Box pleat shirt from Trend Patterns

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]

transfer all markings and instructions to the paper pattern if you’re tracing it off. I made tailor’s tacks through every drill hole

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. 

pressing the pleats on the ironing board, the snips top and bottom along with the tailor’s tacks will help you get each one in exactly the right place.
In progress-making the bar tacks

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.

testing various stitches including triple straight stitch and arrow heads, the difficulty was going to getting every single one central over the pleat

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.

the right front, including the fly, taking shape
the shirt with the side seams now sewn up, ready for the sleeves to go in
sewing the continuous binding to the sleeve opening. the instructions don’t call for it but I like to sew across the top of it at a 45 degree angle to encourage the binding to stay on the inside
close up of the finished front
all done
close up of the finished bar tacks

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. 

the finished back yoke
I popped a bar tack in the middle of the back to hold the pleat in place, this hadn’t had a proper press yet

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] 

The sun came out so we could take some outdoor photos, I’ve paired the shirt with my much-worn Megan Nielsen Ash jeans
is it a bird? is it as plane?…
I’ve pressed the pleat now

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,

Happy Sewing

Sue

Sam McKnight and Burberry capes

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This isn’t exactly a blog, more of a sharing of the photos I took when I visited the hairdresser Sam McKnight retrospective at Somerset House recently, and the Burberry Maker’s House exhibit in Soho.

Obviously I’m not a hairdresser but I knew that the show featured McKnight’s collaborations with designers, as well as fashion magazines and publications over the last 3 decades. I felt though that the show, whilst interesting and well put together was a little lacking in very much substance. Lots of photos and hair-pieces, part of McKnight’s travelling ‘salon’ kit (a massive number of brushes, rollers, driers, straighteners, hairspray and general hairdressing paraphernalia) The opening section where a number of work stations are set up allows the viewer to feel they are backstage at fashion shows during the build-up which is interesting. This moves through to a section featuring McKnight’s collaborations with Vivienne Westwood over the last 20 years. It’s a good excuse to display a number of her outfits from previous collections.

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Vivienne Westwood

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Then there are lots more photos, large and small, and Vogue magazine covers. Sam McKnight is well-known as Princess Diana’s hairdresser, it was he who first cut her hair very short and created the ‘wet-look’ style that divided the press and public opinion. He accompanied her on a number of Royal overseas tours and was instrumental in the ‘reinvention’ of her look after her divorce from Prince Charles. diana

The next section revolves around McNight’s collaboration with Karl Lagerfeld and Chanel.

The best bit of the show, for me, was the continuous showing of recent Chanel Haute Couture shows, being shown in their entirety. Each one runs for about 15 minutes and I watched 4!! So that was an hour spent watching exquisite dresses and suits on the runway-the hairstyles weren’t my particular focus though….

I don’t want to sound like I’m dissing the show and I’m really not because there was quite a bit that I enjoyed, and Sam McKnight is clearly a very nice bloke who’s very well-regarded in his field and influential in styling terms but it could just as easily have been a show about Westwood or Chanel.

The show is still running until March 12th if you want to go and I’ve shared the link above, or here

From Somerset House I took myself to the last day of Burberry Makers House which displayed their collaboration with the Henry Moore Foundation. I’d seen a number of people share images from it on Instagram so I wanted to see it for myself and I’m SO glad I made the effort to go.As I arrived there was the opportunity for a guided tour (it was a totally free-entry event anyway) which really enhanced my appreciation and understanding of what I was seeing. I couldn’t understand beforehand how a dead sculptor could be linked with a fashion house (albeit a long-established one) There were a number of Moore’s sculptures on display, as well as many of his tools, maquettes and sketches, most of which had never left Perry Green before. [If you’ve never been to Perry Green and you have the opportunity to visit I’d recommend going. It’s in a lovely rural spot and many of Moore’s most monumental sculptures are there in the settings that he intended for them, with the sheep still wandering happily between them keeping the grass down!]

The tour guide pointed out many of the inspirations and cross-pollination of ideas that Christopher Bailey created for the new season collection. I particularly enjoyed seeing the ideas boards and fabric samples. Ideas such as the elongated arms on the sculptures, the striped apron Henry Moore always wore in his studio, and the sheep that continue to wander around the site at Perry Green where Moore lived and worked for many many years, all found a place in the garments that were presented on the runway in the form of over-long sleeves and cuffs, blue-striped matelot T-shirts embellished with lace and beautiful asymmetric cable knitwear.

There were some wonderful ideas which any dressmaker could easily ‘interpret’ in her own way. I particularly liked the layering of stripes and sweatshirts, and evening dress-shirts with lovely details like pin tucks and bobbin lace, and delicate lace over-dresses. I’m hatching plans with a few ideas around these so watch this space.

The capes were the most extraordinary things! They weren’t capes in the useful, Sherlock Holmes sense, they were more like grand shoulder embellishments. There were 78 of them and there was so much variety between them all.  I’ll just share my photos here with the odd comment by way of explanation….img_1199img_1152img_1153

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GIANT cable knit

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Lace was pressed into clay to form a ‘relief’ pattern, and then wired together.

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beaded and sequined feathers

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More giant cable knit and ceramic designs.

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This one reminded me of an exquisite Edwardian evening cape.

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The cape was made up of multiple layers of silk georgette which was then hand embroidered with Japanese-style ‘sashiko’ stitching. As you can see, the edges have been left unfinished. It took over 400 HUNDRED hours to complete!

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Sea shells!

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Discs of fabric looking like scales or sequins.

