Simple Sew Palazzo Pants

I decided to try something different to dresses from the Simple Sew collection for my blog post this time so I’ve chosen the wide-legged Palazzo pants. 

I always have a look at any posts or reviews about a particular Simple Sew pattern first to check if there are any pitfalls I should look out for which might influence my decision, or how I tackle making it, and the overall opinion of trousers was positive. I sorted out some fabric from deep in the stash, it’s a viscose from the now-defunct Adam Ross fabrics which has a good drapey quality, although I know it will crease so I’ll wear these permanently standing up! 

There are only 4 pattern pieces to the trousers-front/back/waistband/pocket- which makes them very simple to lay up and cut out, you could even leave out the pockets if you’re short on fabric but why would you leave out pockets?! 

I checked my measurements against the chart to decide my size, I also measured the pattern pieces to get some idea of the ease involved but I was optimistic they would be generally OK. If you’re very unsure, or between sizes, I’d suggest you make a toile that’s about mid-thigh in length to check the fit and comfort around your waist, hips and body length. Leave out the pockets at this stage, there are darts in the back and the front is flat, you could insert a zip in the back if it makes things easier to fit yourself but I didn’t bother. Always sew a toile as accurately as you would the garment itself because if you don’t bother cutting properly or following the seam allowances how will you know where the problems lie? That’s the whole point of a toile! Make any adjustments on the toile and transfer the changes to the pattern pieces. There are no lengthening/shortening lines marked on the pattern so I suggest, if you need to make either of these changes, drawing a line at a right angle to the grainline at a point midway between the waist and crotch level. Fold out or add in length through this line. 

It wouldn’t be a Simple Sew pattern if there weren’t some errors to keep you on your toes and this is no different. On the back piece the pocket placement notches are only printed on size 8 and none of the others. Either transfer the markings to your size or remember to snip them when you’re cutting out the back.  

the notches don’t feature on all the size lines so transfer them across as required.

The lay plan for cutting out shows the main pieces interlocking, which is fine if you have plain or multi-directional fabric but don’t forget to keep the pieces running the same way if you have a distinct one-way print. Also, I didn’t cut out the waistband until I was happy with the fit of my trousers as it’s very shaped piece and if it’s too big or too small you’ll probably need to cut another. Don’t forget to make a snip for the centre back on the waistband, it could have done with a notch for the side seam position though as there isn’t one so it’s guesswork.

I’m not normally an advocate of overlocking the edges until they’re sewn up [because you if you aren’t careful you can easily lose too much seam allowance in the trimming and when you join pieces together you could start to make the garment too small, plus your notches disappear] but, as many of the pieces here require the seams pressed open and flat, I overlocked most pieces first this time. 

You will find that for instructions 4 and 6 the words don’t match the diagrams but the drawings are correct 

Next the pockets go in (unless you wish to check the waist/hip fit first in which case tack or machine baste the side seams and leave the back open where the zip will be inserted in order to try the trousers on) The pocket insertion is easy enough, follow the instructions carefully and don’t sew the sew the openings shut by mistake! Also, don’t forget to sew the bottom of the pockets or all your sweets will fall out down inside your trouser leg!! 

After I’d assessed the waist size (comfortable to loose) and crotch length (comfortable) at this point I cut and interfaced the corresponding waistband [for some reason there are two waistbands printed out but I could find no discernible difference between them so just ignore one and cut a pair in fabric plus one interfacing] 

The reason the waistband goes on before the zip insertion is because the zip runs right up into the waistband to finish at the top, there’s no overlap allowed with button or hooks and eyes. You could use the overlap method if you prefer but you’ll need to add some extra length to the waistband on one end to allow for the overlap. 

The lack of indication of the side seams on the waistband means you’ll need to pin carefully to evenly absorb any fullness of the trousers to ensure a good smooth fit to the waistband. [the side seam is probably at the halfway point but not necessarily, especially if you’ve made any fit adjustments to the waist] 

The instructions and illustrations for inserting the zip are pretty clear however there seems to be a contradiction with an earlier instruction which tells you to sew up the back crotch seam. Illustrations 13-15 appear to have the CB seam unsewn and 16 tells you to sew it up after inserting the zip but previous diagram 6 tells you to sew it up! No wonder I got in a muddle!! My suggestion would be, if you’re using an invisible zip as suggested, leave the CB seam unsewn AND ignore instruction 11 to sew up the inseam until after you’ve inserted the zip. Before sewing the waistband down I added to hanging tapes to each side seam so that I had an additional means to hang the trousers up if needs be.

