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

Trend Utility trousers TPC12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

the completed grey version showing the button fly and jigger button

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

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

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

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

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

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

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

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

Until next time, happy sewing

Sue

2020-Sewing in a Time of Pandemic

Well what a year 2020 turned out to be!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time, stay safe!

Sue

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

Firstly, I probably need to give you a quick explanation of why I’m making a fancy frock during the lockdown because it must seem rather incongruous.

This is my first post as a Lamazi Fabrics blogger and before the Covid-19 pandemic reared it’s ugly head I had offered to make an outfit using a slightly ‘tricky’ fabric in order to share a few hints and tips for sewing with it. I selected the beautiful Tencel/Cupro ‘Bark’ fabric in Lavender because we were going to a wedding in late May which would be the perfect chance to make a something using this special fabric. Very sadly that wedding is now postponed indefinitely but I’m making the dress because I’ll still need something to wear when it’s rescheduled. 

The fabric has a lovely weight and handle which makes it drape really well. It’s has a bark-like finish and is different on each side, you could use this to your advantage if you want to create an interesting visual effect by having some pieces with one side out and some using the reverse side. 

I made life harder for myself by choosing the new Bias T-shirt Dress by Trend patterns (generously gifted to me by them) in which EVERY piece except the sleeves are singles and strange shapes which means you cut everything out on a single layer of fabric right side up (RSU). Unlike most patterns, when you are cutting pairs of parts you can usually flip a piece without too much difficulty, however if you do that for a piece which must be cut RSU you would have completely reversed the print/design to the wrong side when you try to sew it up. This Tencel/Cupro has a nice look whichever side you use but my advice is to be really careful on printed fabrics before reversing any piece labelled RSU. 

Next, when cutting slippery or fluid fabrics (unless you have a lovely big cutting table) you’ll need to handle them as little as possible (by which I mean pulling them about to get them into position) which might be easier said than done. I know that cutting out is most people’s least favourite part of sewing but it’s so important to take time and care at this stage. If you’re cutting out on a table with straight sides use the edges as a visual marker to get the end of your cloth at a right angle to start with, ensure the weft (across the fabric) is nice and straight as well as the warp, pull a few threads to find the grain if necessary. If you have more cloth than will fit on the table in one go you could try having the excess rolled on a cardboard tube if you have one to keep it under control rather than sliding off the table all the time. 

Because my pattern has large awkward-shaped pieces cut from a single layer I had no option but to cut out on the floor! This can be physically quite tiring so you might want to get help if you need to. This is slippy slidey fabric so an extra pair of hands could help you lay it up nice and straight, again, rolling the fabric onto a long cardboard tube would also help keep the fabric taut and straight as you lay it out on the floor. This is not a fabric to use weights and a rotary cutter on unless the whole lot fits onto a cutting board without disturbing the fabric, if you’re spending time laying up the fabric carefully so that the grain lines are straight in both (warp and weft) directions you can’t then mess it about shifting a cutting mat underneath it and the pattern pieces need to be secured in place with pins. Cut out carefully moving the pieces as little as possible and try to keep them flat after cutting until you’re ready to sew. All of this will help minimise the pieces stretching out of shape, especially as a lot of this pattern has seams running on a diagonal. 

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

Once I’ve finished cutting out it’s vital to transfer all notches and mark darts and a couple of pivot points so I use old-fashioned tailor’s tacks (obviously you can use a textile marker pen if you prefer, I often do but it’s a pale fabric and I didn’t want to risk any marks being left) It’s a habit of mine to keep all the pattern pieces attached by just a couple of pins to the fabric until I need it, so that I don’t them get muddled. These are curious-shaped pieces so the chance of having them the wrong way round could be quite high! Next I stay-stitched all the neck edges on the machine 5mm in, if you have a very loose weave fabric it would probably be sensible to stay-stitch the bottom edge of the front bodice piece to prevent stretching. If you’re using a particularly fine fabric like chiffon you should stabilise the neck, and any other seams which could stretch, by hand-stitching very narrow cotton tape or ribbon over the seam line on the wrong side of the fabric. When I worked for bridal designer David Fielden many years ago we would cut the selvedges off the silk habutai linings for the seamstresses to use on necklines.

