I seem to be constantly attracted to teal/turquoise/duck egg shades recently so this Art Gallery organic cotton jersey for my recent Minerva post looked perfect when it hoved into my field of vision!
I’ve used Art Gallery knit fabrics in the past and the designs and fabric, whilst fairly pricey, are lovely quality. This particular jersey is an organic cotton (with a little Elastane) and very soft, a lighter weight than many so it would be good for children’s and babies clothing as well as adults. I love the print, I think it’s a vaguely ‘Tribal-esque’ graphic stripe and I quickly decided to make a Tabitha T-shirt from Tilly and the Buttons book ‘Make it Simple’ which I’ve made a few times before but to try out the dress hack version for a change this time.
I traced off a new copy of the pattern using the horizontal lines indicated across the bodice specifically for the dress. I’m not long in the body but I thought it looked a little short so I added an extra 2cms to the bodice length. In truth I probably could have added more than that because I feel there isn’t as much blousing at the waist as there seems to be in the photo in the book [If you know, or suspect, you have a long body length then pay close attention to this before cutting your fabric, get someone to take your nape to waist measurement and compare it to the back pattern piece. If necessary then add any extra through the horizontal ‘lengthen/shorten’ lines, and don’t forget to do the front as well!] If you’re wondering why this matters, it will mean that the waist seam sits too high above your natural waist and could look more like Empire line.
I followed the instructions in the book to draft my own skirt pattern which was simple enough, you only need one because the front and back are identical (you’ll need a decent sized piece of paper to do this) I cut the new front and back as complete pieces so that I didn’t have to cut anything on the fold, I also wanted a short sleeve so I traced one off.
The fabric was a little bit curly at the edges so I took my time cutting out, be careful not to pull or drag the fabric at this stage because this could result in twisting of the finished garment. It’s helpful to mark stripes onto the pattern so that you can then match them to corresponding seams more easily. Cutting a single layer of fabric can really help make this more straightforward, and be less wasteful too.
Moving on, the suggestion for the waist casing is to use eyelets or buttonholes. I used a small round-ended buttonhole, whichever method you choose make sure you interface underneath first to stabilise the fabric. I used the quilting guide to help me sew an accurate 2cms seam to create casing. Once I’d sewn it I used a bodkin to thread the ribbon through.
The rest of the construction was pretty quick because I already knew the T-shirt in size 5 was a nice fit, the skirt was a bit ‘hippy’ though so I took some off in that area. Following the drafting instructions the pattern piece is shaped for the waist but, for me, a straight rectangle would suffice.
The length was educated guesswork but I’m very happy with it and it’s not too restrictive at the hem, any longer or narrower and the skirt might need a split in it to allow movement. I have the advantage of using a Pfaff coverstitch machine to hem the sleeves and skirt but a twin needle or a zig-zag stitch will do the job too, and don’t forget to use a ballpoint or jersey needle. I used a narrow grosgrain ribbon in a toning teal to slot through the waist casing to complete the dress. As I mentioned near the beginning I might add just a little more length to the bodice next time but otherwise I’m really pleased with this Tabitha dress, it will be comfortable to wear for everyday and easy to roll up in a suitcase if I ever get to go on holiday again!
Minerva provided me with this lovely fabric to write about, I’m delighted with the quality and I’m especially happy with the dress which is so just comfortable.
Janine at The Sewing Revival, the pattern company based in New Zealand, is gradually creating a growing collection of stylish patterns and there is something very appealing in their deceptive simplicity I think. I’ve made a few versions of several of them now, including the Sidewinder pants, the Bellbird top and the Heron dress.
When Janine kindly offered me my choice of the range to choose from I picked one of the more recent releases, the Fantail top. At first glance it appears to be a simple raglan-sleeved top but along with the high/low hemline and elasticated front hem it offers variations of scooped, ribbing or V neck, elasticated or ribbing cuffs, and the back hem can be finished with ribbing too.
I had a rummage in my stash for some suitable fabric, ideally something with a bit of drape works best so soft viscose, crepe, georgette or chiffon if you fancy a challenge, cotton lawn, wool challis or fine linen would all work very well. Light- or medium- weight jersey will make it into a very chic sweater. I’ve no idea where my piece of navy fabric came from, probably I was given it by an elderly lady because it had a little ticket pinned to one corner saying it was 1 1/2 yards x 54” wide and cost 90p! It certainly smelt a little bit musty so the first thing I did was give it a quick hand-wash, it turns out that the colour ran quite a bit and I was left with blue hands for several hours afterwards!!
The patterns are sold in size bands which each contain 4 sizes (there is some overlap between the brackets) and each band is layered which gives you the option to print only the sizes you want so I printed UK 10 and 12 because, having lost some weight recently, I wasn’t sure which size would be best. In the end I cut a UK12 and it looks fine I think, it’s a roomy style so I could possibly go down a size but as I’m one of life’s ‘fluctuaters’ where weight is concerned maybe I won’t.
I like the instructions on Sewing Revival patterns because they are well explained and illustrated with photographs. If you’re an experienced sewer like me then you won’t necessarily need to follow them closely all the time but I do keep half an eye on them so that I don’t miss a step or construct in the wrong order which might have repercussions later on.