Hopefully you’ve now arrived at a finished pair of trousers which simply need hemming. After checking the length wearing shoes (they come up pretty long) you could use the simple rolled hem finish as per the instructions or, as I did, leave a sizeable hem of about 5cms to give weight to the very flared leg width. I overlocked the edges to neaten and then used my blindhem stitch with the appropriate foot on the machine to finish [incidentally the photo is of a different project] I don’t use this technique often but it’s a good, and quick, finish on hems that don’t have too much, if any, curve. You could also slip hem by hand of course. 

Different project but still blind-hemming set up

The Palazzo pants are worth persevering with as they have a pleasing smooth fit over the waist and hips which is very comfortable and the leg is wide without being crazy-big. You could shorten them to culotte length very easily, they would work well in a variety of fabrics including linen, chambray or crepe, fabrics with a bit of drape and fluidity will look nicest as you don’t want to look like Coco the Clown!

I’m wearing them here with a top made from broderie anglaise that I found in a whole collection of fabric I was given by a friend. Her mother had been a wonderful dressmaker and I found the fabric pre-cut as this simple top which so I just sewed it up.
I’m wearing them here with one of my trusty Camber Set tops from Merchant & Mills

Overall I’m pleased with these trousers, they are a good fit and make a nice alternative to a skirt or close fitting trousers especially in warm weather.

If you encounter any problems with them that I might be able to help with do message me and I’ll try my best.

Until next time, happy sewing

Sue

Testing the Regatta dress from Alice & Co

Alice & Co are a pattern company run by the mother-and-daughter team of designer, pattern cutter and sewing teacher Alice, and Lilia, who is a museum textile conservator for her ‘day job’. I saw they were requesting new testers for one of their latest patterns and, as I generally enjoy the process of testing and I’m happy to give my time to assist small indie companies when possible, I was pleased to be invited to help.

The Regatta is a summer dress featuring a neckline which pulls up with ribbon to tie on the shoulders, a gathered or pleated waist, patch pockets and a button-back closure.

I had some printed viscose fabric in my stash which my good friend Claire had given me a few months back and I was sure it would be ideal for this test version of Regatta. I think the dress will be great made in a wide variety of fabrics including chambray, cotton poplin, madras cotton check, seersucker or shirting, as well as eyelet or broderie anglaise, washed linen…I could go on!

This is a PDF pattern but unlike many which provide you with ALL the pattern pieces you might require, because of the simplicity of the skirt it only gives you pieces for front and back bodice plus a patch pocket. It needs a total of 8 pages printed in colour rather a selection of dotted/dashed lines. The skirt is merely three rectangles (front and two backs) so rather than waste paper it gives you guidelines to follow for cutting the skirt pieces ‘freehand’. This isn’t as daunting as it might sound, I used the full width of the fabric cut to my chosen length PLUS a hem and a top seam allowance and then the same again but cut into two equal pieces to form the backs.

The instruction booklet is written in a nice friendly chatty style which feels both informative and encouraging, I think the illustrations are well-drawn and clear too. I printed mine out in booklet format which is a good option if your printer will allow it, 3 pages printed on both sides which fold neatly into A5.

I opted to cut a size 16 according to my measurements from the chart but I would definitely come down at least a size for the next one. As the bodice needs to be lined anyway you could make up the lining as a toile to see if you need to make any adjustments and then use it in the dress. Depending on your fabric you could self-line it or, as I did, use a plain cotton. I also decided at this stage that I would line the skirt because my fabric is a bit sheer, plus it’s a floaty skirt so I don’t want any knicker-revealing moments on windy days!! [I made a simple A-line lining, not the full pleated skirt which would have been awfully bulky]

The bodice construction is simple [if you don’t like darts you won’t be a fan though, you’ll need to make 8!]