There is just a little fraying on the cut edges which I overlocked singly as I went along, as per the pattern instructions. Whether you’re sewing or overlocking the fabric I strongly suggest you have the whole piece supported on the table in front of the machine rather than feeding up from your lap. This is to prevent the piece becoming stretched as you’re sewing and possibly causing it to become misshapen.

If you find, as I did, that there’s a slight discrepancy between two seams (assuming that it isn’t an error in cutting or adjustment of the pattern) then pin it with the excess on the underside so that when you sew the feed dogs will take up the ease.

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

My photos should make it clearer, a good press will help steam out some of the excess too. Also, to minimise the risk of making a shiny patch on the fabric make sure you use a pressing cloth, you can often buy silk organza ones although I have a piece of plain fine pure cotton lawn which I’ve overlocked around the edge. I use this when I’m pressing darts or turning points or corners out too.

To sew an invisible zip into the diagonal seam across the back I machined the seam closed but I used a long basting stitch just for the section where the zip will go. This stitching will be removed later.

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

Once the zip was in and side seams sewn up I checked the fit on myself. I cut a UK 16 and overall I’m happy with the fit and apart from the length I made no alterations to the bodice. Because I made the linen version first I already knew that the shoulders were a bit too broad for me and the sleeves dangled too much off the crown of my arm. I calculated that I needed to remove approximately 3cms to lift them up to a slightly better position. I found I didn’t need to alter the sleeve head though, fortunately it still fitted into the armhole. Another thing I did decide at this point was that the sleeve needed ’something’ else so I mocked up some small pleats and pinned the sleeve into the armhole to try out the effect.

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

After making the pleats in the sleeves and sewing up the underarm seam I used a ‘pin hem’ to finish the edge. This is similar to a simple rolled hem but even narrower. Begin by stitching a turning of approx 1cm very close to the edge, trim this carefully  

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

I love the 1930s/40s vibe of this dress, the drapey qualities of the fabric enhance the bias lines of the skirt in particular. I really enjoyed the challenge of putting the dress together, there are no particularly difficult techniques as such but it’s an interesting puzzle which you’ll need to spend a little time concentrating on, you’ll be rewarded with a striking but really wearable dress.

Thank you to Trend Patterns for gifting me the pattern, there was no expectation to write a review. You can read my previous review of the Square Dress pattern here. The fabric was provided by Lamazi Fabrics in return for a review which is also published on their own website.

I hope you find some tips and advice in here that might be of use to you if you’re thinking of using a fabric that needs a bit more forward planning than you’re used to. Trend have created another beautiful pattern with stunning and unusual details but the pieces cleverly work with the grain of the fabric so that working with the bias cut is a lot easier than it usually is. They have been gradually increasing their size range too so the TPC26 comes in UK sizes 6-22.

Quite a long blog this time so thank you for reading this far and, until next time,

Happy Sewing

Sue

The first official Sew Over 50 meet-up

After a couple of months in the planning I can hardly believe that the first ‘official’ Sew Over 50 meet-up is over! This isn’t really a blog as such, it’s more of a photo album so that those who were there can look out for themselves and to prove that it did happen and a great time was had, new friendships were made, information and tips were shared, fabric was stroked and support and encouragement was offered. 

Judith and I were simply overwhelmed by the feeling that was in the room for those 3 hours. The Village Haberdashery in West Hampstead, London proved to be the perfect venue to hold the meet-up with it’s mix of light-filled studio space and retail opportunities! Whilst quite a few of us already knew one another, and had met in the past, there were many others for whom this was the very first time they had gone to such an event. The distances some people travelled was extraordinary too, south Wales, Cumbria, Cheshire and north west England, Scotland, East Anglia, the south coast and Cologne, Germany were just some of the places people had come from. This represented a really big deal for some because it took them a long way outside their personal comfort zone to go on a long train journey to London and meet lots of strangers who they only ‘knew’ through the medium of little Instagram squares. So far as we can tell all of them thought it had been worth the effort and anxiety because within minutes of arriving they were chatting with fellow sewers and crafters as though they had known each other for years. That’s what the Sew Over 50 community seeks to encourage, to nurture and expand each others skills and talents, we try to make it a positive and supportive place to share our makes whether they are completely successful, or a dismal failure! 

