a master class in using the correct interfacings effectively. There are too many others to mention them all but you can refer back at any time, take a screen shot of your favourites or save them to your archive for future reference.

More recently the account reached, and has now surpassed, 20,000 followers! This was marked with a giveaway where two people who had not necessarily met in real life but had formed a friendship through sewing could each win a copy of the same pattern. If you take a look at the hashtag #so50sewalong you can see some of the garments that have been made since this competition ran a couple of months ago. Incidentally, it’s worth mentioning that the #sewover50 hashtag has now been used almost 80K times up to this point, it’s an absolute wealth of inspiration and knowledge which is all yours for the taking! 

I think many of us enjoyed the opportunity to look back through, and share, some of our holiday photos wearing our me-mades. Sadly many holiday and travel plans haven’t been able to happen this year so it was a lovely way for us all to virtually ‘travel the world’ over the course of a weekend. Lots of us wore those clothes anyway, even if we couldn’t leave home! The online virtual Frocktails in April was another excuse to dress up a bit, knowing our friends around the world were raising a glass to each other at (almost) the same time.

joining with Virtual Frocktails, my dress is self-drafted

Have you been keeping a #so50bingo card? This has been an ongoing way of keeping tabs on what you have been sewing and other techniques/events you could challenge yourself to try. No pressure, it’s just a bit of fun with no time limit. 

During the year I wrote several blog posts based around different topics including sewing advice for newbies (or returners for that matter) your go-to T-shirt patterns, what do you take into account with your fabric buying choices, are you a batch cutter/sewer or just one thing at a time? Judith and I both contributed videos as part of the online Sewing Weekender, this is normally an event held in Cambridge, UK but The Fold Line opened it up worldwide as an online event and it was a huge success with over 1,700 people ‘attending’ from all over the world. 

We also held the second #so50visible challenge earlier in the year, we seem to be having success with getting our images reposted by lots of pattern companies which is a very good thing but notably few are choosing older models-with a few honourable exceptions-to represent their patterns in the marketplace. This is still very frustrating when you look at just how many stylish and inspirational people follow this account but if we all keep plugging away a change will come. One thing that pattern companies have said to us is that the quality of photos isn’t always good enough for them to reshare so the better, and clearer, you can make your photos to show off your makes the more likely it is to get reposted. There have been a number of posts with simple tips on how to improve your photos so why not check them out?

Most recently our own Leader Judith has written an article for bi-monthly US-magazine Sew News talking about Sew Over 50, which you can order online.

So, in spite of everything, lots of good things going on for Sew Over 50 in the last twelve months, some progress being made with representation but I’m sure you’ll agree that isn’t all the account is about. I hope you continue to find the account as inspiring as I do? Yes, we all start off by being here for the sewing but it often becomes so much more than that. Real friendships have been forged as a result, very few of us have ever met one another in real life but that doesn’t stop us identifying and empathising with each other and the lives we lead, especially during these last few extraordinary months. 

I am deeply indebted to Judith and Sandy for the sheer dedication they have on our behalf, and I’d like to thank all of you for your kind words of encouragement, support and appreciation to me personally, I love being a part of this worldwide community of sewing and I can honestly say the last few months would have been very different without so many of you connecting and interacting with me in some way. 

Thank you, and until next time,

Happy sewing!

Sue

My second Lamazi blog post

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. 

Until next time,

Happy sewing

Sue

A Simple Sew Cocoon dress hack

I had made two Simple Sew Cocoon dresses without alteration when the pattern was first released a couple of years back, and you probably know that I love a bit of a pattern hack so I decided that the style would be good for an adaptation. I’d drawn a few sketches of ideas and had a rummage in the stash for some suitable fabric when a funny thing happened…

I found I had already cut out a hacked Cocoon in the past!! I realised I must have done it easily two summers ago but then abandoned it because I decided it would be too short. I remember it was a limited amount of fabric, probably 2 metres, but I put it to one side and forgot about it. 

Fast forward to now, I wanted to make it up but I needed to lengthen it in a way I was happy with. I had truncated the bodice at Empire line just below the bust and then the skirt was two widths of the fabric, a simple dirndl. I’d cut the facings too but there was literally nothing else left except small scraps.