I made the scoop-neck version with elasticated cuffs which is probably the most straightforward variant, the round neck is just the right amount in my view, not too wide, not too deep. Raglan sleeves are super-quick to construct, I usually sew the neck facing on after the shoulder seams and before sewing the under arm seams.
The front and back hems are very different lengths and finished differently so don’t rush through these elements. I ignored the suggested bias-binding finish on the back hem and used one of my favourite techniques of a pin-hem instead ( I wrote instructions for this last year in this blog post on hems )
The USP of this top is the deep partially-elasticated front hem. It looks great but it’s really not difficult to achieve. There are suggested lengths to cut your elastic for each size although you could use a shorter piece over the same length if you want to pull the front in a bit more. Or you could also use a narrower elastic but the pattern is cut for wide width like this so you may have to make an alteration to the hem depth accordingly for the channel to work.
As I said, this is a simple top with eye-catching details, it’s probably a half-day project if you’re got everything you need when you start.
I’ve already got some fabric lined up for another Fantail hopefully very soon, a nice piece of soft viscose from Sew Me Something and ribbing given to me by my friend Kate which by sheer good fortune coordinates perfectly! There’s lots of possible variety with the Fantail, short sleeves is another for example. Incidentally, there is also a slightly different sleeveless version of the Fantail available too.
I’ve made loads of different clothes over the decades but actual shirts for myself have not tended to be among them. I’m not sure why, possibly because I had to wear boring school shirts for years and years, and for a while I had to wear a uniform when I worked for the John Lewis Partnership so my personal preference has tended to softer blouse shapes. That said, I love to see a crisp white shirt especially when it’s given an inventive twist. It’s a wardrobe staple and yet there’s always room for a new version.
Lucy at Trend Patterns has just released the first 3 patterns of what will become a shirt collection and each is available printed, as a PDF or as a complete kit with pattern, fabric and trims. TPCSH1 is a feminine Pussy bow top with shirt sleeves and a ruffle hem, TPCSH3 has stunning gathered ‘angel’ sleeves which really make a statement whilst the body is kept simple and traditional so that the sleeves do all the talking.
Lucy offered me the kit of TPCSH2 to try out, it is a box-pleated front shirt, deceptively simple to look at but those details take a little time to get right. It’s classified as ‘moderate/hard’ and I would agree, not because the elements in themselves are especially difficult but each of them needs some experience and precision to execute so I wouldn’t recommend this as your first shirt project.
The kit comes with enough good quality plain white cotton poplin to make up to the largest size of a UK 22, along with Trend-branded buttons (a nice touch) and iron-on interfacing. All you need to provide is your own thread!
I started off by taking my measurements and comparing them to the sizing chart, there is also a chart giving you finished garment measurements too which is helpful because it will give you some idea of how oversized the shirt will be when it’s finished. I made a UK 12 and as you will see from the finished photos it’s a very generous fit, to be honest, if you want a close-fitting shirt then this particular pattern won’t be the one for you.
I opted to trace off the pattern, there are two separate fronts, right and left, and a whole back plus sleeves, yoke, cuffs and collar. There is no pattern piece for the bias binding for the sleeve placket, you just need to cut yourself two bias strips approximately 30cms x 4cms. The right and left fronts are the same except for the extra on the centre front which creates the folded fly with concealed buttonholes. I traced off one front then, to save some time and to ensure they were identical, pinned it to more spot and cross paper before cutting them out together so that I had a mirror version with the additional front added. It’s really important to trace the front very carefully because of the three box pleats, if they are each a bit off you risk the pleats not sewing together accurately which will leave you scratching your head. There are a lot of drill holes to mark the stitching which will eventually hold the pleats in place, don’t be tempted to miss any out because they are also really helpful when you’re folding and pressing the pleats in position. You could choose to trace just half the back to save paper if you intend to always cut it on the fold anyway but having a whole piece gives you the option to have the fabric out flat, besides, it’s almost always more economical to cut fabric out as a single layer [this can be especially helpful if you ever need to do some tricky pattern placement or matching]
Because the fabric is plain, placing the pattern pieces and cutting out was a breeze-no pattern matching, yay! I spent quite a while making traditional tailor’s tacks for every single one of the drill holes. You could use a washable or some other kind of disappearing marker pen if you are confident that it definitely won’t come back to haunt you but I wasn’t going to take the risk on plain white fabric!
In the past I’ve occasionally found some of the earlier Trend instructions a bit tricky to follow but the more recent ones have illustrations rather than photos and I found this set very clear. My biggest piece of advice would be to read then re-read the instructions before you start, and to highlight anything that you know you’re going to have to really concentrate on, this isn’t a race after all.
Constructing the fly front and button stand first, including the buttonholes, was satisfying, I often feel like I’ve run out of steam by the end of any project which requires buttonholes and it’s a bit of a chore by then but this gets it out of the way nice and early. [I should add at this point that I started out sewing with a fine size 60 needle so as not to leave too many noticeable puncture holes in the plain fabric if I went wrong or needed to unpick. However, this size needle kept skipping stitches for some reason so I went up to a 70 and had no further problems]
My second piece of advice would be to press your pleats on the ironing board if you possibly can. I only have a small heat-resistant board in Threadquarters which meant I was constantly moving the fabric which was not ideal, it was so much easier on the ironing board because the whole piece fitted on. Do not rush this part, with pure cotton fabric you can have the iron on pretty hot but do be careful of your fingers with hot steam. Pin, tack or Wonder Tape the pleats in position once pressed if you want to.