I would personally like to thank every single one of the companies and individuals who gave me prizes for the charity raffle in response to my requests, and several others who offered without me even asking. 

Have a browse through the photos (please ask permission and credit me if you would like to use them elsewhere though, thank you) these are just a few of the hundreds that my daughter Bryony took for us but without them I don’t think there would be much record of the event having taken place…hardly anyone else took photos because they were too busy chatting!

unpacking the cake!
starting to arrive
the chatter gets going
The Village Haberdashery before we filled it up!
Marcia and Ana in the queue to get in
Val and Gilly came a very long way and had never been to a meet-up before but they had a great time
one question which never got asked was “did you make that?” because, obviously, we DID! More likely was “which pattern is that?” or “where’s that fabric from?”
pattern designers Marilla Walker and Ana Cocowawa Crafts who both donated prizes
what’s in the bag?
It’s a handmade plaque made especially for me by Jayne Wright, who also donated two handmade ceramic hedgehog pin-cushions (Threadquarters is the name of my workroom in the garden) Thank you so much Jayne
Judith and Lisa Bobo Bun who had come all the way from Norwich
Sara telling Jo all about sway back adjustments
I love this one, setting up for a selfie!
when Insta-friends finally meet in real life
this made me smile, Judith and I mirroring each other…
Ex-Brownie leader waiting for quiet
Ceramicist extraordinaire Corrie with our Great Leader, naturally she’s wearing one of her own handmade brooches
Susan and Amanda Patterns and Plains who generously offered a prize without me even asking
sorry Marilla but this was the best photo without one of you having closed eyes!
the much-admired cake made by Mr Y, it was universally agreed that it was a delicious fruit cake! ( and now he won’t let me forget it!)
busy in the shop now too
I love how during the course of the afternoon people are in different shots talking to different people all the time.
None of these ladies knew each other before they arrived but they got on like a house on fire
having a really good natter
my raffle ticket-selling friends Sara and Di
Me and lovely Ruth, whose son kindly donated a fabulous designer Anglepoise lamp which was much-coveted in the raffle.
Sharon (with the shoulder bag) is the talent and the brains behind Maven Patterns and generously donated 3 patterns to the raffle
group shot-it was a bit like herding cats but I think we got virtually everyone in
gathering to draw the raffle
by the wonders of WhatsApp I’m telling Kate (who was in Stockholm) that she had won a prize
She had won some lovely Lamazi fabric
with my fellow Love Sewing magazine photo-shoot friends, minus Kate and Sarah who couldn’t be with us. Love Sewing donated a one year subscription
this is us with former editor Amy and we featured in the February 2019 of Love Sewing magazine
designer Lucy of Trend Patterns donated two, here’s Charlotte with her prize
Corrie was thrilled with her Anglepoise, she’d been coveting it right from the beginning!
Sue was over the moon to win a Pfaff Passport 3.0
Judith trying out my teleportation device fashioned from an old hairdryer and sticky-back plastic. It didn’t work so it’s back to the drawing board for me!

I had opted to raise funds for The Samaritans, a UK-based charity who offer support at the end of the telephone to those at risk of suicide and the raffle made over £550 which is magnificent.

Thank you so much to everyone who came along and made it so enjoyable, thanks especially to Judith for having the courage to start the account in the first place. We’re approaching 18K followers and there have been almost 52K uses of the hashtag #sewover50 That’s a LOT of work which Judith and Sandy put in every day to ensure it’s such an enjoyable, interactive and mutually supportive community. I for one hope it continues this way. I’m sorry to those of you who couldn’t get a ticket, or are simply too far away, we want to actively encourage you to create your own meet-ups like this, there was no sewing at this one but you just need a venue where you can chat, a friendly cafe? your local sewing shop? Now we’ve started the ball rolling don’t forget to use the hashtag #so50meetup so we know what you’re up to.

Now, back to some sewing for a while!

until next time,

happy sewing

Sue

Trend ‘Square’ dress in Selvedge and Bolts linen.