There’s a centre front seam in the bodice, I cut the dress horizontally under the bust at about Empire line

I went through various options including adding extra frill layers but to do that you gradually increase the amount of fullness needed for each layer, in other words, layer 1 would be 1.5x the waist measurement, layer 2 could be 2x the length of layer 1, and layer 3 could be 3x the length of layer 2. In simple terms this means longer and longer strips of fabric are needed to form each frill to be sewn to the previous one, and the longer the length of the dress the more layers you might need. Basically I couldn’t make the skirt any longer with what I had because it was already cut, and because of the lockdown I couldn’t go out to look for a suitable plain cotton. I returned to the stash and eventually found 50cms of cotton poplin which I know I bought at the same time as the original, I must have intended it as a contrast but never used it.

By cutting the 50cms piece across the width into two 25cms pieces I could join them at the side seams to form a loop and then fold them in half to create a 12.5cms deep band which I would sew to the hem of the dress! Simple! 

Once I’d worked all this out I sewed up the bodice, rather than hemming the cap sleeves I used some binding from my stash so that I could maximise their length. I planned to twin needle some top stitching in various places and I used two different coordinating threads for this. 

Bias binding sewn onto the sleeve then understitched
bias binding turned back
The completed sleeve with twin needle topstitching

I did the same around the V neck once the facing was sewn on, in order to get a pristine join at the point I carefully unpicked a couple of stitches and secured them on the reverse.  

I wanted side seam pockets (of course) so I had to cut them out of some plain cotton scraps, each piece was added to the side seam and then the side seams sewn up. 

The new band was initially slightly wider than the lower edge of the skirt so I restitched it until the two were the same width and matched exactly at both side seams. I used the overlocker with four threads to join and neaten the band in one step, I pressed the seam upwards and then twin-needle topstitched it to decorate. 

the band folded and pinned to the lower edge of the skirt

The final step was to run two rows of gathering stitches at the top of the skirt then sew it onto the bottom of the bodice, matching at the side seams. I pressed this upwards too and topstitched it as well.

For a dress which had languished with not much hope for two years I’m really happy with it!! I loved the fabric (which was from John Lewis originally I think about 4-5 years ago!) and I was so cross I’d cut something which I couldn’t imagine I’d wear if I sewed it up. By adding the deep band the skirt now has weight as well as length. It’s been so comfortable in the hot weather, why did I wait so long?!

we were heading out for our exercise hence the unsexy shoes!
we have a Henry Moore sculpture on loan for the duration of the centenary year of our town, maybe we can keep it for an extra year now that all the summer celebrations are cancelled?
Coronation Fountain
yes I have got water coming out of the top of my head!

Lockdown is easing in the UK since I originally finished this dress but I hope, as always, this hack has given you an idea of how simple it can be to take a section of a pattern you already have and give it a twist to become a different garment. I had very limited fabric with a print which still needed to match everywhere, by adding the hem band I’ve given it the look I was after…it just took a couple of years to think of it!

Until next time, happy sewing,

Sue

Two Minerva makes in one go!

I originally wrote this as a review for the MinervaDotCom blog but I’m not actually sure if it ever appeared. Rather than waste my efforts I thought I’d publish what I wrote here instead.

I’m sure it was a combination of an over-generous stated fabric requirement, my just-to-be-on-the-safe-side ordering and then super-stingy cutting out means that I managed to get not one but TWO sweatshirts out of my Minerva fabric choice this time. At the time of writing last autumn, Minerva were introducing a collection of textured jerseys made in a polyester/ viscose/ spandex mixture which came in a wide range of colours and textures so I opted for a geometric design in lilac to try out. I would suggest that this fabric is not as firm or thick as some jerseys suitable for sweatshirts, it isn’t fleecy on the reverse for example but it has reasonable drape, is soft to the touch and has a fair amount of stretch but not in a ‘really difficult to control’ kind-of way (it isn’t like lightweight jersey for T-shirts for example) it’s actually pretty stable so manipulates well into armholes or cuffs. 