The instructions are to stitch down each pleat according to the markings using a few stitches. I did quite a lot of testing using a variety of decorative stitches for this before I committed to the bar tack. The next challenge was getting each of those bar tacks (30 in total!) central over the pleat. My machine comes with a number of feet which are used in conjunction with the decorative stitches and one of these has horizontal red lines which proved very helpful in getting lined up for every bar tack. After making a few of these bar tacks I ‘got my eye in’ so I could tell very quickly where to start each stitch, having the needle stopping in the up or down position is an absolute essential feature on my machine for me and it was brilliant during this, being able to lift the foot to check I was sewing in the correct place without the work shifting was so helpful. The photos will hopefully make my method clearer to follow. It’s vital to take your time and be as accurate as possible during this stage because the box-pleats are the USP of this shirt and it will obvious if they are off-kilter. I sewed in white thread but you could use a colour, or even hand embroider to give your shirt a totally original look.
Incidentally, Trend will be creating a series of video tutorials to help so I suggest you check their Instagram account or the website for those. Also, there was a slight problem with pattern markings for the back box pleat which were incorrect. This has been rectified but if you bought a copy very soon after release you might find you have to scratch your head a little, the notches were in the wrong places. Check the website if you’re in any doubt.
I followed the order of construction to complete the shirt (I usually do the first time I make a pattern) but personally I would put the collar on after making the yoke. I like to do it before the side seams are sewn up or the sleeves are inserted, unless there’s a technical reason not to obviously.
Everything came together really well, I’ve always found Trend patterns are accurately drafted so I know the pieces will go together well without major discrepancies-this is why it’s so important to trace off carefully if it’s your preferred method, if seams or notches don’t match up you won’t know where the fault lies [the same applies to accurate cutting out too]
Clearly not everyone will want to make a shirt that is going to take a sizeable amount of time to construct, or to launder afterwards for that matter, but if we only made simple loungewear for ever then the art and skill of making our own clothes will be lost, just at a time when so many people have discovered, or rediscovered, the joy of sewing for themselves. There will always be a place for a classic white shirt and Trend has created a small but growing collection with original twists on the genre. The last year has been so tough for small business owners so I really appreciate being given this kit to try out, I wasn’t under any obligation to review it other than share some photos but personally I have no problem with sewing and writing about it. I will always try to give you a balanced view and if I can support a little business by giving them some positive exposure then I will. Alongside that I’m keen to demonstrate that a design-led style doesn’t have to beyond us ‘ordinary’ sewers either, if you like it then sew it!
I hope I’ve given you some idea of what will be involved in making the TPCSH2, if you’re looking to push your skills on a bit this could be a good project. Maybe you need/want a plain white shirt in your wardrobe [amazingly I didn’t have one in mine, just a couple of short-sleeved ones] I might layer this with a sleeveless tank top over it, or a waistcoat could look interesting. This is a typical cotton poplin shirting but you could use a variety of fabrics, you could have fun with graphic prints or stripes, try something soft like double gauze or a crisp linen? Or what about harvesting the fabric from several well-worn mens shirts to make a more patchwork look. Take your time though and enjoy the process.
I’ve got a long-sleeved T-shirt under it because it was a chilly day and it will be perfect for the day I can return to the V&A. I don’t know about you but I’ve really missed putting an outfit together to go on a nice day out, deciding which of the lovely garments I’ve made that I want to wear and how I’m going to accessorise them. It seems such a small silly thing to miss but I shall be so glad when I can start doing it again.
Most of all, thank you to Trend for giving me the opportunity to try the kit, until next time,
It’s a new year (apparently?) so it’s time for my next Lamazi blog and I’m sewing something for Mr Y! I don’t know about you but I’ve felt I needed to work on something a little different to most of my other recent makes, I’ve made myself some lovely garments that I’m now frustrated not to be able to wear much as I want but Tony has been in need of some new clothes for a while now so it’s his turn to be on the receiving end!
I don’t know what you think but I’ve found that men’s wear patterns and suitable fabrics are definitely a bit harder to come by than women’s or children’s, they are out there if you’re prepared to look but it’s not easy. I’ve made him some nice shirts in the past which you can read about here, and I had made him a couple of Thread Theory Finlayson sweatshirts recently and then my good friend Claire told me about their Carmanah top which was quite a new pattern. It has several options so you can individualise it, for example with full length or quarter zip, hood or collar, and with or without kangaroo pockets.
Lamazi offers a range of co-ordinating See You at Six fabrics with plain and patterned French terry, and ribbing, all dyed to be a perfect match so we chose the ‘Clouds’ design in Bistro Green.
I’ve never purchased ribbing fabric before so I was unsure how much to buy, initially I requested far too much because the pattern instructions made no sense to me. Liana at Lamazi and fellow-blogger Sharlene advised me so I had 1metre in the end to be on the safe side and that was sufficient for an adult garment. If you find yourself in a similar situation I suggest you measure the appropriate pattern pieces to get an idea, or try contacting the fabric seller and I’m sure they would be happy to advise. For an adult garment it almost certainly needs joins whilst something for a child probably wouldn’t.