Follow the instructions carefully for the ribbon channel openings, the diagrams will help if you’re not sure. Take care inserting the ribbons pieces at the back-cut the ribbon into one long piece for the front and two shorter pieces for the backs. You could possibly use wide elastic for this element instead if you want a different look, or make a self-fabric strip or what about using a vintage scarf even?

Once you’ve joined the outer fabric and linings together along the neck edges and armholes you’ll also need to understitch here as much as possible, to give it a nice crisp edge and stop it rolling. Just go carefully so as not to catch the fabric accidentally-you won’t be able to sew everything because it will be inaccessible in places. 

Next, when you sew the actual channels that the ribbons sit in, it might be wise to tack in position first, certainly mark the lines in some way-chalk, pencil, erasable marker-or if you have a quilting guide attachment for your machine use that. It looks like a piece of bent metal which slots in behind the foot of your machine. You can see it better in the photo although this was a different project. This enables you to follow a stitching line which is considerably further away than your usual seam allowance markings on the needle plate will allow. You’ll need to be most careful sewing the back channels because the ribbon is already in position so don’t sew through it by accident, it won’t gather up. Slot the ribbon through the front when you’ve sewn the front channel, or leave it until you’re ready to try the dress on and adjust the bows to your taste at the end.

using the quilting guide attachment to follow a wider width [this was on the Heron dress]

Making up the skirt is simple enough, don’t forget to interface the button-stand areas for stability. The pockets are positioned over the side seams but they could go directly on the front if you prefer.

I opted to use pleats on the skirt because I prefer how they look on me to gathers. I don’t have any sage advice or foolproof mathematical equation for working this out I’m afraid, I just pinned the skirt to the bodice at the side seams, CF and CB button-stand and then fiddled until I was happy with the pleats before stitching it on. There were lots of pins involved!  

lots of pins holding the pleats in position ready to sew.

If you aren’t lining the skirt then you can simply slip stitch the lining in place by hand as per the instructions. As I was lining the skirt too I cut, sewed and hemmed a simple A-line shape in plain cotton which I stitched to the bottom of the bodice lining, obviously it must have the gap at the back for the button opening. I simply caught this down behind the button-stand with a few hand stitches so it doesn’t flap about. So that it doesn’t ride up inside the dress I hand-sewed a few stitches at the side seams and CF where the seams meet to anchor them together loosely.

The lining looks like this inside, it doesn’t need to be the full length of the skirt although it could be if you want.

I used a nice deep hem of 5cms to give the skirt weight. I overlocked the edge and then used the blindhem stitch and foot to sew it up. As the hem is straight you could face it instead with bias binding or ribbon, or a contrast fabric for a different look, either machine top stitch or slip-hem in place by hand. The photos show the blindhem for my machine but most machine manuals will show you how to sew this-definitely practice to get it right as there is a knack to it.

I used 4 buttons on the bodice section and then 6 buttons on the skirt, evenly spaced so that there’s still a nice ‘split’ at the bottom. I have a ‘thing’ about button opening on skirts where the bottom button is too close to the hem, don’t ask me why, I just don’t find it aesthetically pleasing. For a novel detail I used red and blue thread to sew on the bodice buttons and ivory on the skirt. I also added a small hook and eye at the waist seam to take any strain off the button at this point. 

All that remains is to pop your dress on and pull up the ribbons to your desired amount and tie in a bow, trim the ends into neat Vs to stop them fraying. Once you’ve adjusted the gathers to your liking then pin and stitch in a few places as per the instructions to hold them in place evenly.  

I used green Grosgrain ribbon as a contrast to the otherwise nautical colours of my Regatta dress.

I just need to find a nice wide belt to finish it off I think although it works perfectly well without. My Regatta dress has already had two wears since I finished it and it’s quirky details make it stand out. It isn’t an ultra-quick make compared to some styles but it’s worth the effort and makes a charming and feminine summer dress. It would even work in more ’special’ type fabrics too, like panne velvet, Chantilly lace or crepe de chine for an evening or party dress.

Once again it’s been an interesting process to help test a pattern and Alice & Co were quick to respond to queries. Another reason I was keen to assist is because as a brand they are very supportive of the Sew Over 50 cause by reposting images shared by older makers using their patterns, and have generously provided prizes in our previous challenges.

So while the sun is out here in the UK this could be a nice addition to your summer/holiday wardrobe.