If you’ve read my blog in the past you’ll know I’m a fan of Trend patterns. Lucy is a pattern-cutter and designer based in London and I always make a bee-line for her stand when I go to the Knitting & Stitching shows. At the show last autumn I fell for the Square dress which, as the name suggests, has a square hem and diagonal seams. There are no bust darts because it uses bias cutting to create the fit and because there are no fastenings it’s actually a fairly quick make and would suit a dressmaker with a little bit of experience. If the lack of darts might cause you a problem I definitely suggest you toile the top half of the dress so that you can assess whether you personally need to carry out a Full Bust Adjustment (FBA) Lucy has been working hard to extend the size range across her patterns and as one of the newer styles the Square (TPC23) comes in the more extensive range sizes 8-22.

I bought a copy of the Square (and a skirt pattern too) and shortly afterwards my friend Dibs who owns Selvedge & Bolts online fabric shop asked if I’d like to choose some fabric as a gift in order to write a review of it. So with this pattern in mind, and my upcoming holiday, I picked out a fine linen in a tiny red/white ‘checked’ print. I was so happy with it when it arrived and it’s perfect for this loose type of style.

Before I cut into the beautiful linen I decided to make an initial version in some checked flannel which, at a guess, I’ve had over 25 years in my stash! You can’t rush these things…

Normally I’d try very hard to pattern-match the checks but there wasn’t enough to do that. The seams on the dress run diagonal but in fact only the back and front bodice are cut on the cross, the other rectangles of the skirt are cut on the straight grain so it’s much simpler than you might think to cut and sew together. The pieces are all quite large so there’s not much opportunity to cut many corners, and I didn’t quite have as much of the flannel as was recommended so I reduced the lower skirt panels (front and back are the same for this and the upper skirt panels, the front and back bodices are different though) To reduce the panel I simply folded out a parallel section through it’s longest side. This turned out to be advisable because at 5’5” the points would have touched the ground unless I was wearing high-ish heels.

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

I cut a straight size 14 and made no other adjustments, the front and back are cut on single fabric and as they are asymmetric you’ll need to keep any directional-print in mind, especially if you reverse any pattern piece to fit it onto your fabric . It’s a straightforward make though so after the cutting out it’s a breeze. I would only suggest that you take care when pinning and sewing the diagonal sections together to avoid stretching the edges out of shape before you sew them. Keep everything flat on a table as much as possible while you do this part. The hem is a deep ‘grown-on’ one which you mitre at the points and this helps give the skirt it’s weight and fluidity. I was happy with the flannel version so I immediately cut the linen one ready to sew up.

The linen sewed together beautifully, it’s quite lightweight and with a lovely drape. As the seams are such a feature of the dress I decided to use one of the decorative stitches my Pfaff Quilt Ambition 2.0 has to offer. After trying a few I picked out a sort-of diagonal grid design which echoes the print on the fabric.

I’m really pleased with how the linen dress has come out, the decorative stitches are perfect for accentuating the seams and it’s such a comfortable style to wear. I’ve worn the flannel version mostly with a roll-neck jumper over the winter, it’s very striking and has garnered many compliments. the linen had to wait until we had our recent holiday to be worn but it was perfect for warm weather and, best of all, it has pockets! I can’t wait to be able to wear it again in the UK…

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

This such a simple-looking pattern but has so much scope to add drama, it’s distinctive without being outlandish and still be completely wearable…at least I think so!

Until next time,

Happy sewing

Sue

Sewing with a sheer fabric

I’ve been meaning to write this post for months…six months to be exact, because that’s when I wore the dress at my dear friend Jenny’s wedding in April! I know it’s a spring/summer dress but I thought the way I’ve used the fabric might be of interest if you’re thinking of tackling a tricky fabric. I’ve used a couple of techniques which could be helpful.

I bought the fabric in Fancy Silks in Birmingham last autumn with the intention of making an Asymmetric Dress TPC2 by Trend Patterns for our cruise but eventually I made that in something else and, as Jenny had set the date for a spring wedding, I decided to use it for that event instead. It’s a challenging fabric which I would describe as being a satin-striped organza which has been overprinted with flowers. It’s exactly the same type of fabric that I used for my Dior-inspired evening gown three years ago. Part of the challenge is that it’s sheer so it needs to have some kind of lining, this could be a loose lining, or an alternative is to mount it onto another fabric first like I did and then make it up into the dress.