Based on T’s measurements (he’s 6’3” and, although he’s lost about 28lbs during lockdown, he’s not skinny) I cut him a size large but I added about 2cms at the CF and CB folds at the bottom because the previous version was just a little snug at that point. He likes the body length which comes down to about hip level, and the sleeves are nice and long too so I didn’t need to add any length to them.
The making up instructions and diagrams are quite clear, I got into a bit of a pickle using the twill tape neatening method though, partly because I printed off the booklet a bit small so I couldn’t easily read the instructions(!) and partly because the green twill tape I had managed to buy was wider than required! Anyway, I persevered and it looks OK in the end. This tape method wasn’t essential and overlocking is perfectly satisfactory, I just thought I would try it for a nice finish on the inside, it definitely adds more complexity if you want to up-skill though. The collar version has a nice detail of the chin guard over the zip which is worth adding for a quality finish.
This fabric is quite pricey but, in my opinion, it’s really lovely quality and it sewed together beautifully. There’s just enough stretch and it would be a good weight for sweatpants or a sweater dress too if you’re tempted. This is the first time I’ve used a range of co-ordinating fabrics and the finished result is really pleasing. Equally you could mix and match colours or prints using remnants for this pattern too, because of the way it’s cut in segments, especially if you go for the full zip version.
T has gallantly modelled the finished result-he’s delighted with it-he’s usually my slightly impatient photographer so the boot was on the other foot today!
Have you sewn anything for the men or boys in your life? How do they feel about it? Luckily T isn’t very demanding where his threads are concerned and he’s always been very happy with the items I’ve made him so far…..I haven’t attempted trousers in years though so perhaps that will be next? I’d interested in which patterns or fabrics for men you have been able to source, I think it’s an area for improvement in sewing terms.
Considering it’s a raincoat this is a project that came out of a clear blue sky! In other words, I had no plan to make a raincoat until, that is, I spied this gorgeous showerproof Missoni fabric on Dibs’s Selvedges and Bolts website. I’m not normally a sucker for impulse purchases of online fabric but this one with it’s eye-catching colours just had my name on it!
Once I had it in my hot little hands I had to come up with a design for a jacket. My starting point was a vintage pattern for a kagoule-type top which is probably from the late 50s-early 60s but there’s no date on it sadly. As was typical of patterns from that period it’s a single size, medium, which I already knew was OK because I’d used it once before about 4-5 years back. I also have a cheap-as-chips packamac which is a nice style but turned out to leak like a sieve! I would use this as my sample to follow how components like the zip and a storm flap on the front go together for example. There were a few other patterns which gave me some ideas including The Maker’s Atelier Utility Coat and from these various sources I sketched a few drawings to come up with a design I liked.
As the fabric was expensive I only bought two metres so I had to progress carefully for each step. I made a new pattern for most pieces because the new version would be mid-thigh length and have a full length front zip opening to be covered by a storm flap, plus I repositioned the shoulder seam forwards to minimise possible leakage through the seams. I altered the side seam shaping a little by curving them out slightly, to give a bit more room for bulky jumpers/sweatshirts. I reused the original hood and sleeve patterns, plus I settled on two pleated patch pockets with separate flaps on top. To reinforce the shoulder area I made an inner lining pattern which acts as an internal yoke.
I read up a few general tips for sewing shower proof fabric before I started-I didn’t need it to be waterproof so I didn’t tape each seam but I did lengthen the stitch slightly, to reduce the number of puncture holes through the fabric which could potentially let water in. I also used a fine Microtex needle to reduce any friction there might be whilst sewing too. This fabric is different to other woven fabrics because of it’s special coating so any mistakes which have to be unpicked would leave holes. It’s possible to press it carefully but not too hot or you could melt it. Use a pressing cloth over the top and warm the iron up incrementally on a scrap piece until you’re happy with the temperature.
It took me a little while to source the hardwear I needed, many suppliers of zips had the length but not the colour, or the colour and not the length! Eventually I bought two open-ended zips of different colours from Jaycott’s. I couldn’t seem to find any suitable coloured round elastic online so eventually I settled on narrow grosgrain ribbon from VV Rouleaux for the hood and back waist detail instead, plus I sourced some small spring cord-lock toggles to secure the ends where needed. I found the lining for the hood and the shoulder yoke amongst fabrics I already had.
I sewed the jacket up in ‘bite-size’ chunks of time rather than pushing on through-mostly because I was often waiting for something to arrive in the post before I could do the next part. As I wasn’t following a particular set of making instructions I was winging it to a large extent, the order of making was often influenced by another section of the garment having to take a priority at certain points.
It would have been better if the sleeves could have been just 4-5cms longer-I’m not sure why they seem short because I’m sure they weren’t on the original sweatshirt-perhaps the big difference in fabric types was a factor? Anyway, no matter, I added a small section of elastication to the top of the cuff to bring it in slightly to help prevent drips seeping back up my arms if possible! I should add that normally I would pattern-match the print but I didn’t see any need to do that for this jacket.