I already had a pattern I wanted to try, the Maxine sweatshirt by Dhurata Davies that has interesting diagonal seams across the front which have pockets in them. This actually made cutting out a whole lot more tricky than I anticipated because the ‘check’ design of the fabric I had picked turned out not to be square but rectangular so matching the lines was a real challenge. In some areas I’ve failed so my advice would be “don’t choose a pattern that has too many intersecting seams or style lines” because you could end up tearing your hair out when you can’t get it to match! Once I’d committed though I decided to press ahead and settle for ‘almost but not quite’…not my usual route but there we are.

When it became apparent that by folding and cutting really carefully I’d have oodles of fabric left over I pulled out a very simple sweatshirt pattern Simplicity 8529 and cut that at the same time. You might recognise this pattern as the Toaster sweater by SewHouseSeven if you think it looks familiar. If you fold the selvedges in towards the centre so that you have two folds then it’s often possible to get more pieces out of less fabric, any sleeves, yokes or facings can be cut out of what remains.

I currently have a Pfaff Coverlock 3 on loan to me so I used it to sew up much of the two tops on it’s 4-thread overlocker setting but you can easily sew this fabric on a regular machine, just use a ballpoint or stretch needle and set your machine to a very elongated zigzag if you can (regular stitch length and a narrow width) or a ‘lightening’ stitch if your machine has it. Unlike some jerseys or sweatshirting you’ll definitely need to neaten the seams though because I found the fabric frayed and went fluffy at the cut edges quite badly as a result of the woven nature of the surface design. Use a zigzag stitch on the edges if you have limited options, or pinking shears. 

the cut edges fray like this a little bit.
the Pfaff Coverlock 3.0, it’s been a fantastic machine and the quality and versatility of its stitching has been superb.

The ‘Maxine’ is a great design which stands out in a crowded field of many other sweatshirts and the well-written instructions and diagrams are very clear and simple to follow. The tricky area could be the point at the centre where the seams intersect, I simply made this more complicated for myself by choosing the geometric design! And of course it has pockets! I’ve made another version of it since the lilac from a remnant of linen/wool which you can read about here.

Maxine sweater in linen/wool mix from Merchant and Mills
this is a slightly truer version of the colour

The Simplicity/Sew House Seven pattern has a very simple ‘grown-on’ collar and self bands on the cuffs and hem. I cut and made this one up in less than two hours and it shows off the textured surface of the fabric very well. 

Simplicity 8529 with cuffs and hem band finish, I like this top so I think I’ll make another next winter but do the longer straight version.
You’ll notice that neither top is long but I’m happier to be able to make two shorter but perfectly wearable tops rather than one longer one with fabric left over which wasn’t enough to use for anything else.

I would suggest that this fabric will make very comfortable loungewear like track pants, tees, sweatshirts, dresses and children’s wear. I don’t know what the other designs in the range are like but if you are pattern match averse then this particular one might not be for you! I thought at the time it would be interesting to see how well a fabric with a raised surface texture like this wears and now that several months have elapsed I’ve found that it catches quite often and has started to pill quite significantly which is disappointing given the price per metre.

My thanks to Minerva for providing me with the fabric to write about, this is a significantly different version of the blog post which may, or may not, have appeared on their website. I did try to find it but their search function doesn’t make it very easy to find specific posts.

Until next time,

Happy 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

Simple Sew Chelsea Collection blouse hack.

A lot has happened since I wrote my last Simple Sew blog post, Christmas for one thing, and I had a lovely holiday in the sunshine too but now we are all confined to our homes because of Covid 19. Without wishing to trivialise the gravity of this situation, one of the side effects of it is that you might have more time to sew. 

I’ve had a rummage through my Simple Sew patterns to find one which I haven’t already shown you, and which has opportunities to hack, and I settled on the Chelsea Collection. This is a capsule wardrobe of a short sleeve blouse with two variations, a pair of trousers and a button-front skirt in two lengths. I liked the blouse with it’s shirred sleeves and keyhole back detail but I decided to mix it up a little by adding a button front. Normally we are able to select fabric from a couple of generous sponsors but I wanted to ‘shop my stash’ to find something this time. I found a very pretty vibrant floral John Kaldor cotton lawn which I think I picked up from a swap table sometime and I knew would work well for the blouse. 

I didn’t want the blouse to be overly tight so, after checking my measurements I opted for a larger size than I’ve made previously. If you’ve been a regular reader of my posts you’ll know that I tend to check Simple Sew patterns for any discrepancies before I start. There didn’t seem to be any glaring ones but I just added a slight curve to the back hem so that it dipped in the same way as the front and I trued the shoulder seams so there was a smooth flow from front to back. 