By an amazing piece of good fortune I had some very soft satin left from a pair of bridesmaid dresses I made about five years ago and it was a PERFECT match-unbelievable! Better still, I ordered some lining from Minerva based purely on the colour image on my screen and it was also a perfect match-it was obviously meant to be.

Clearly though I had to decide on a pattern, I didn’t want anything too flouncy and there was going to be some serious stripe-matching going on so it couldn’t be in a million pieces. I rummaged amongst my patterns and came upon Butterick 6244 by Lisette which must have been free with a magazine at some point. A couple of the lovely ladies who come to my class have made the coat with great success but, looking at reviews, I think the dress has been largely passed over. It appealed to me because the skirt was a very straightforward A-line and the bodice was Princess seams with a ‘Dior’ dart [this is where a short dart extends to the bust point from a Princess seam] There is also a small shoulder yoke at the front so that was perfect for rotating the stripe.

With the exception of the sleeves I had to cut all the pieces in three different fabrics, the satin and the lining I could cut together but the organza had to be cut separately to ensure the stripes matched properly. I altered the sleeve to make them longer and then I decided to add a pointed cuff to finish them off.

Once everything was cut out it’s a fairly slow process of ‘mounting’ each organza piece onto its satin backing. I began by laying each satin piece shiny side up flat on the table, placing the organza on top and pin the two together around the edges. Then, moving it as little as possible, I tacked each piece together within the seam allowances. This was another reason for keeping the number of pieces to a minimum because this process takes a fair amount of time. Once all the pieces have been mounted you simply construct the garment as normal. This has various advantages, it makes the see-through fabric opaque, it makes a flimsy fabric more stable and in this case it means the hem of the skirt will be invisible when sewn.

I used narrow piping on the neck edge and the waistband to give them some finesse, I had to cover the piping cord with both organza and lining because the cord showed through the organza alone. You can use a regular zip foot to sew on the piping, I have a specific piping foot for my Pfaff which is brilliant because it sews so close and holds it all firmly in position whilst sewing.

piping cord around the neckline.

So that’s pretty much it really because aside from matching lots of stripes it’s a normal dress. The beauty of the skirt meant that I could use self-made satin binding on the hem and then the hand-stitching won’t show on the right side, a truly invisible hem!

satin bias-binding on the hem, understitched and slip-hemmed in position.
the hem is then totally invisible on the outside.

The only sheer parts are the sleeves which I added pointy cuffs to and finished them off with pretty sparkly buttons. I mounted each cuff part onto plain organza before construction to give them more stability.

I cut the cuffs with the stripes running at right-angles to the sleeves.

I hope you might find some of these techniques helpful if you’re tackling trickier fabrics. Mounting one onto another is useful to add interest-you could have a contrast colour underneath lace for example, it gives opacity to flimsier fabrics, stability and support to fabrics like panne velvet and can enable seams and hems to ‘disappear’ with ease. I used french seams in the sleeves but otherwise they are all regular seams. I only overlocked those inside the skirt as there is a separate skirt lining, the bodice is fully lined and enclosed so there’s no need to overlock any of those seams. If you’re using chiffon or georgette which are more fluid fabrics than organza you you should back them or interface them with a similar weight of fabric, preferably plain in colour so as not to show through or deepen the colour of the top fabric too much. Plain chiffon or organza are frequently used in couture techniques for this purpose.

It turned out that April 22nd was a very warm day so maybe I should have dropped the neckline slightly but that’s British weather for you-somewhat unpredictable! It was a gorgeous, happy wedding…

did I mention it has pockets?

So as we head towards winter here in the UK I bring you a post featuring a summery dress! Anyway, you might find parts of it helpful.

Happy sewing

Sue

The Frilled Hem Top from Trend Patterns

Trend are fashion-forward indie pattern company based in London and I’ve already used their Asymmetric Dress pattern twice (and reviewed it here) I even wore the first one for the Love Sewing magazine Sew Over 50 photo shoot too because I felt it was such a striking but wearable dress that it deserved to be seen in a national sewing publication!

