Simple Sew Chelsea Collection blouse hack.

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

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

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

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

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

adding the button stand to the front

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time, happy sewing

Sue

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

Refashioning a wedding dress into a Christening gown.

I think this used to be a much more popular thing to do years ago, probably because wedding dresses were home-made more often and the fabric would have been quite a costly part of the finished article. I’ve made a couple of Christening gowns in the past (although sadly for complicated reasons not for my own girls) but this is the first time I can recall cutting up an existing dress for a refashion.

I got a message early one Sunday morning just two days after we got back from holiday recently asking if such a thing were possible and also I’d have less than three weeks to do it in! Fortunately the client was able to come the next day so we got cracking very quickly. She had an idea of what she had in mind so she showed me a photo and we went from there.

Although the dress was from five years earlier it hadn’t been cleaned so the skirt, and the hem in particular, was very soiled. I took the whole skirt off the bodice, and also the skirt lining, plus the embroidered lace appliqué panels which came off the bodice and skirt. I was able to wash the lining but I couldn’t risk washing the Duchesse satin of the dress so I had to separate the front skirt panel (which was asymmetric) from the backs and then work out where the straight grain was so that I could cut a new front skirt piece from the cleanest area. To work out where the grain is you can tell to some extent by pulling gently in each direction on the fabric. If there’s some degree of stretch (in a non-stretch fabric) then it probably means you’re not on the straight grain yet but if there’s little or no stretch then you’re probably pretty much on it. To double-check after doing this I cut along the edge of the piece on what I’d calculated to be the grain and then pulled a few loose threads away until eventually I could see exactly where the grain was. I could then place the pattern piece onto the fabric with a good degree of certainty.

As I never throw a pattern away I have a number of children’s patterns which I used when my own girls were small so I simply used bodice pieces from one of these. The client wanted an over-long skirt so I merely created a flared A-line shape to the length needed. She wanted small ruffles at the shoulders instead of sleeves and these are very simple to draft. I drew a line on the bias (a 45 degree angle) and then a curved line which measured approximately twice as long as the sleeve opening it was going into. The curved edge is the one which you then run your gathering stitches along to pull it up, the straight edge is the one which gets neatened, or in this case had new narrow lace added to it.

This pattern was from 1989!
The ruffles drawn directly onto the fabric at a 45 degree angle, the curved edge will be gathered and the straight edge gets neatened. The pieces don’t have to be on the bias but it gives the finished ruffle a nice fluidity.
I added new narrow lace to the edge of the ruffle.

After our initial discussions and sketches it wasn’t practical for the client to keep coming backwards and forwards constantly so we conducted the rest of our consultations via WhatsApp because it was a good way for me to send her photos of ideas for her approval.

The appliqué was too much for the tiny bodice, the baby is only ten months old, so I tried it on the skirt instead.

I suggested that the appliqué should be towards the hem because then it would show better in photos if the baby was being cradled or sitting on a lap. Once we’d settled on the position the lace had to be sewn on by hand.

I wanted a deep hem on the skirt rather than a narrow rolled hem because a rolled hem would have had a tendency to curl up on this fabric and not look nice. Because of the curve of the hem I couldn’t just turn up a hem of 4cms because there would be too much bulk that would look very clunky and no possibility on this fabric of steaming it away. Because of these factors I opted to make some 8cms wide bias binding from the Duchesse which, after I’d joined it into suitable length strips, I folded in half lengthways and pressed. I placed the cut edges against the hem of the skirt and sewed it in position. Next I pushed the seam allowances towards the binding and understitched it about 1mm away from the seam.

The bias is pinned in position ready to sew close to the edge. I did the front and the back separately and then joined the side seams later.
This is how the hem eventually looked when I’d slip-hemmed it into position.
The finished hem looks like this on the right side.

It was a then a case of putting all the pieces together, along with fully lining the gown. We went with two rouleau strips across the front, which I secured into the side seams, along with the loops for the back which would tie into a simple bow. The skirt was gathered into the waist seam and an invisible zip inserted into the back. I finished the neck edge with a simple bias binding, to keep it very soft and simple around the baby’s neck.

One final detail the client had asked for was her baby’s name and the baptism date embroidered inside. Fortunately my Pfaff Quilt Ambition 2.0 has a range of script options so I did a couple of test runs. I stabilised a piece of the satin and then embroidered the words onto it. I added some more of the narrow lace around the edge and finally satin-stitched it inside the skirt lining. Maybe one day there will be other names alongside it, that would be nice to think.