Adding a curved hem to the back, I measured the distance from the lengthen/shorten line on the front then made the back the same amount, curving the line gently upwards to the side seam.
trueing the shoulder seams

As I wanted to alter the front significantly I had to make some changes there first. In order to create a button-stand I simply added 2.5cms to the centre front all the way down what would have been the fold. [2.5cms was a fairly arbitrary figure because it depends really on what size buttons you’re using, a general rule of thumb is that the bigger the button the bigger the button-stand needs to be so that there’s enough overlap and the garment doesn’t end up too tight because the overlap isn’t big enough.]I was able to do this by drawing directly onto the tissue before cutting the piece out as there was enough space to do so.

adding the button stand to the front

If you’ve already cut a pattern that you want to add to just stick some extra paper to the centre front fold line, or trace off the whole piece again adding the extra. The original front had a facing for the neckline so now I needed to create a new facing which would neaten both the neck edge and the button-stand. To do this I simply traced off the whole of the new front opening including the neck edge and made the facing a depth of 7cms all the way down from shoulder to hem, with a smooth and gradual curve. The photo should make this clearer. The back neck needed a new facing too because the existing one took the armhole into account. Again I traced off the section I needed making it 7cms at the shoulders to match the front facing. 

The final change I made was to lengthen the sleeve a little and add some more fullness to it. I started by making the sleeve 5cms longer and then I drew 3 vertical lines on the pattern at approximately the front notch, back notch and shoulder seam points. [Depending how much extra fullness you want to add to a sleeve you could use more places than this but do try to space them evenly apart.] Next I cut up each line from the bottom until I reached almost the top, I left this very slightly attached. With the piece flat on the table I spread the bottom of each slit by about the same amount, probably about 4 cms, then taped slithers of paper into each gap.

First I added the extra length and then drew the vertical lines where I wanted the extra fullness.
Next I opened each part to add the extra being careful to keep the pieces flat and not twisting or wrinkling up, put extra pieces of paper under the gaps. Once you’re happy tape them in position,
Once I had added the extra I cut the piece out.

If you don’t want to cut the pattern up you can do the same process by still marking the vertical lines on then pivoting the uncut pattern at the top of each line, use a pencil or your finger as the axis. Draw or trace around the first section, which remains stationary, then each subsequent section after you pivot it to so that you get the extra fullness being added at the hem. Opening up the wedges in this way means you’re adding fullness to the hem but not the crown of the sleeve, if you want extra fullness in the crown spread the whole piece more or less parallel. The grainline should run equidistant down the centre of the new piece (unless you want to cut it on the bias)

Having done all this I cut it out and was ready to sew! 

I started by joining the shoulder seams of both the blouse and the facings (which I’d interfaced and neatened) then I attached the facings to the neck edge, turned, understitched and pressed. The keyhole back calls for a small rouleau tube as a button-loop which needs to be inserted at the same time as applying the facing although you could choose to make a hand sewn thread loop and stitch that at the end. In fact it isn’t even vital that this is a functioning loop if you’ve got a front opening, the keyhole is purely decorative now. 

I put the blouse onto Doris to check it was looking OK and this was when I found that the keyhole appeared to be bagging outwards quite significantly. I decided not to do anything at this point and I would check again once I had sewed the side seams and put the sleeves in, then I would get a better idea by trying it on myself. 

Checking the front neck
With the loop pinned I discovered that the keyhole didn’t sit flat.
It seems to stick out quite significantly on Doris.
If the button isn’t done up it would look like this.

I made three rows of shirring on the sleeves next, using my quilting guide to make sure the first row was 5cms from the bottom edge, the next two rows were then sewn parallel to the first. [Refer to a previous blog post on how to sew shirring if you haven’t done so before] Next I sewed up the sleeve seams and pin-hemmed the bottom edge to give a neat finish.