Because this is very much a ‘make it up as I go along’ garment I used some of the ribbon to neaten the neck/hood seam and jolly nice it looks actually!
For an unplanned garment I’m very pleased with the outcome, I love the colours and I hope it will be useful, it folds up pretty small so I can shove it in a bag if I’m going out and don’t want, or need, to take a heavier coat. It’s very much one of a kind! In normal times I wouldn’t have been sourcing everything online, I enjoy browsing in real shops for haberdashery and trims, but not just at the moment.
Over on the @SewOver50 account recently I shared a few of my favourite ways to finish hems or raw edges, although course it is absolutely NOT a definitive list by any means. I thought I would expand a little here on the blog using more photos of projects I’ve made in recent years. They are in no particular order either and if I wrote a blog post about the whole garment then I’ve linked it so you can read more if you want to.
Obviously there are the usual hand-finished hems using slip hemming stitch or herringbone stitch for example, which I use a lot too, but I thought I’d share a few alternatives which you might not know, or haven’t used for a while.
I’m beginning here with a faced hem…
The next one is an interesting hem finish which is very useful especially if you want a quality finish on evening or bridal wear. It uses something called ‘crin’, crinoline or horsehair braid (it doesn’t involve actual horsehair any longer though!) I’ve used it here on an organza skirt for the Dior New Look-inspired evening dress I made 4 years ago. As well as a crisp finish I wanted the hem to have distinct body and wave to it so this was the ideal technique. Crin comes in various widths, this was 5cms, lots of colours too because it’s more commonly used these days to trim hats and fascinators.
If you’re making a wedding dress for example and mounting all the skirt pieces onto another fabric, when you use crin on the hem (or bias binding for that matter) by hand-sewing the hem all your stitches will be invisible because you can catch them just through the mounting fabric. This is a couture technique so if you look at red carpet dresses with no visible stitching at the hem this will be how they achieved it. You can apply it as appropriate to any garment that you’ve mounted to another fabric though.
The next couple of photos are where I’ve used bias binding to neaten a hem. I find this a really useful technique if you need the maximum amount of hem because you can sew a very small seam allowance. It’s good if you’re letting down hems to gain length too, on trousers or children’s clothing for example.
If you have fine fabric why not consider using your overlocker if you have one on the rolled hem setting? Refer to your manual for specific instructions how to adjust your machine and make samples first to ensure it’s going to be satisfactory for your particular fabric. You’ll frequently see it used on chiffon or georgette but I’ve used it successfully here on fine cotton lawn, jersey and a stretch velour. If you don’t have an overlocker you can probably achieve a similar finish on your sewing using a rolled hem foot ideally and a small zigzag stitch-as always I would urge you to experiment to see what is possible. Some of the simplest machines can still give you an interesting variety of finishes.
I find the next couture/tailoring technique very useful on sleeves as well as coat, jacket or dress hems. I’ve used it here on my Tilly and the Buttons tester-made Eden. I wasn’t taught this method as such, I discovered it for myself whilst doing alterations taking up sleeves for people. I haven’t ever encountered it in pattern making instructions but I think it’s an excellent way of stabilising the cuffs of coats and jackets.
For this next finish I’ve used a triple straight stitch to create the effect of top stitching on the hem, and several seams, of this Simple Sew Zoe hack I made last summer.
If you have the foot attachment and stitch capability for your sewing machine you can always try blind-hemming. I must admit I don’t use it that often, and only then on completely straight hems. There is a bit of a knack to it and I tend to only use it on a busy print which will disguise any botched bits (yes really!) or if I’m tight for time compared with any other method. It’s not quite the same quality of finish you will see on RTW clothes though which uses a specific machine to blind stitch the hem.
I think it’s worth mentioning that I like to use bias binding to neaten necklines (and armholes) too. I particularly like this as a way of avoiding using a neck or armhole facing which can be notorious for constantly rolling into view or flapping about annoyingly. The version you can see in the following two applications is a strip which I’ve folded in half lengthways first, the raw edges are matched and sewn. The seam is trimmed slightly and snipped if necessary, then turned so that the edge is enclosed and finally topstitched close to the folded edge to secure. In both the following examples I have sewn the binding on the wrong side of the fabric so that the binding turns to the outside to be visible and decorative but you could just as easily sew it to the right side so that it turns to the inside of the finished garment.
I’ve have included another variation of binding on a hem to show you how it can be combined with other techniques to achieve a quality finish. I used it here on a sheer organza which was mounted onto a backing fabric of slipper satin. This meant that when I turned the hem up the hand-stitching was invisible from the outside because the stitches only went through the mounting fabric.
The next technique is more usually the choice of the pattern designer than the dressmaker, although if you know a little about pattern cutting you might be able to do it for yourself. This is an example of a deep grown-on faced hem on the Trend Patterns Square dress which I’ve made twice. It works brilliantly on this dress because the hem edges are straight (square!) plus it gives real weight to the hem which is another satisfying detail.
Pin hemming is a technique I’ve used for decades on fine fabrics. You can replicate it using a rolled hem foot attachment on your machine although it can be trial and error which size works best for you with variable results. I have two different sizes of foot, 2mm and 4mm and I can’t get on with either, I’ve since been told that 3mm is the optimum size for most fabrics but I’m not prepared to risk another mistake when I know I can achieve a good quality result this way instead.