I really enjoyed this project as it was so creative and was real contrast to most projects I undertake. The client was absolutely delighted, and not a little emotional, when she came to collect the gown. You have to put a lot of trust into a dressmaker, especially when you’re handing over a garment which is itself has precious memories. I’m looking forward to seeing photos of little Poppy in her gown eventually, I hope she doesn’t disgrace herself!

I decided with about 45 minutes before the client arrived to collect the gown that I needed to make a matching padded hanger covered in the satin and trimmed with leftover lace.
As you can see, I needed the washing line and Mr Y to help display the gown in the April sunshine. (I should have pressed that crease out before I photographed it!)

Designing by WhatsApp might be unorthodox and have its limitations but it worked a treat this time. Have you ever had to refashion a wedding dress into a Christening gown? Maybe you’ve done it yourself?

Until next time,

Happy Sewing

Sue

Isca dress by Marilla Walker

You’ll know if you’ve read my recent blog about pattern companies that I have a ‘mixed’ opinion shall we say of indie patterns. Some of them are great with interesting, original and well-drafted patterns, others are too simplistic, lacking in instructions and poorly drafted. I happen to think that Marilla’s patterns definitely fall into the first category.

I first met Marilla nearly 3 years ago when she organised, via Instagram, a meet up at Walthamstow market in London. It was my first sewing meet up and I was more than a little nervous because it was such an alien idea in principle-turning up in a part of London I’d never visited before to meet a bunch of people I’d never met before! It was like a sewing blind date but I needn’t have worried because everyone (of course) was lovely. I’m slightly embarrassed now that I think about it that it’s actually taken me this long to try one of Marilla’s patterns out, anyway, I’ve broken my duck and I want to tell you all about the Isca dress.

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You actually get two quite different dresses for the price of one with just a few similarities. I got mine as a PDF but you can also buy them as paper patterns which Marilla hand-prints and packs herself-what a lovely touch.

I was particularly intrigued by the draped wrap-over front so this was the one I printed off and happily the PDF all went together well. I’m getting better at them now I think because I found them quite tricky to start with. I don’t always print off the making instructions because they can be quite lengthy but I did print these in ‘booklet’ format so now I don’t need to lug the laptop out to the workroom. Although I didn’t encounter any problems Marilla does give lots of useful advice in the instruction booklet about all sorts of details so if this is all new to you either read them first on a screen or print off the booklet before you do anything else.

The pattern has been out for a little while now so there are quite a few to look at for fabric inspiration but I think this striped version by Takaka is particularly lovely, if you search with the hashtag ‘iscashirtdress’ on Instagram you’ll find more for both styles.

I’d found a lovely soft chambray at Hitchin market which was perfect because it had sufficient structure but with drapiness. You could also choose a washed linen, a printed medium-weight crepe could look nice too, nothing with a lot of stretch though because of the neck-band feature-it could be a nightmare of stretchiness to sew then.

Because my fabric was plain it’s a breeze to cut out, yay, no matching!

The sizing isn’t the traditional 10/12/14 etc, take your body measurements and compare them to the chart [in inches or centimetres] and then pick the size nearest your measurements. There’s also a chart of finished garment measurements which will help you decide the sort of final fit you want. I’m really happy with the fit personally, it’s a close fit to the bust and shoulders becoming looser over the waist. One really useful thing Marilla has included, although I personally don’t have to use it, is instructions for a full or small bust adjustment. This would be particularly helpful because the strange shapes of the front bodice pieces could make this a bit of a head-scratcher otherwise.

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FBA and SBA instructions

Although I’m a very experienced dressmaker there is some very helpful guidance if this a more advanced construction to you. Marilla is very thorough about where to trim seams, which direction to press them and how to make lapped or French seams if you want to use them. I didn’t top stitch any of the seams but you could do this if you wanted faux lapped seams for example.

I found topstitching the narrow band at the neck the trickiest part to sew, it had a tendency to twist and I had to unpick and re-sew a couple of sections. It would be well worth tacking this whole area if you’re in any doubt at all, it might save you time and frustration in the long run.

I really like the unusual details in this dress such as the raglan shoulder seam at the back, and of course the draping front section with it’s narrow band.

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The raglan shoulder seam at the back. It has a small yoke piece on the inside too, to stabilise the shoulder which is another construction detail I like.

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The back has darts and a waist seam which give it a very smooth, fitted shape in contrast to the front.

The pattern pieces for the front may look slightly curious shapes initially but the reason will become clear when they are joined together. There is bust shaping which results in the dress sitting smoothly over the bust and armhole area. This is a very well drafted pattern and a lot of time, care and attention has gone into it. This is the sort of indie pattern worth investing in! A single designer has put so much into this pattern for it to be the best it can be and I really respect that.