I made this version in brocade for our cruise to celebrate our 30th wedding anniversary in March…
…and it has a pocket!

The next Trend pattern I’ve decided to tackle is the Frilled Hem Top TPC5 and it’s another goody as far as I’m concerned. As well as the ruffle detail it features some interesting diagonal seam lines (there’s no side seam) The degree of difficulty is described as moderate and I’d agree with that because although the techniques used aren’t difficult you need to keep your wits about you to ensure that you’re attaching the pieces to the right seams, it could be easy to lose sight of which way up they are because the usual ‘landmarks’ like armholes or necklines aren’t so obvious. There are photographs as well as written instructions, which are fairly clear, at the end of the day it’s a simple top and so long as the ruffle goes in first attached to the right pieces then adding the back yoke and sleeves is straightforward. I hadn’t got a suitable zip, I’d thought about using an exposed metal zip but the one I had in my stash was too chunky for the weight of the fabric so I opted for a simple button and hand sewn loop closure instead.

My fabric was a very thin cotton I’d picked up from a swap sometime ago-I couldn’t really say what it is as it isn’t soft like lawn, or sheer like voile, it’s slightly more crisp like poplin but less weighty. Whatever, it’s worked just fine for this and it didn’t cost me anything!

As I was making the top at this year’s Stitchroom Sewcial I was fortunate to be able to use the industrial rolled hem machine to finish the edge of the ruffle, it’s super-quick and neat and took me about 30 seconds to hem the whole piece instead of my usual pin-hem finish which would take at least half an hour!

As I didn’t have much fabric, plus I wanted to wear it as a summer top, I cut the sleeves down to short length. I was a little concerned that they looked like they may be a bit snug on my not-very-slim arms, the bicep measurement seemed to be ok but the crown looked narrow. I decided to go ahead and insert the sleeves and actually they are just fine as you can see from the photos. As there is no underarm seam to match the sleeve to it’s vital that the shoulder/sleeve head notches are marked or you’ll struggle to insert them properly. I’ve made a straight-from-the-packet size 14 again and the fit is spot on for me with no alterations, it’s a good fit across the shoulders and upper chest area and then flares out over the hips.

There are two points in the instructions which are useful and important to follow. The first is very simple, it tells you to ’sink stitch’ (that’s what it always was until ’stitch in the ditch’ became a thing) through the shoulder seams to hold the neck facings securely in position, this is both quicker and more effective than hand stitching them down I always think. The second point is that you can’t sew the whole hem up all in one go, you’ll need to sew the centre front section, stop, move the frill out of the way and then recommence the rest of the hem. If you don’t you’ll just sew over the frill which will look terrible.

You’ll need to sew the hem between the frills separately to the rest of the hem, moving the frill out of the way.
I finished off the neckline with a button and loop.
I love this detail where the frill, the back and the side all meet.

So that’s the Frilled Hem Top, it should probably take around half to a whole day to make, it took me longer because I was nattering at the Sewcial quite a lot, and then I made a super-quick Mandy Boat T-shirt using the industrial coverlock machines in between too.

This was my other Sewcial make, the Mandy Boat Tee which is a free pattern from Tessuti. I’ve made it in a gorgeous jersey form Lamazi Fabrics which I’ve learnt was recently discontinued.
If you’re interested in the jeans they are Megan Nielsen Ash which I tested nearly two years ago and I LOVE wearing.

The TPC5 takes a little under 2 metres of fabric, probably less if you’re making it sleeveless or short sleeves. The size range isn’t extensive, 6-16 UK sizes, and they aren’t the cheapest but I’ve been very happy with the two I have and I’ll definitely make some more variations of this particular pattern. You could create some really interesting looks by using contrasting fabrics or colours, or leave out the frill completely to show off the unusual seam lines?

Trend have a wide range of patterns now, which don’t necessarily appeal to everyone but I think they are well worth a look at because of their unusual styling and details. They may look scarily fashion-forward but if you want something which is less predictable and run-of-the-mill in a sea of ‘meh’ patterns then, in my unsolicited opinion, they are a good bet. They often have a flash discount offer too so keep your eyes peeled for them!