Simply put, I turn over the raw edge by approximately 5mm and stitch very close to the folded edge. Carefully trim the excess close to the stitching line and give it a light press. Then turn again and stitch a second time on top of the first row of stitching. This particular example is from the Trend Bias T-shirt dress I made a few months ago.
If you read about my pattern hack of the Simple Sew Cocoon dress you will see how this variation of hemming came about. I added a large chunk of fabric to give extra length to a dress that would have been too short without it. This method is probably best on a straight hem, you could use it on sleeves too.
This next one is a very much trial and error. I used an edging stitch on my Pfaff sewing machine to hem this Broderie Anglaise blouse which I made recently.
I’ve used a variation of a faced hem recently when, instead of bias binding, I used straight strips of fabric to turn up a straight hem on a dirndl skirt. There will be a blog of this particular garment coming soon…
To finish with is a very simple method of rolling a fairly narrow hem. Overlock the edge first using three (or even two) threads then carefully turn it once and then again so that the overlocking is enclosed inside. If the fabric is quite ‘bouncy’ and won’t stay in position you could press the edge over once first and then roll it the second time. Whilst the result is wider than pin hemming it is narrower, and possibly quicker and more accurate, than a simple turned hem.
This last suggestion is from a project which will be blogged very soon. I cut 6cms wide bias strips which I used to create a self-neatening hem on a pair of pyjama shorts.
I hope you’ve found my suggestions useful or thought provoking, is there something here which you’ve never encountered before, or that’s made you think how you could use a technique you already know in a different way? The idea is to show you a few ways of finishing hems, or raw edges, in new and interesting ways. I’ve not included the usual hand stitching methods because there’s nothing new to think about, although please let me know if you use these methods in a more unusual application. Just because the pattern instructions tell you to finish the hem a certain way doesn’t necessarily mean you have to do it that way…although think it through carefully just in case the really is a reason!
There’s a lot going on in this post because I’m offering you my thoughts on not one product but three!
So, a bit of background first…I used to be a keen runner but various injuries forced me to stop and then I never quite got started again. Fast forward at least 3 years and I’d gained weight which I wasn’t happy about, I felt sluggish and lacking in energy, I wanted to lose the weight for the good of my health and mental wellbeing. So, coming up to date, the return to running is going well (if cautiously…) and I’m losing some weight which in turn has inspired me to try making some of my own activewear. Fortunately for me Melissa Fehr of Fehrtrade has become a sewing friend of mine since first meeting her at the Sewing Weekender a few years ago and she generously offered me a copy of her Tesselate Tee pattern to try. I’d helped test her Rouleur leggings last year so I already had that pattern. Part of the beauty of Melissa’s patterns is that she gives you really comprehensive instructions to be able to sew activewear using just a regular sewing machine if you don’t own an overlocker. I’m in the fortunate position at the moment to be a Pfaff Brand Ambassador and I have their air-threading Admire Air 5000 on loan, along with a Coverlock 3.0 as well so this all seemed like the perfect opportunity to make some new running kit.
Suitable activewear fabric is not something I have in my stash other than the scraps left from testing the Rouleur leggings so I had a little online search and came across Frumble fabrics. They have a good range of activewear fabrics at competitive prices as well as an impressive selection of suitable elastics and other trims or haberdashery you might need for this sort of project. I bought a metre of plain navy fabric and a metre of navy camouflage print, along with navy soft waistband elastic, some navy fold-over elastic and, finally, silicone grip elastic. [One point I should add here is that I decided not to pre-wash the fabric, this was based on my own knowledge and belief that synthetic fabrics are usually more colour-fast than natural fibres. I was wrong. The navy came off on my hands as I was making it up so as soon as I finished both garments they have been through the wash after all. I have alerted Frumble so I’m not saying anything here that I haven’t already fed back to them. Overall I’m pleased with the fabric quality and I learned my lesson-prewash even if you think it doesn’t need it!]
I opted to go for a medium size Tesselate top, Melissa has recently layered the pattern so now you only need to print off the size or sizes that you want, I wavered between small and medium according to my measurements. The small probably would have been fine but the medium gives me a little more room without the constant thought that I should be sucking in my wobbly bits! One of Melissa’s USP’s with her patterns is interesting seam lines which means, as well as striking designs, you can often use up small pieces or remnants of suitable fabrics. The Tesselate has a variety of options including short or long sleeves, thumb cuffs, a hood (with ponytail hole!) and back zipped pocket.
I cut the leggings a mixture between small and medium and I’m happy with the fit of the end result. I had enough fabric for long sleeves on my Tesselate and, although there’s a pattern for the back pocket, rather than print it off I made my own.
I played around with the fabrics until I was happy with their placement, I had enough of the blue spotty fabric for the back and front side panels, everything else I divided between the two navy fabrics.
I’ve made another little video to demonstrate how the air threading works on the Pfaff, you’ll need to bear in mind that it might seem like it takes a while to thread and so where is the advantage in air threading but that’s because I’m trying to explain as I go and I was sitting at a funny angle behind the camera whilst I did it.