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I love the way it ties across to the side seam.

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Indoor Doris is a bit skinnier than me so the dress looks a bit droopy on her. Also, it’s crumpled because I took these photos after I’d worn it for the day!

When I finished the dress all it needed was a button-fortunately Marilla points out that unless you need the dress to open up for nursing then this can be purely decorative. I had a rummage and found a single beautiful vintage button so I used that, it would have been too big otherwise. IMG_8012I finished the dress in time to wear at the Sewing Weekender in Cambridge and it got lots of very nice compliments which is down to the pattern not me being model material!

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pockets on a slant!

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The other pocket is under the ‘flap’

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The hem dips at the front and isn’t intended to be level all the way round.

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I’ll definitely make another version of this style of Isca before too long but the shirt-dress version won’t be very far down my autumn sewing list either. Plain or patterned, this is a stylish and unusual dress, in many ways it sums up why I love to sew my own clothes than a more ‘conventional’ style pattern might. You’d be very hard-pushed to find a dress like this in the shops and even if you did it would almost certainly come with a designer price tag! It could be sleeveless for summer in a cotton, or a really soft babycord with a sweater under for cooler weather. There’s room to eat a big lunch as well!!

Marilla has created a number of other patterns, including the Roberts collection dungarees which have been incredibly popular so check out her website to see them all. She’s an amazingly crafty and creative woman and if you want to hear her talking more about her background you can listen to her on the Stitcher’s Brew podcast here. Oh, and she makes her own shoes too…and bras…and soap…in fact I don’t think there’s anything she wouldn’t have a go at making!!

So normal blog service has been resumed and I’ve returned to writing about dressmaking and not just getting uppity about sewing stuff that bothers me….although judging by all the responses I’ve had, much of it bothers you too.

Until next time,

Happy sewing,

Sue

 

I’m guest pattern reviewer for Love Sewing magazine!

I could hardly believe it when I got an email out of the blue from Love Sewing editor Amy Thomas a couple of months back. She was inviting me to make and review the two patterns which were going to be the free gifts with upcoming issue 46. They were two separate patterns, Butterick 6461 trousers in two lengths with top-stitched seam details and a stretch waist, and McCalls 7322 a simple top with several variations for neck and sleeves.

 

Once I’d agreed to the challenge (I didn’t need any persuading!) Amy suggested which companies I could select fabric from so I browsed their websites for quite some time until I found what I was looking for. The trousers called for a fabric with some stretch and eventually I chose from Danish company Stoff and Stil their stretch 10 1/2oz denim in dark blue [Amy had advised me that black doesn’t photograph well and, although I would have liked a printed stretch cotton, I couldn’t find anything suitable or to my taste] The top could be made with either a jersey or drapey woven fabrics and I chose a really pretty crepe with watercolour flowers in gorgeous inky shades of plum and blue. Stoff and Stil are breaking into the UK market and have an extensive range of fabrics and patterns, wool and haberdashery available on their website. Their delivery charge however  is quite high and I wouldn’t suggest them if you’re impatient or in a tearing hurry as delivery is usually 5-7 days.

While I waited for these to arrive (a slightly nerve-wracking wait because I was up against time to get the patterns made up by a tight deadline) I decided to make a wearable toile of them both to check the fit and any other idiosyncrasies they might throw up.

I had a colourful cotton sateen in my stash which I hadn’t found a use for yet so I made the trousers up in that. I cut a size 16 according to my measurements although I suspected (hoped) that would be a bit big. [You should always go by your own measurements before anything else if you’re making a fitted style because the sizing bears no relationship to shop-bought clothing and will almost certainly be too small if you ignore it. Just because you’re a 10 or a 16 or whatever in the shops doesn’t mean you’ll be the same in paper patterns-that’s the voice of bitter experience talking!!]fullsizeoutput_1ec7

In spite of all I’ve just said I soon discovered they were miles too big though the legs and were an unflattering baggy shape that looked nothing like the shape in the photo. The inseams are sewn up first so, to remove some width, I skimmed at least 2cms off each outer or side seam.

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several changes of mind on the side seams!

This was an improvement but still quite generous in the legs-as a result though I knew I would need to cut at least one, if not 2, sizes smaller when I made the actual trousers. The waistband wasn’t very successful either-I didn’t like the way they told you to put the elastic in, I did it as instructed although I changed the toile later and did the denim version my own way (more of that later)

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The original elasticated waist finish before I changed it. The elastic was too stretched by the process and was all baggy around my waist.

I’d opted to make Style B which are cropped length with turn-ups.