I positioned the needle 5cms from the cut edge and the quilting guide helps me as a visual marker to keep it parallel all the way.
Shirring is stitched from the right side so that the elastic is on the reverse. Use a long straight stitch, secure both ends and then apply plenty of steam to shrink up the stitching further.
finished sleeve

After sewing up and neatening the side seams I inserted the sleeves. At this point I tried the blouse on again to check the keyhole on myself and, with real shoulder blades under it, it didn’t seem so noticeable. Two other things struck me though, the blouse was a little too big so I took it in on the side seams and also the blouse was a bit shorter than I expected. In order to take as a small a hem as possible I made some bias binding from offcuts of the fabric then stitched it (folded in half lengthways and with the cut edges together) to the hem using a narrow 5mm seam allowance [This is a useful finish to any hem or edge where you need every spare centimetre of fabric.] Have a look at the photo which shows you how to get the ends of the binding enclosed within the front facing. I turned the binding up and top-stitched in place. 

If you’re adding binding when there’s also a facing pin it like this so that the end is neatly enclosed inside the facing when it’s turned right side out.

Finally, I found some ‘vintage’ buttons amongst my treasure trove and there were just the right number meaning the whole blouse had been sourced from what I already have!

Well I hope now that I’ve made it that I’ll have a chance to wear my Chelsea blouse somewhere other than in my own garden this summer, who knows? Maybe you’re reading this long after the emergency ended and life has returned to some sort of normality, although it definitely won’t be exactly as it was before.

Sewing our own clothes is an activity which gives us so much enjoyment for a variety of different reasons and, right now, the simple act of creating something is chief amongst them for me. It’s absorbing and the problem-solving gives me something else to think about.

I think the keyhole back is, by and large, just about acceptable when I’m wearing the blouse. I also think the cure could be to add a centre back seam instead of cutting on the fold so that the point of the keyhole could extend beyond the centre back line, this would hopefully bring the button and loop closer to one another when they are done up…this is just my theory based on experience and I haven’t tried it out. It’s such a nice little detail that I’m disappointed it hasn’t worked out quite right. I also regret not reading my fellow Simple Sew bloggers reviews of the blouse because then I would have known how short it comes up, personally I would add a minimum of 8-10cms to the length next time.

The sleeves are pretty and feminine but maybe they are a little too girly, the jury is out…

Until next time, happy sewing

Sue

Maxine Sweater by Dhurata Davis

I first met pattern maker Dhurata Davies at my friend Sal’s ‘Sew2gether’ event last spring and then our path’s crossed again unexpectedly a couple of months later when I made a last minute decision to go to the Threads textiles fair in Farnham. Dhurata was exhibiting there and she offered me a copy of her Maxine Sweater pattern in return for a review. The pattern is intended as a sweatshirt, and I’ve made one in a jersey fabric already, but it also works well in a woven too. It was the diagonal seam lines with pockets concealed in them that appealed to me. The sweatshirt version was for a Minerva fabric blog review which hasn’t appeared yet at the time of writing but now that I’ve made a second top I can tell you all about the pattern here.

I had picked up a modest remnant of ‘Woolsey’, a linen/wool fabric in the Merchant & Mills shop in Rye last August, it’s a lovely deep teal colour which is one of my favourites (although it’s a devil to photograph accurately). When I made the jersey version I made a size 16 based on my body measurements and there’s plenty of room in it so I knew I could risk making the same size in a non-stretch fabric. [If you are making anything more usually intended for a fabric with some stretch you will almost certainly need to go up a size or two, especially if it’s in any way close fitting. Measure the pattern itself if you’re not sure and don’t forget you need to be able to get it on, will it need additional openings like a zip or buttons if there’s no stretch to get it over your head, or your hips?] 

Before I cut anything out I made myself a ‘whole’ sleeve pattern piece, it comes as a ‘half’ sleeve vertically so this needs to be placed on a fold in the fabric (twice as you need two sleeves!) but I always prefer to have a complete sleeve. Just stick the pattern to a large enough piece of paper so that you can fold it down the central ‘place on fold’ line, fold it in half and pin in a few places then cut out a new symmetrical pattern piece. 

I knew I would not have enough fabric for the separate collar, cuffs and hem-band pieces but I could lengthen the body so that it wasn’t ridiculously short. I added about 10-12cms to the bottom of the front and back pieces. I had to decide how to finish the neckline instead of the collar and I came up with a combination of piping directly on the edge first and then a band of jersey ribbing. I didn’t know how, or if, this would work but the piping would look fine on it’s own if the jersey wasn’t any good. 