Until next time,

Happy sewing

Sue

Bellbird top from The Sewing Revival

The Sewing Revival are a small PDF pattern company based in New Zealand and I first discovered them through the first Sew Over 50 challenge at the beginning of the year. Since then I’ve made 4 (!) versions of their Heron dress and top, 2 dresses and a top for me and one top for my SiL for her birthday. I really like the simple but stylish aesthetic, coupled with the fact they can be quick to make which is a real ‘palette-cleanser’ if you’ve been doing some more complex projects beforehand.

The Bellbird is basically a T-shaped top with dolman sleeves but it’s USP is the wide gathered cuffs on the short sleeves. You can choose between a scoop or a V neck, I’ve made the V.

It probably works best in a fabric with a bit of drape like crepe-de-chine, a soft viscose or fine linen, I used (eventually after a lot of going through the stash to find the right quantity!) a sheer polyester chiffon of unknown provenance. It wasn’t quite enough to cut the front and the back both on folds so the front went on the fold and the back went on the selvedges so there’s a seam. Also, because of the sheer nature of the fabric I opted not to use the neck facings but I made some bias binding to finish off the neck instead.

It’s very important to stabilise the neck edge as soon as possible so that it doesn’t stretch out of shape. I ran a row of stay stitches 5mm from the neck edge front and back-you could also use stay-tape or iron-on stabiliser if it isn’t going to show. Next I joined the shoulders using French seams as the fabric is so sheer, it gives a better quality of finish and makes the seams a little bit stronger too as they are sewn twice in this method. you could use a tiny flat-felled seam here if you wish but I think that’s taking things a bit far for a polyester chiffon!

I decided to use the French binding method which involves cutting bias strips which are at least twice as wide as you need plus seam allowances, making sure it was plenty long enough to go right around the neck with some extra to spare. Join the strips in the usual way if you need to and press the seams open before you fold the strip in half lengthways and press all along the folded edge so that you have a long continuous strip of folded bias binding. Next, I wanted the binding to show on the right side of the fabric so this means you need to pin the cut edges of the binding together to the neck edge ON THE WRONG SIDE. When you sew it on around the neck edge the binding will flip to the OUTSIDE thus enclosing the raw edges inside itself. The photo above shows where I’ve sewn the bias on, I’ve under-stitched it on the inside and then flipped it to the outside and now it’s pinned down. Finally I topstitched it down on the outside. Overall I’m happy with how this turned out because the chiffon is very very wiggly and you’ll need to be a bit patient with yourself if it’s the first time you’ve attempted a fabric like this. Take each step slowly and tack or baste as you go if you’re in any doubt about your ability to sew just using pins.

Once the neck is sewn it’s a case of joining the underarm seams, also using French seams, and then making the casing to enclose the elastic. This is the ‘detail’ of the Bellbird top so try and use wide elastic and don’t make it too tight on your arms as this is gives the best effect. Finally, finish off by making the hem.

I know chiffon isn’t exactly an ‘every day’ fabric but I’ve worn this top twice already now-albeit with a cami underneath as it’s sheer-and it’s very comfy. It droops backwards off my shoulders a little but I find that’s often the case with V necks on me when the garment is loose-fitting. I might try the scoop neck next time to see how that is. It’s designed to be a fairly close fit over the hips, not loose and floaty, I made a size large and it’s perfect for me. The Sewing Revival patterns come in selection of size brackets and you choose the set closest to you personal measurements. If you fall between sizes I think I’d advise going for the size nearest your bust measurement and altering the hip to suit.

Have you tried any other Sewing Revival patterns? There are some new ones just out including an interesting pair of diagonal-seamed trousers which are very intriguing so I’m sure these won’t be the last patterns of theirs that I’ll review.

Until next time, Happy Sewing

Sue

The Heron dress by The Sewing Revival

By being a part of the organisation of the first Sew Over 50 challenge it has meant I’ve come across pattern companies which I hadn’t heard of before. In several cases they made contact with me directly through the comments at the end of the first blog post. Not all of these companies make patterns that appeal to me personally but The Sewing Revival in New Zealand was one which did. Janine Pomeroy has created a small but growing number of simple, chic and wearable styles and because they are PDFs they are easily available to you wherever you are in the world.