Until next time, Happy Sewing

Sue

the day some Sew Over 50 gals did a bit of modelling!

Finally I can talk about the day last November when a group of us travelled to Love Sewing magazine headquarters in Stockport to take part in a photoshoot for a Sew Over 50 article.

Sew Over 50 had begun in August and was gaining a huge following so when editor Amy asked if we could suggest possible models for an article Judith and I approached quite a large diverse group of women initially to see who might be willing or able to travel to Stockport. Not everyone could but eventually we had a group of 10 people.

It was amazing how far some were willing to travel, Corrie and Sara both came from Wales, Judith is usually in Edinburgh and myself, Ruth and Sue were all travelling from Hertfordshire. So the 3 of us decided it would be a good idea to drive to Milton Keynes first and then get the train the rest of the way. Simple? far from it! I checked before booking the train that there was a car park, not pre-bookable unfortunately, but it was a large car park so what could possibly go wrong….Well it turned out that the car park was completely full [and no sign or barrier telling you that before going in and driving all the way to the top floor and down again thus wasting 10 precious minutes] we spent another 15 fruitless minutes driving around and around trying to find ANY alternative until the only possible option was for me to drop Ruth off at the station with her train ticket (and Sue’s too because she wasn’t with us, we didn’t know where she was at that point, probably still driving around too!) Anyway, in the end I drove all the way to Stockport because I was bloody determined that after all the planning I wasn’t going to miss the event! Rant over.

ladies who lunch…without me, but at least Ruth and Sue made it in time.
pre-chat…
Corrie in the make up chair

By the time I got there everyone was chatting away happily, having make up applied, there was a rail full of everyone’s beautiful makes which they had carefully selected to bring. Amy was in the process of grouping the clothes into colour stories and you can see from the eventual photos that it was almost like we had planned it that way. A few of us have met before in real life but for others it was new experience-they had all had a bite of lunch together before I got there-but naturally chatting didn’t prove too difficult anyway. I’ve been fortunate enough to have a Love Sewing photoshoot before so I knew what to expect, this time it was so lovely to have company. Amy hasn’t had this number of ‘models’ to deal with before and I think it was a bit like herding cats at times haha.

Getting any of us to stand still or stop talking long enough to take photos was an achievement in itself, there were probably a few blurred ones, but we settled into it and I think Amy was happy with the results eventually. Incidentally, I’m wearing my Trend Patterns Asymmetric Dress which I reviewed here.

Oh do behave Sue!

This is what Amy was dealing with…what am I doing with my arms? 


ooh, it’s a glamorous business

this shot makes me smile

Eventually after we’d all done our group story shots we had a final altogether group when we all piled into the slightly wobbly set with Amy. It’s astonishing that there are any pictures with all of us looking in the right direction with eyes open and mouths shut!

hmmm…

So after all our fun and games the time came for us to head home again. Sadly for me this meant a really long drive but this was made much more bearable by the fact that Ruth came in the car with me so her company made 4 hours pass a lot quicker than the lonely journey up. We have a WhatsApp group with all of us in it and we’ve had many conversations since and we’ve been looking forward to the release of the magazine so that we can share it with everyone.

You’ll know by now too that it coincides with our first SewOver50 challenge so the article will give lots more exposure to that. [If you don’t know what I’m talking about, where have you been? To briefly recap, the aim is to make a garment using a pattern which features a model on the envelope who appears to be at least 45-50 years old. This isn’t as straightforward as it sounds so check my previous two posts here and here which has links to a wide selection that we’ve managed to find. There’s a very disappointing number of patterns from the major pattern companies and whilst the article names McCalls and Simplicity, in truth we could only find about 4 patterns from Simplicity and none from McCalls] Between us on the day we wore a very diverse selection of patterns, from mainstream and independent designers, made in all sorts of fabrics, colours and designs which illustrates the point that whilst we may be getting older we aren’t going to let age get in the way of our sartorial choices or be dictated to by what ’society’ expects us to wear. This is in spite of how pattern companies continue to portray us, their clientele, and until they address how diverse everyone actually is we still have to continue to look beyond the envelope.