The instructions and illustrations are nice and clear and straightforward and it’s not as difficult as you might imagine to get the diagonal cross in the centre. The seam allowance is just 1cm so I always highlight the pattern when this is the case so that, when I make the pattern again, I don’t sew it up as 1.5 by mistake and it’s all too small! 

the centre cross close-up on the outside.
and on the reverse.

Once the front was complete I joined it to the back at the shoulders and then made some bias binding for the neck. I had just enough scraps to cut 3 strips which were approximately 50cms long and 4cms wide which I joined to form one long strip. I have a specific piping foot for my Pfaff Quilt Ambition 2 which is really useful but you can usually use your zip foot if it allows you to stitch close enough to the piping cord. Not all zip feet are good at this especially if it’s the generic one which comes with the machine but there are usually adjustable ones you can buy which, in my experience, are better. The piping foot actually sits over the top of the fabric and piping cord rather than just beside it so it’s held more securely and stitches much closer to the piping for a better finish. If you want to see another use of the piping foot pop over to my review of the Simple Sew Lizzie dress.

this is the piping foot actually sitting over the top of the band as well as the piping too.

Once I’d made the piping I sewed it around the neck, raw edges together and making a neat join at the back. I knew I wouldn’t be able to find a matching jersey so I opted for a complete contrast. I bought 50cms each of deep red and dark grey tubular jersey from Backstitch and when I put them together I decided that the red made a more interesting garment. Generally when you’re adding a stretch band you work on the basis of it being approximately 85% of the neckline/cuff/waistband measurement that you’re attaching it to, depending on the stretch of the jersey. I’d made things tricky by adding the piping first so the machine had to go through a LOT of layers of fabric. I must say that the Pfaff sailed through it all pretty easily. The only time it was hard work was over the seam allowances on the cuffs. Because I was making this bit up as I went along I sewed the piping onto the cuff first then sewed the under arm seams, if I were using this finish again I would sew the under arm seam first and then put the binding on ‘in the round’ because it would be less bulky where it crosses the seam. I used my little seam-hopper gadget to help lift the foot to help ease it over the bulky seams, this one came with the machine but you can buy something called a Jean-a-ma-jig or even use a piece of thick folded cardboard.

On the left the cuff is folded and stitched and then folded again on the right. I ran a row of wide zigzag around the raw edges to keep them together before sewing them onto the cuffs. The neckband is done the same way.
you can see it’s all a bit of a tight area to work in but the finished effect was worth it I think. The jersey has to stretch as it’s sewn onto the woven non-stretch fabric.
this is inside the cuff, as you can see it’s quite messy and bulky but the little plastic gadget will help to ‘leapfrog’ over the seam. With the needle down to prevent it from moving stop just ahead of the seam, lift the presser foot and slide the gadget underneath the foot with its ‘toes’ either side of the needle (it can be from the front or the back depending which you’ve got better access to) and then lower it back down so the presser foot is resting on the gadget. The foot should now be on a better level to sew over the seam, sew forwards a few stitches until you’re clearing the seam then move the gadget around to the front (if you’ve had it at the back) and place it under the foot there. Come slowly forwards a few more stitches until you’re completely clear of the seam and back on level sewing again, always taking care that the needle doesn’t hit the plastic.
the finished cuff

Having told you 85% is the usual amount for a stretch bands I should have made the neck one slightly shorter than that as it doesn’t sit completely flat even after a good amount of steaming. I left it though because it doesn’t look that bad and it would be a lot of work to re-do it. First join the band into a loop along it’s narrow edge then fold it lengthwise in the same manner as the cuffs and then divide it into 4 equal parts marked with pins. Next equally divide the neck (or cuffs) equally into 4 too. Pin the band onto the neck (or cuff) at the marks and stretch the band to fit and stitch in place. You can see from the photos that this was quite tricky because of the number of layers involved, I graded the layers so that it reduced the bulk as far as possible. All these layers plus the piping cord made it too difficult to get the cuffs under the overlocker so I finished the edges using a simple zigzag stitch. Around the neck I used the Coverlock 3.0 to coverstitch which had dual benefit of neatening on the inside and giving an attractive double row of top stitching on the outside. 