After two years of owning the Quilt Ambition 2.0 (now discontinued) I’m used to the quality of Pfaff machines so it doesn’t surprise me that the Air Admire is sturdy (no shifting about on the table while you sew) and very speedy, with a superb quality of stitch. It doesn’t take long to get to grips with the air threading and, as I mention in the video, there’s an automatic threader for both needles too! I couldn’t get the hang of that at all to start with but it’s amazing what a difference it makes if you read the instructions and follow them! Of course, this is an expensive machine and I understand that not everyone will have that kind of budget but if you are considering an air threading overlocker (there are now a lot more models on the market than just market-leader Babylock with prices gradually coming down) then this one is most definitely worth thinking about.
I inserted the invisible zip on the sewing machine, then attached the pocket bag that way too. The T-shirt goes together pretty quickly considering the number of pieces-most pieces are cut singly because they are asymmetric-if you’re using the same fabric throughout it would be an idea to label your pieces in some way so you don’t get them mixed up.
I find it very useful having a variety of stitches to choose from especially when sewing with stretch fabrics, the 3-step zig zag was ideal when I was sewing the elastic into the waistband, I also have an ‘elastic’ stitch which is useful. A lot of machines, even quite simple ones, will probably have a stitch option which will enable you to sew activewear so why not try out a few of them to see exactly what they are, the instruction book should be helpful, or there’s so much information on the internet too.
To neaten the hems and around the neck I swapped over to the Coverlock 3.0 which I had on the coverstitch setting. Again, this is a very sturdy piece of kit with excellent stitch quality, I am finding there is a certain knack to using it and I’m by no means an expert yet but it certainly gives a very professional finish to knit, jersey or stretch garments.
As always, I hope you’ve found this helpful, I always try to be honest about how I get on with a product whether or not I’ve been gifted, loaned or purchased it-all three in this case. If you’re tempted to have a go at activewear then Melissa is a good place to start-she’s even written a book on the subject so you’re in good hands!
I followed the progress of this pattern with interest on Instagram when it was originally released nearly two years, it was fascinating to see how Claire-Louise Hardie (the Thrifty Stitcher!) developed and finessed the various elements of it as she sampled it, up to the point that she was ready to release it for sale. It has attractive style lines with princess seams in the front which curve into hip pockets, the back also has princess seams and there’s a horizontal seam just below the natural waist. The collar curves up smoothly against the neck and the back collar has a ‘sunray’ of five darts spreading out towards the shoulder blades which I particularly like. The cuffs each have 3 similar darts, the details on this pattern has simple but so stylish.
This post was originally published last year by Minerva who generously provided me with a nice firm Ponte Roma in a plain navy to make the Dawson in, it would also work very well in a boiled wool, felted wool, Melton, not a loose tweed though as they can start to fray and you’d lose the details too much in the weave. Anything fairly structured and stable would effectively show off the style lines. You could get some interesting effects with checks or stripes if you want a challenge! I’d wanted to make another version for a while because I’ve had really good use from the navy one, I hadn’t got around to finding any specific fabric for it but then I hit upon the idea of using a single old heavyweight cotton curtain that used to keep the drafts out by our front door. It had long been replaced for this task but I just had it folded up underneath the heat-reflective mat that I use on my cutting table. In order to maximise the fabric in the curtain I undid the deep hem and the sides, and removed the tabs at the top. I gave it a wash to clean it but also to, hopefully, stop it shrinking later on.
Areas like the pocket edges and the neck need stabilising with some iron-on tape or strips of interfacing as per the instructions, especially if you use a knit fabric like Ponte. I would recommend stabilising the shoulders with seam tape or scraps of ribbon to prevent stretching too. I used a specific needle for stretch fabrics and you could use the ‘lightening’ stitch to sew with if your machine has it, or a very straightened out zigzag. If you do use boiled wool the layers could be quite thick, use a straight stitch but you may need to lengthen it a little more than usual.
The pattern comes in eight sizes which are not numbered in the conventional way, CL opts for letters instead, so you work from your own body measurements to choose which size should fit you. I cut and sewed a size F originally which was quite generous, for the newer version I’ve cut the next size down. I misjudged how generous the ease is in the garment so I usually wear the Ponte version layered up over jumpers or sweaters on warmer cool days if that makes sense. At the end of the day it’s intended as a casual coat so don’t make it too small as you’ll always be pulling it closed across you. The sleeves are nice and roomy too, I’ve noticed some coat/jacket patterns can be a bit snug around the bicep for me which is a bit dispiriting, I’m hardly a muscle-bound hulk! Just check before cutting out if you’re happy with the sleeve length too, I probably could have added just 3-4cms because it feels the tiniest bit short on me.
The pattern goes together beautifully and all that tweaking in the sampling stage is borne out in the final version. I found the instructions pretty clear, they are mostly photographs and there are some really useful hints and tips which will come in very handy if you aren’t that experienced in your dressmaking yet. Make sure you transfer your markings for the pocket pivot point for example so that you get a crisp finish for the corners.
You could top stitch all the darts down, possibly in a contrast thread if you like, but because the Ponte had a slight stretch I didn’t do this on mine. I did top stitch down the front facings though and caught them down in a couple of places on the inside to stop them flapping.