 

 

Once I’d toile-d the trousers I turned my attention to the top. I decided on the longer sleeve version with a bateau neckline, Style F. I fancied style C or D with a neckband initially but I got cold feet!! I’ve been sewing on and off for over 40 years and I just thought “If I mess this up it will be there in the magazine for everyone to see!!” Nightmare! 

I made a very quick toile in a rather boring viscose, again from my stash, and the result was a rather boring top!! Ok, what to do?

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It looks quite pretty here but it’s featureless….

Fortunately the fabric order arrived and the printed crepe was really lovely, much nicer colours than it’s photo online suggested so I decided I’d use it’s drapiness and work the current sleeve-detail trend by making a floaty gathered cuff instead. Crepe is a fabric which often has a slightly rough, matt feel and has a nice inherent drape  which is caused by the way the yarn is twisted and then woven into fabric. It works well for bias cut skirts, dresses or blouses and anything slightly ‘flippy’.

One thing that the toile had thrown up was that the neck was slightly too wide and my bra straps showed so I increased the width of the pattern pieces. IMG_3712IMG_3713

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It’s easy to increase the shoulder width. Start by sticking a piece of spare tissue from the off-cuts onto the shoulder where you want to make the increase. Using a ruler extend the shoulder line out at tfirst. Mark the length of the extension, I was adding 1.5cms, then take a line down in a right angle towards the neck making it into a smooth curve where it meets the neck edge. Hopefully the photos make this a bit clearer. Obviously you’ll need to do this to both the front and the back, as well as the front and back neck facings.

Because the crepe is 150cms wide it meant that I could fold the selvedges into the centre line and then the front and back pattern pieces are side by side. This matters because any pattern of the print which runs across the fabric will run in a pleasing line around the body.

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Selvedges folded into the centre and the front and back pieces placed onto the 2 folds.

Another alteration I chose to make to the top was to add a little more fullness at the hem level. The toile was a tiny bit snug at hip level so to increase at that point I pinned the neck edge against the fold but pivoted the hem level away from the fold by about 1.5cms.

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Pin at the neck line

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The hem is pivoted out by about 1.5cms at hem level.

For the sleeve-hack I used the short sleeve and then cut 2 rectangles that were 50cms x 30cms (50cms is approximately 1.5x the bottom width of the short sleeve) You can make them as full as you want but if they’re too wide they can get a bit annoying catching on things or dripping in the washing up!!

One of the things I liked about the pattern was it’s explanations of various techniques used during the making up. If you’re a complete beginner it isn’t always obvious what a ‘back-tack’ is or how wide the seam allowances are for example and the instructions with many patterns expect you to know things like that already.

So I made up the top again (you could use French seams if you haven’t got an overlocker or your fabric frays badly) I joined the shoulder seams and then attached the neck facings because you can have the whole thing open fairly flat which makes it a bit easier. Self- or contrast bias binding would look nice as an alternative but take care not to stretch the neck edge as you do it because it would be all droopy-dangle…

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Neck facing in place ready for stitching

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trim the seam and snip carefully at the curviest places so that it will turn and press smoothly

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Understitch through the facing and seam allowances and press the facing flat, rolling the seam slightly so that comes to the inside a little. Bar tack in place to the shoulder seams to prevent the facing rolling to the outside and showing- V annoying!

Now sew up the side seams, try it on to check for fit and make any necessary adjustments then it’s ready for sleeves.

This time I made up the short sleeves then made 2 tubes of the rectangles for the floaty bits. Around the top edge of each tube I ran two parallel rows of gathering stitches within the 1.5cms seam allowance. I always back-tack at one end and leave the other loose to pull up.

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The gathering stitches are the longest straight stitch your machine will do, don’t get too close to the edge with the first row and make sure the second row is then parallel to the first.

I neatened the bottom edges of the tubes at this point too by making a ‘pin hem’.

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Start by folding over about 5mm and sewing very close to the edge with the wrong side up towards you. It’s the bobbin thread that will show on the right side of this technique so make sure you’re happy with the colour match.

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Then trim the excess fabric very carefully!

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Fold again, it should be very narrow, and sew again over the first row of stitches, this should also be close to the edge. The picture shows what it should look like on the right and wrong sides.

 

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Sew up the sleeve underarm seams and then pin a ‘tube’ to the lower edge of each sleeve, matching the underarm seams. Gently pull up the 2 top threads [you don’t pull all 4 threads because nothing will happen]  until the tube matches the same size as the sleeve. Secure the pulled-up threads in a figure-of-eight around a pin so they don’t unravel. Make sure you return your stitch length back to normal then sew together on the 1.5cms line.
Repeat for the second sleeve then neaten the edges of the joins by your chosen method.

