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

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

Pfaff Coverlock 3.0

It’s been almost a month since I was loaned a Pfaff Coverlock 3.0 to try out so thought I would give you a ‘half-term report’ on how I’m getting on with it.

First thing to say is that it’s quite a beast! It’s a very substantial piece of machinery and so is fairly heavy as a result. That being said, this is normally the case with coverstitch machines because they are generally bigger than overlockers so the weight isn’t unusual. It does have a good-sized and comfortable carrying handle though.

Ok, so, the Coverlock 3.0 is a combination machine in that it is both an overlocker and a coverstitch machine. I’m sure you already know that an overlocker will trim and neaten raw edges and often sew the seam as well if you have 4 or 5 thread version. What you may not know is that a coverstitch machine doesn’t trim any edges, it will sew two or sometimes three rows of top-stitching on the outside of a garment whilst covering the edge of the fabric on the inside with loops of thread to ‘cover’ it. It has the advantage of being stretchy too. If you’re still not sure what I’m talking about have a look inside the hem or cuffs of a RTW jersey garment and you should see.

The first thing I had to do was not only rethread the machine as it didn’t arrive pre-threaded but I also needed to change it’s function from coverstitch to overlock. A major part of what I want to assess for you is how quick and straightforward it is to go between the functions. This is partly why I didn’t plunge in with a review as soon as I got it because I didn’t think it would be balanced or fair. Indeed, I will certainly write another review in due course after a decent amount of time and usage has occurred.

Yay! I threaded it successfully!!

Because the machine was merely delivered to me without any demonstrations I’ve needed to use the instruction book a fair bit. If you have difficulty following written instructions and/or diagrams this may not be ideal for you but there is a (silent) DVD included with very clear animations of exactly what you need to do for each of the stitch variations possible. [I didn’t find this straightaway though so I muddled through with the booklet! I’ve also since found a few very helpful You Tube videos which were useful]

I’m not going to lie, it does take a bit of time to make the changes because you’ll need to remove and reinsert the needles to different positions as well as thread the machine in different ways depending on the function. This will eventually take me less time and I’ve added Post-it notes to the relevant pages in the book so that I don’t have to keep searching for the two I’ve favoured most. The machine is capable of up to 23 stitches using 2, 3, 4 or 5 threads and up to 3 needles. So far I’ve only used the 4-thread overlock and the coverstitch but I will endeavour to use more, including the flatlock, and report back.

I decided on making a hacked version of the Tilly and the Buttons Nora top which I’ve made a couple of times before as I didn’t want any nasty complications by attempting an unfamiliar pattern with a new piece of machinery!

The beautiful jersey with an amazing ‘tie-dye’ print is from Lamazi fabrics and was my choice as a July/August maker of the month [it could be you if you tag them on Instagram] I cut the sleeve to approximately 3/4 length and also cut two cuff pieces which were again approximate, initially about 20cms in length and then my wrist measurement at one end and my mid-forearm measurement at the other. I added a couple of centimetres for seam allowance to all sides.

I’d definitely say you need to do a bit of forward planning if you intend to use both the overlock and coverstitch functions on a project because of the swapping between the two. For example, on my Nora I needed to coverstitch just the cuffs and the hem, everything else could be sewn either directly using the 4-thread overlock or on my Quilt Ambition 2.0. I opted to sew the top together first and complete the hems at the end, in the usual way although there may be times when it’s better to hem first, we’ll see.

I’ve been very impressed so far with the quality of the different stitches.

If you’re merely changing the thread colours it can be done in the same way as regular overlockers by snipping the threads near their spools, tying on the new colour and pulling each of them gently through, plus rethreading the eye of the needles. On one occasion when I altered the function I completely rethreaded but the stitch was much too loose-what had I done? It was all done correctly and yet it was way too loopy. I checked the manual for hints on troubleshooting but it didn’t make much difference. I was starting to pull my hair out when I realised I had threaded the machine without lifting the handle out of the way-the threads MUST go under it or they don’t sit in the tension discs! (Had I watched the helpful YouTube video first I would have known this…) Another thing I learnt the hard way was when the spool holder kept falling off the back of the machine and I was ready to chuck it out of the window I noticed it has to be slid sideways to click securely in position-doh!

The next two projects I made I didn’t use the coverstitch function as both the sweatshirts had cuffs and waistbands but I constructed much of them using the 4-thread overlock stitch. I used fabric provided to me by Minerva and they will appear on their blog in the new year. One of the patterns I used was the gorgeous Maxine sweatshirt given to me by it’s designer, Dhurata Davies. I’m going to make another one soon so I’ll write an individual blog on it then. [I got both tops out of 2.5m of fabric!]

For the final project I want to talk about here I took a different approach. It’s an Amy top by Brilliant Patterns and which I’ve made a couple of times before. I had a 1m remnant of loop-back cotton sweatshirting which I bought from Sew Me Something at a show for £8 and by shortening the sleeves very slightly, cutting the neckband in two parts and joining it I got a WHOLE sweatshirt out of the one metre!!

This time I set the machine up with a wide 2-needle coverstitch and I used my regular sewing machine to sew most of the seams. What I did at each stage of construction was to press the seams flat and top stitch them using the Coverlock. This meant that there would be two rows of top stitching on the outside and the raw edges were covered on the inside. This was generally OK although as I’ve yet to ‘get my eye in’ with lining up the foot against a seam or other visual marker a couple of them do waver more than I would usually like. It turns out there is a large removable flat bed included to increase the working area (it was tucked down inside the box and I’ve only just found it!!) this will support your work while you sew but it does take up a bit more room.

I like the two-part upper back of the Amy.
The hem is level at the front and a dipped curve at the back.

So to sum up (for now) I’ve been impressed with the quality of the stitches I’ve used so far on the Coverlock 3.0 and I will definitely look for opportunities to try others whilst I have it. I’ve yet to be convinced about swapping between the stitch-types but obviously, as I get more familiar with it, I should get faster at changing between them. There are few processes which have to be gone through to make the changes but I’ll probably work out an order or procedure to follow to speed it up. If you are short of space a combination machine might be useful, they aren’t cheap though. You’ll almost certainly use the overlocker stitches more of the time so possibly changing occasionally to coverstitch will be sufficient. I would definitely say you should have a thorough demonstration of the machine so that you know what is involved and what it is capable of. Unlike washer/driers which don’t do either job very well this machine does both functions to a very high standard.

Thank you to Pfaff for giving me the opportunity to try out their machine and if you have any questions about my experience so far then do ask.

Happy sewing

Sue