Janine very generously gifted me the Heron dress (it also comes as a top too) and I’ve just finished making it up in time for my upcoming holiday.

The PDF was initially just available as A4 or US letter format but is one one of their first to also come as A0 copy shop format too. It comes with LOTS of useful and helpful information for when you print it out-there’s even instructions in how to print only the size you need if you prefer, I can’t think of another company I’ve come across which actually talks you through it, I have limited IT skills and wouldn’t have known how to do this for myself so that was helpful. Also, when ordering your pattern, you opt for the set of 3 sizes closest to the size you require according to your measurements. I like this arrangement because you don’t have an overwhelming number of lines to try and cut out from. I’m a UK 12-14 in RTW so I’ve made the size Medium and I’m very happy with it. If you do print all the sizes because you want to cut between different measurements for example then each size prints in a different colour-this is worth bearing in mind because if you print in B&W only they aren’t various styles of dot and dashed lines.

I bought some lovely pale blue viscose/linen printed with navy and red flowers from my recent visit to Ditto fabrics in Brighton specifically for the Heron. If you’re a novice sewer there is plenty of guidance included on which fabrics would work well, as well as other lay plan and cutting tips too.

It’s more pale blue than grey, you’ll see in my later photos.

There are only a few pattern pieces so it doesn’t take long to cut out and start sewing. There are some clever details which mean you don’t have lots of extra facings or elastic casings to cut and sew on, they are included which means the sewing doesn’t take that long either.

I printed out the making instructions in booklet format and I found the photos a tad small that way, I should have left them A4 for clarity although, that said, it’s fairly obvious what you’re doing and there are plenty of written instructions too.

I like the clever way the front facing is ‘grown-on’ so you just neaten the centre front seam and, eventually, once the backs and sleeves are sewn together [raglan sleeve so not tricky setting in] the neck edge gets folded over twice and stitched. This becomes the casing for the elastic.

the neck edge folds over and the stitching encloses the elastic. It’s a very simple method.

The deep cuffs fold up in a similar way which is clever because it does away with the need to neaten the cuff hem or to sew on any binding to create a casing for the elastic. It all forms one finished unit in the end.

I used the quilting guide on my machine to keep the correct distance away from the first row of stitching [it’s the piece of bent metal that might be included with your other machine attachments. It slots into a little hole just behind the foot usually and you tighten a little screw to keep it the distance you want] The elastic is wide in the sleeves which means you can’t see any of your usual visual markers and this saves having to laboriously draw on markings.

I should add that the Heron includes in-seam pockets which are a must, and there is a belt pattern too with additional ideas on how to add D-rings to it so it isn’t just a tie belt. I was so eager to finish that I didn’t notice until after I’d sewn it that the hem is finished using bias tape! This gives a lovely neat finish without losing any length, I just did a narrow rolled hem which looks fine too.

worn without the belt
…and with the belt.
rosy cheeks after a run and no make up!

As I said earlier, I was given the pattern to try out but I can honestly say I’m really pleased with my Heron and I look forward to wearing it. I’ve already got another fabric lined up for a blouse length version. I thought the sleeves looked like they might be too short but actually they are fine.

The reason The Sewing Revival came to my attention is because they use realistic models to promote their patterns, Janine made a conscious decision to do that whilst still creating covetable and wearable styles of the sort that dressmakers of any age will want. I’d love to know if you’ve used this brand and what you thought, or do you know of any others like it that could be brought to a wider audience? The Sew Over 50 challenge runs until March 15th 2019 so you’ve still got time to join in, and you don’t need to be over 50 to participate!

Until next time,

Sue

Camber Set from Merchant & Mills

 

IMG_5923The Camber Set from Merchant & Mills has definitely become one of my go-to patterns for tops-I’ve made 4 now! I picked up the pattern early last year at a swap/meet up (it was the same meet up that I got the Maker’s Atelier Holiday top pattern too which has become another favourite, I’ve made 3 of those and blogged reviews of them here and here)

The first was a navy and white striped one in a linen-look viscose if I remember correctly- I bought it at least 20 years ago to make my Mum a dress but life intervened! What I’ve come to love about this pattern is the clean and stylish finish to the neckline. The front neck uses a strip of bias binding which is applied to the reverse and then brought over to the right side and top stitched.