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Frill in position. I ran two more rows of ease stitching around the crown of the sleeve ready to set them into the armhole.

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The small circles indicate where the ease stitches should start and finish but on the toile this wasn’t enough and I got puckering putting it into the armhole. Where I’ve placed the pins is a better place to start and finish the stitching, it eaks out the fullness better I think.

When I’m setting in sleeves I always start by matching the underarm seams, then the shoulder seam balance mark followed by the front and back armhole notches. Next I pull up the ease stitching gently until the sleeve fits into the armhole, this may take a little while to get a pleasing fit so don’t rush it. Once you’re happy with the fit stitch the sleeves in (there’s nothing wrong with tacking them in first if it helps) Try the top on to make sure the sleeves look OK and then neaten the armhole seam by your chosen method.

Finally I made another pin hem on the hem itself. Although the top looked lovely as it was I like to add little details to make a garment really original so I rummaged through my vast collection of buttons and found a selection in various sizes and colours which I grouped on both the gathered sleeve seams.

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I’ll often sew them on with contrast threads too and with the holes at different angles.

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So that’s the top, now for the trousers.

I washed and tumble-dried the denim as soon as it arrived because there will always be excess dye in denim and some shrinkage will occur too. I used a denim needle to sew with and I had specific top-stitch thread ready for the seaming details although you could use regular thread, I used regular thread to sew them together. A denim needle is also not essential but it deals with the extra thicknesses involved much better, a sturdy-sized universal needle would be ok if not.

Because I’d made the toile I cut the denim version out making them two sizes smaller. One little change I made was to raise the centre back waist a bit higher because I felt they drooped down at the back.

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I raised the CB seam by about 1cm. There’s a handy tip in the magazine about lengthening this seam further if you need to increase the ’seat’ length.

Sewing them together was straightforward after that, I used a slightly contrasting blue top-stitch thread for the seam details.

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The top-stitched pleat details on the knees.

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Top stitch nice and close to the seam. You could probably use a twin needle but mine is very temperamental and it’s often quicker to sew twice than spend ages unpicking and re-doing!

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Joining the two legs together. Stitch this seam twice for extra strength, the second row close to the first inside the seam allowance.

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I invested in this cunning little gadget called a ‘jean-a-ma-jig’ You slot it under the presser foot to raise it up slightly and then it sews better over the thick layers of material. It worked a treat I thought and they aren’t expensive (although a folded up piece of card might work too) I’ve heard them called a ‘hump-jumper’ recently too!

Then I got to joining the legs up and, even though I’d cut two sizes smaller, they were still too baggy! I skimmed yet more off the side seams to slim them down some more. It might have been more sensible to measure my thighs and compare that figure to the paper pattern!

I put the elastic in according to the instructions again but it was a disaster! By sewing through the elastic as directed all that did was sew in a stretched position and it couldn’t retract back so it was all baggy and horrid around my waist! I unpicked all of that and sewed it instead into a channel using my zipper foot to sew close to the edge of the elastic under the fabric without catching it (hopefully)

 

If you’re not confident sewing it this way then you can also sew a channel and then pull the elastic through separately using a bodkin or a strong safety pin.

All that remained was to sew the turn ups as before and they’re complete!

They’re still a bit baggier than I wanted and I might even bring them in some more although better that than make them too tight in the first place, they have hint of maternity trouser to them at the moment although useful if I’ve eaten a big dinner!!

On September 28th I travelled to Stockport with my makes for a photoshoot that many of you will by now have seen in issue 46 of Love Sewing magazine. It was so much fun and it was a real treat to have my make up done by professional Nina Rochford and and be photographed by Renata Stonyte. Along with Editor Amy they really put me at my ease and, whilst I’m not a natural model, they managed to get some nice pictures. It’s been a real thrill to feature in the magazine and to have the opportunity to share my hints and tips with readers. I do hope they have been of some use or help to you, you can email me at susanyoungsewing@gmail.com if you want to ask a specific question, or advice.

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I’ve rarely looked so glamorous…thank you Nina

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Laughing at Amy’s ‘hilarious’ jokes!

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Hmmmm….

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She’s got the moves like Jagger!!

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I like this shot with Amy

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Love Sewing page 3
I’m a page 3 girl!!

I’ve loved writing for Love Sewing and I’m more than happy to do it again! I’m not saying I’m an expert on everything sewingwise-far from it-but I’ve made a ton of different garments over the years, and made a ton of mistakes over the years too!

Whilst I was invited to write the pattern review, and provided with the fabric by Love Sewing, all opinions expressed and advice offered are my own and I hope you might find them helpful if you’re making up the patterns in the future.

Happy Sewing

Sue