For the ochre version I topstitched more of the seams, I confess that I was incredibly slovenly and used up various threads in my collection so not all the stitching is the same colour…oops! Incidentally I didn’t use top stitch thread, instead I used the triple straight stitch which looks very similar although it is quite thread-hungry (hence the non-matching!)
This time however I didn’t top stitch the front facings down, I adopted a different approach. As it’s an unlined coat so all the innards are visible I used some ribbon to anchor the facing down in a couple of places. I chose to do this because I know from experience that when you’re sewing through several thick layers the triple stitch (which is a set length on my Pfaff and not adjustable) it can lead to puckering which doesn’t look so nice. Try a sample before you go ahead if you aren’t sure, that’s a LOT of slow unpicking if you don’t like it after all.
I finished the hem by hand using a herringbone stitch rather than machining it for the same reason that I didn’t top stitch the front facings.
I think the Dawson is a well-drafted and executed pattern from an independent designer (and CL’s art work features herself so it squeaks into the #so50visible category!) The Minerva Ponte Roma works well for the soft tailoring, using my old curtain gives the slightly cocoon-shape a little more definition. It shouldn’t be too difficult to do an FBA if you need to either. I’m much happier with the fit of the ochre one, but I love the navy and will still wear it regularly too.
Because the Dawson is a loose cocoon shape it would make a beautiful evening coat in a glamorous brocade, to go over the top of your evening outfit, denim would look great too (Have a look at my Simple Sew Cocoon jacket in denim here)
I guess this was also a useful exercise in upcycling, the curtain was years old and not being used for it’s original purpose so I thought why not give this a try. If I found I wasn’t mad about wearing the colour after all I know it’s 100% cotton so it would dye, I might come unstuck with the polyester sewing thread though which would take up the colour differently-it’s hardly Saville Row standard though! The Dawson took barely two metres of fabric (the front facing is helpfully cut in two parts which helps reduce the fabric usage, and of course you could always use a contrast fabric anyway) it doesn’t instruct you to use interfacing on any of the collar or facing parts but I did, just to stabilise the fabric a bit.
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.
I know many of us often sew patterns multiple times because we like them but I’ve taken this to a new extreme recently. I last sewed this blouse pattern Simplicity 8704 when I was around 16 or 17 years old, the date on the back is 1978 so I must have made it while I was still at school! I remember I used a burgundy-coloured viscose (or similar) with a floral print on it and it was definitely one of my favourites as I wore it a lot, probably swanning about in the Sixth Form common room!
There have been several times when I’ve been tempted to revisit it but for one reason or another I’ve put it back in the box for another day but this time I kept it out and went in search of fabric in the stash. Initially I was going to use a really pretty pastel pink lightweight checked cotton I got from Sew Me Sunshine (I can’t see it on the website now though) but when I realised I was going to have to pattern match the deceptively tricky check I thought better of it. I wasn’t in the mood for taking an age over that so I continued to rummage until my eyes fell upon the (also) pale pink linen I acquired from the local Scraps Store last year. I found it in a container full of various unwanted fabrics and there was nearly 5 metres of it so, for a donation, it came home with me! I laundered it at the time but put it away. I thought I might make a dress with it originally but, because it’s such a pale pink, I didn’t want to end up looking like a blob so I left it for another time.
A plain linen blouse appealed to me though and I didn’t have to fiddle about pattern matching so away I went and it was cut out in no time. Even though the pattern was a single size-this is how most patterns were sold until multi-size patterns were introduced-and my size has fluctuated to say the least over the years, amazingly it was still going to be the right size with no alterations.
There’s not much else to say about making it up except I remembered that an @SewOver50 stalwart, Lisa, had shared on her grid the day before that she had used a wing needle to decorate a plain linen tunic she was making which reminded me that I’d intended to find a use for the same effect at some point but forgotten all about it-Thank You Lisa!
The wing needle (I’ve also seen it called an ‘heirloom’ needle recently too) is like a regular needle except it has fine metal ‘fins’ to each side of the shaft which creates a little hole like a tiny eyelet in the centre of the stitch as it forms. A stitch which looks like a little star works best for this effect but you could try experimenting to see if any others look nice
I made a little video of my machine in action.
It’s worth bearing in mind a couple of important points if you’re going to use this decoration. Firstly, you can’t easily pivot at a corner with the needle down in the work-I sewed the collar in three separate moves, secondly you won’t be able to use the automatic threader if your machine has one and thirdly (thank you Lisa for telling me this because I don’t have this feature) you can’t use your automatic thread cutter if you have one.
As well as the collar I embroidered the cuffs, the front raglan seams and down the button placket, although I did this last one after I’d hemmed the bottom and sewn the buttonholes so that it was the exact distance from the edge and the buttonholes.
I love the way the blouse gathers into the collar, which is a two part construction incidentally, the raglan sleeves are straightforward but the gathered cuffs add a nice touch. I found a selection of Mother of Pearl buttons amongst my tidied-up button boxes to add another of my usual quirky details but otherwise that’s it. It’s a reasonably quick make but it was lovely to sew the details of collar construction and the cuffs, there’s an elegant simplicity to it I think. I will either wear it loose over the top of trousers or tucked in, or underneath a pinafore dress maybe?
It might sound strange but it feels a bit like an old friend has come back to visit, and I might even make the placket front version now too!