IMG_3192
the scissors necklace was from the V&A museum in London.

Next there’s a yoke at the back which is stitched in such a way that it neatens the back neck and encloses the shoulder seams all in one go. The instructions and diagrams are very clear but you do need to concentrate the first time because it seems a bit alien but trust me, it’s worth it. I had the bias on incorrectly initially because I assumed that it was turning in the usual way to the inside (it wouldn’t matter if you did it like that though, it’s just you wouldn’t then have the effect of the binding as decoration)

fullsizeoutput_23be
the stripes make yours eyes go a bit swizzy

I chose to contrast top-stitch some of the seams and the bust darts too for some visual interest.IMG_1353

IMG_1352
I cut the top yoke on the bias simply because I had enough fabric to do so.

I cut a straight size 14 based on my measurements and it’s just right, roomy enough to be comfortable without being too baggy.  I would say that it’s an afternoon’s work if you make it exactly as the pattern.

The second one I made in more of a hurry to take to the second Sewing Weekender last August. This time I made it in some coral crepe-de-chine from my stash and made the bias and yoke in a contrasting butterfly crepe-de-chine which had been supplied by Adam Ross fabrics in the goody bags at the first Sewing Weekender! I mixed it up a bit by adding a small inverted box-pleat to the back.

The third version is a very straightforward plain ivory crepe (from Hitchin market I think) with no alterations. I love a patterned fabric and plain tops are not something I have loads of, I used to wear RTW T-shirts but I just don’t anymore so they need replacing with alternatives. I got cocky though and did the binding the wrong way round so it’s a bit narrower than it should be.

My most recent version of the Camber is a bit special IMHO. Recently I went with my friend Janet to Goldhawk Road to look for fabric for me to make her daughter a dress to wear to Janet’s son’s wedding (with me so far…?) Naturally I had a look at a few things myself but then in Misan I had some kind of out-of-body experience because I spent an ABSOLUTE BOMB on some Roberto Cavalli printed cotton lawn! I’m not even going to tell you how much it was, I’ve never paid that much per metre for any other fabric before, there was just something about the vibrancy of the colours and the prettiness of the design, plus Janet made me do it, she never even tried to stop me!! It’s a pity the photos don’t do it full justice though. [Misan also has 2 fabulous shops in Soho if you really want to blow the budget]

I bought 1m20 with a plan to make a Camber. With some really careful cutting (annoyingly there were two fairly wide unprinted white strips along each selvedge) I managed to get everything out so that the colours ran in ‘stripes’ around the body and on the sleeves too-this always pleases me immensely when I can achieve it-I was also able to add ruffles to the sleeves this time.

The although the fabric is 100% cotton it has a fair bit of inherent stretch which meant it had got a bit wonky from where I’d hung it on the washing line-a good steamy press largely sorted this out though. Basically I did everything the same as usual (except I really concentrated on the neck binding!) Instead of sink stitching the back yoke facing (that’s ‘stitch in the ditch’ in old money) I used one of the embroidery stitches that my Pfaff Quilt Ambition 2.0 offers. I chose one that’s fairly similar to the print on the cloth to complement it and used lemon yellow thread. I also added some small pleats to the back below the yoke.

I made the sleeves a fraction longer and added the ruffles, which I hemmed using the rolled hem finish on my overlocker. I’ve been trying to use this feature on suitable fabrics more often recently because it’s pretty and makes a change from a regular hem edge.

IMG_5907
rolled hem finish

IMG_5908IMG_5902IMG_5901

IMG_5903
there are added small pleats in the back

IMG_5904IMG_5899IMG_5900

I can’t wait to wear this, we’re off to Italy very soon and I’m going to wear it with white linen trousers (RTW ones sadly, I bought them when time ran out for making last summer) The photos don’t do the fabric and the colour justice at all but I think it’s going to be a summer favourite, it isn’t even my usual colour choice either!

This is the only M&M pattern I have, their aesthetic is very pared-back and utilitarian and not necessarily my thing but as you can see a variety of fabrics can make a simple style look very different-I don’t think I’m done with this pattern yet, I haven’t even made a dress version yet!

Happy sewing

Sue