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Eye-glasses!

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Trimmed feathers and tiny beading around the neck.

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Lace, tulle and feathers

So that’s it. One exhibition you can still go to if you’re quick and one that was somewhat ephemeral and all the more special because of it.

It would be lovely to hope that when the capes come back from their travels they could be displayed again somewhere for people to enjoy. It would be a real pity if such beautiful workmanship representing thousands of hours of work couldn’t be appreciated once more.

Meanwhile I’ll be having a go at my own take on some of the RTW collection (I don’t think the capes would to be that wearable on a day to day basis!)

Happy Sewing

Sue xx

the Holiday shirt by Maker’s Atelier

Since I’ve been able to spend so much of my time sewing among my favourite things to do is get together with fellow sewers and chat endlessly about sewing/fabrics/techniques/tools…you name it really.

A few weeks ago I spotted that Emily of Self Assembly Required had posted in the forum on The Fold Line about organising a London fabric swap in the near future. Eventually Sunday 19th February at The Parcel Yard, Kings Cross station was chosen which is perfect for me because I can literally get off the train, walk along the platform and up the stairs (carefully avoiding the MASSIVE queues for the Harry Potter shop!)

I had a sort through my carefully curated fabric collection (!!) to find the fabrics that I’d never found a use for-I’d been gifted them in the first place but I thought someone else might be able to use them more than me. I also had a number of patterns which were mainly duplicates or free patterns that I’d never use (I know I rarely get rid of anything but if I genuinely have no need or liking for something it’s only taking up room isn’t it?)

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This was a neat pile of fabrics and patterns only minutes before…I can spot @pootleandmake, @kara22jay and @selfassemblyrequired in the midst of it all

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really getting into the swing of it now…

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we needed to drag up a second table for the patterns!

So anyway, when I arrived there were already about 7 or 8 lovely ladies there already and it didn’t take long for us to dive in to the big pile of fabrics and patterns. There was some amazing booty to be had but loads of it seemed to find good homes. I picked up some gorgeous lengths of fabric as well as some fab patterns including a Maker’s Atelier ‘Holiday’ shirt and a Merchant & Mills Camber Set. I think there were as many as 15 of us a one point (plus one lady who I don’t think was part of ‘us’ at all but she had a nosey before she went to catch her train!!)

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my swap haul!

I knew I’d have to try the Maker’s Atelier pattern pretty quickly because I had some lovely Swiss Dot cotton already washed and waiting for the right project at home since I bought it last year at Walthamstow!

The pattern had been partly cut out (luckily still a big enough size for me) although there were no pin marks so it didn’t seem like it had actually been used. In theory I didn’t have enough fabric according to the requirements but by folding the selvedges both to the centreline I got everything out just fine. It’s always worth checking using this method particularly if the fabric is wide or has no distinct pattern, it’s surprising how many pieces which need a fold will come out of ‘not enough fabric’. Some pieces might have to be cut singly but if you really want to make something in a certain fabric it’s probably the only option other than buying more.

The pattern is of very nice quality tissue (more like greaseproof paper in it’s thickness!) and the envelope and artwork are very classy, as is the design itself-very ‘Whistles’ I’d say. That said, I’m not really sure what makes it worth the considerable cost, at an RRP of £22.50 it costs a lot more than almost all other independent pattern brands. Don’t get me wrong, I know patterns cost a lot to create, develop and produce but I wouldn’t say this pattern was significantly better than others I’ve used. Another beef I have with it is that the seam allowances are only 1cm. Why is this an issue? well because most UK or European pattern brands have 1.5cms as standard seam allowances and this British brand chooses not to for some reason. This is fine but I think it’s a fact that should be highlighted pretty near the beginning of the instructions and I nearly missed it. Again, it wouldn’t have mattered on this particular very loose-fitting style but I think it’s worth pointing out. Sorry.

I liked the hints and tips card enclosed, it points out a few things that might not be obvious if you’re fairly new to sewing (the 1cm seam allowance note is in here but quite a way in if you don’t read all of it!) There’s a ‘how to measure’ guide on the reverse too.

Making the shirt up was fairly straightforward although I misunderstood the method for putting the collar so, instead of turning the collar edge under and slip stitching in place, I used some pretty bias binding to cover the raw edges-it looks really pretty even though it won’t show.

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Narrow bias binding on the neck edge.

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I’m not entirely clear if the collar should have a little step as mine does or not. The pattern illustrations suggest not but the photos show it looking like mine…hmmm.

Finishing off the cuffs and hem was also pretty straightforward, I like the split hem detail in particular.

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Yay! the sun came out.

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centre front split detail, the sides have them too.

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So there it is, the Holiday shirt from Maker’s Atelier. I made a 14 and it’s probably overly generous so I’ll make a 12 next time, or even a 10. I’ve got some pretty georgette that I bought at the Birmingham Rag Market last year which I think will look rather lovely in this loose style too. I’ll team this one with jeans or a straight skirt with a vest top underneath as it’s very sheer, it’ll be lovely if it’s hot though.

Thank you so much to whoever donated this pattern to the swap meet, I wouldn’t have paid £22.50 for it myself in all likelihood although it does look very classy. This is a speedy make because there are no buttons or zips to contend with so you could whip it up in an evening no problem. I’ve got some other fabric in my stash that I’ll probably make the pond -sleeve hooded version in before the summer, I’m on my holibobs quite early this year so I need to be thinking ahead a bit really-it’s easy to be making stuff for the here and now and then not have time for things that are a bit ‘out of season’.

Happy sewing

Sue xx