the jersey band is very slightly wavy which suggests it’s fraction too long but it was too much hassle to take it all back off again and, frankly, CBA!
this is the coverstitching from the outside, the piping made it really difficult to get closer as the width if the foot wouldn’t let it get any nearer. Incidentally, I tried this out on a small sample piece first so that if it all went horribly wrong I didn’t ruin the whole garment. I strongly recommend that you make samples of any new or unusual techniques you may want to try so that you don’t spoil all your good work, it’s worth the bit of extra time it takes.
the coverstitching from the inside, it served the double purpose of top stitching on the outside and neatly covering the raw edge on the inside. I’d trimmed and layered all those edges first to reduce the bulk.

To finish the hem I just overlocked the edge, turned it up and stitched twice. So that’s it really, I’m very happy with the finished top, I layered it up with a thin RTW T-shirt when I wore it to go to Brighton recently. The fabric doesn’t seem to crease so much as bend, it’s of a double-weave construction the same as cotton double gauze. 

pre-crumpling and modelled by Doris

I’m really happy with the outcome of this top, the fabric has lent itself well to the more smocky kind of shape and although it was bit involved I really like the finished effect of the addition of the stretch cuffs and piping onto an otherwise simple garment. The ‘Woolsey’ fabric does fray a bit because of the loose weave but it’s manageable. Incidentally, this pattern looks great lengthened into a dress or with the pockets left out of the seams if you’re short of fabric.

Thank you Dhurata for the gift of the pattern, in my opinion it’s a goody and if you aren’t adding extras like me it’s a nice quick half-day make. Dhurata has also designed some lovely children’s patterns too which you might be interested in.

Until next time, happy sewing

Sue

Simple Sew Amelia tea dress hack.

The Amelia tea dress isn’t one I’ve sewn before but Jane who comes to my sewing class had made one last summer and I remember liking the shirred elastic midriff section. The brief for our makes this time was ‘festive’ (we usually don’t have a brief, it’s free-choice) Bearing this in mind Bobbins n Buttons had offered to provide me with fabric so I had a browse on their website and selected the Lady McElroy ‘beauty and the bees’ stretch velvet. 

The pattern isn’t intended for jersey but it is simple shapes and a bit of gathering which I knew would still work well, what you don’t want is a fabric that’s too thick or stiff though because the shirring won’t work properly. I planned to hack the pattern a bit so I decided to add long bishop sleeves as it’s winter, I also lengthened the skirt (more on that later) and of course I added pockets! 

Because of the distinctive large print I opted to remove the centre back seam and put the zip into the side seam instead, this was to save me the hassle of trying to pattern match the print across the zip. Because I’d removed the CB seam in the bodice I took it out of the skirt too, for the same reasons. If you’ve got a tricky print to match over a seam like this consider whether you can move the zip to the side, it’s not much different to put in and the opening can be a little shorter but still give you sufficient room. Now I could have a line of bees central down the back (and front of course) and just needed to get a good horizontal match too for me to be really happy.

As I said before I wanted the skirt as long as possible but there needs to be a compromise between length versus flare because of the width of the fabric. If you want the skirt to be longer you’ll need to reduce the amount of flare at the hem because you’ll be restricted by the fabric width. The wider the fabric then the more scope you have. I measured how long I could make the skirt before it would need reducing at the hem and decided it would be an acceptable length. I could add around 10cms to the hem making sure the new side seams were at a right angle to each other so that the hem will run in a smooth lineI traced around a few bees where they crossed the cutting line so that I could ensure the front and back matched as well as possible. 

In order to cut everything as efficiently as possible from the fabric I first cut the skirts against the main fold-don’t forget to exclude the CB seam or the piece will be bigger than your back bodice (if you’re excluding the zip) 

Then I refolded the fabric with the selvedges into the centre to cut the bodice pieces on the folds. This is vital to get those bees running down the centre. 

From the remaining fabric I cut a pair of long sleeves. I used the pattern from another design I’ve made a few times, I measured the armhole of the dress and compared it against the sleeve I have. It was a little smaller at the crown so I added a small amount to give it sufficient widthFinally, because it’s jersey, I chose to use a neck binding instead of the facings so I cut two narrow strips which were each the same length as the CF to CB measurement of the neck plus a couple of centimetres seam allowance. 