27_11_18_Mixture_readers1209.jpg
The final results weren’t bad! On the left Sara is wearing a Joni dress from Tilly and the Buttons ‘Stretch’ book in jersey from Trixie Lixie, Sue’s red Ponte dress is Butterick 5559 which is currently unavailable whilst Ruth has made the Nina Lee Southbank sweater dress in jersey from The Textile Centre.

Amy’s team looked after us so well and speaking personally I had so much fun being together with my fellow dressmakers Judith, Corrie, Sara, Sue, Sarah, Di, Ruth, Jeanette and Kate (even though it was shorter than I would have wanted!) Many of the informal photos you see here are my own but some belong to one or more of my fellow models so I am indebted to them for their use here.

Kate on the left is wearing the Factory dress from Merchant & Mills in fabric from Sea Salt, Corrie is wearing the Camber Set top which she’s added a gathered skirt to and she’s used barkcloth fabric from Outback Wife. Judith is wearing a Mercury top from Marilla Walker (in Atelier Brunette Moondust) with True Bias Lander pants.
Sarah is wearing the Fiona sundress by Closet Case Patterns in orange cord from Ditto fabrics in Brighton. She’s wearing the Hampton jean jacket by Alina Design Company over the top in mustard denim from Goldhawk Road. Di is wearing Katherine Tilton for Butterick 5891 (not currently available) made using shirting from a factory sale and a self-drafted denim skirt. Jeanette is wearing the Reeta dress by Named Patterns in a vintage rayon.
So eventually the group shot turned out well!

The magazine arrives on subscribers doormats on February 16th and in the shops from February 21st. In the meantime, have you started your #so50Visible make yet…?

Zoom in

Incidentally, we received no payment for the article and the comments made in it were in response to questions we were asked. All views expressed in this post however are entirely my own.

Until next time,

Happy sewing

Sue

Sewing makes of 2018

I think this is a fairly comprehensive album of my makes in 2018, most of them have been worn a good number of times although not all were for me.

When I look back like this I realise what a busy sewing year 2018 was ( and a bit of knitting too!). Also, there seem to be a LOT of dresses and tops but very few skirts and trousers! I think this is definitely as a result of me gaining weight in the last two years and feeling self-conscious so, with the exception of my Megan Nielsen Ash jeans from autumn 2017, I really haven’t wanted to make close-fitting clothes.

I’m addressing this now, with some success so far, but the other truth is that I like wearing looser-fitting clothes anyway, although hopefully I can go down a size or two when I make them in future…time will tell.

Some of the garments you see here have been worn loads since I made them whilst others were less successful. Sometimes this was bad fabric choices, sometimes they didn’t suit me after all, also the weather became so hot that I didn’t wear the heavier items as much as I expected at the time.

I tend not to set myself up for ‘sewnine’ or other year-long initiatives because I’d rather see what takes my fancy as time passes, or whatever gap I feel needs filling. I’ve really enjoyed making a few jackets and coats this year and they have all had a good amount of wear, they aren’t something I’d done much previously. I’ll be making a couple of posh frocks soon because we’re going on a cruise in March which will need a few fancy threads in the evenings, I’ll be taking old favourites like the Maker’s Atelier Holiday Shirt and New Look 6351 trousers, and Papercut Moana to keep cool in during the day though.

Have you got sewing plans already for 2019 or are you more like me and just see what takes your fancy? We’ve got the new series of the Great British Sewing Bee to look forward to very soon and I’m sure that will inspire even more people to take up this brilliant activity with us! Dressmaking is an activity anyone can try fairly easily these days and there is so much inspiration, help and encouragement out there too, in a way it never was when I was first sewing.

I can’t wait to see the two blockbuster exhibitions at the V&A next year, Dior: Designer of Dreams opens in February and Mary Quant in April so there’s lots to look forward to there. It’s well worth considering membership this year I’d say, I’ve had excellent value-for-money from mine these past four years. [alternatively, Art Fund is also worth considering if you don’t live near London because that gives you reductions to lots of galleries and museums all over the UK, including the V&A)

I’m also looking forward to seeing a lot more SewOver50 activity from all over the world too, have you joined yet?

Maybe our paths will cross in 2019 and we can talk sewing together in real life?

Until then, happy sewing

Sue