I increased the sleeve head by 2cms, moving it out by 1cm either side of the shoulder notch.
It’s important to keep the sleeve level when you add the extra width so draw a line at a right angle to the grainline, then move the pattern piece 1cm in each direction using the line as the axis.

Ok, so I mostly followed the instruction with a few minor changes because of my alterations. One thing I did first of all was to stabilise the back shoulder seams and the left side seams where the zip was going to go with iron-on interfacing because I don’t want them to stretch out of shape. I chose to leave the back darts in although I possibly could have eased them out as it’s a stretch fabric.

stabilised side seam before the zip goes in.

After joining the shoulder seams I added my neck binding. I folded the strips with RS out along the long edge-I didn’t join them to each other at this stage-then, starting at the V, I stitched just that section into place. This way you can sew just a small part, snip into the V and pivot at the corner more accurately. When I was happy with this I sewed the rest of the binding on leaving just the CB part unsewn, then I could join the two strips in the right place and finally attach it to the neckline. Finally I neatened the edge all the way around and then topstitched it down close to the seam to stop it rolling. 

The next part is the shirring which really isn’t difficult so don’t panic. First wind shirring elastic onto an empty bobbin BY HAND stretching it very slightly as you go, put it into the machine in the usual way (you may wish to check the manual if you have an older machine in case there is anywhere else you need to thread the elastic through) Use your matching colour thread on the top in the usual way and lengthen the stitch slightly, it doesn’t need to be zigzag or anything though. Definitely try out a test piece first and don’t forget to secure the start of each new row so that the stitching doesn’t come undone. I don’t secure the other end at this stage though in case I find I need to pull the threads up any more later. You should be able to sew 8 rows of stitching parallel to each other to complete the strip. The fabric will naturally pucker up pretty well but when you’re done stitching hover the iron with plenty of steam over it and you’ll find it gathers up some more as a result. Finally knot the ends of the threads to secure.

Then you need to attach the gathered band onto the lower part of the bodice making sure it’s evenly divided as you go.

Attaching the shirred waist section to the upper bodice.

Attach the skirts (I’d sewn the pocket bags on to each side seam before doing this. I just use my handy cardboard template which I made ages ago, I just trace around it directly onto the fabric and cut out.) 

Next the zip goes into the left side seam. I sew it here out of habit as I’m right-handed and find it easier to do up that way but put the zip in whichever side works for you. After neatening both side seams separately first I sewed up the top of the side seam by about 4cms from the armhole edge. I used an invisible zip and inserted it in the usual way, making sure the waist seams matched, and then joining the rest of the side seam once I was happy with the zip insertion. I sewed up the other side seam and I was ready to tackle the sleeves.

The sleeves are set-in so I made the elasticated cuffs on the flat first using straight strips of jersey the same length as the curved cuff edge. With the strip open and RS together I sewed it once. 

Then I folded the strip in half and sewed it on the overlocker to create a channel.

 This will turn downwards to form the cuff which I slotted wide elastic through, securing at both ends. 

Finally, I sewed the underarm seams to create the sleeves which are inserted into the dress as per the instructions. 

All that’s left to do is the hem which I sewed on the coverstitch machine which is on loan to me by Pfaff at the moment. 

I’m really pleased with how the dress has turned out, it’s very swishy and has a slightly 1940’s vibe to it. I like the extra length on the skirt and the sleeves look fab. I was a little alarmed when I saw the large scale of the print but actually I really rather like the bees now. One thing I’m not keen on (and this is down to the manufacturer and not the supplier) is that they have printed a black background design onto a white base cloth. Because the cloth has a pile it means that anywhere there are joins there is a slight hint of the white showing through which is not ideal. The velour isn’t too tricky to work with as the pile is a bit flatter than velvet but it does still ‘creep’ a bit in places so if you’re in any doubt that pins aren’t enough to keep it all in alignment make sure you tack (baste) seams together. If you have a walking foot I would definitely advise using it. 

Lots of pictures swishing about!

I hope this will help you to feel inspired and perhaps have a go at ‘hacking’ a pattern for yourself. This was a very simple one but if you look at my Simplicity blouse hack you can see just how carried away it’s possible to get!

Until next time, happy sewing

Sue