The Maker’s Atelier asymmetric gather dress

In the summer of 2021 Simply Sewing magazine invited me to choose an Indie brand pattern to sew and review for them. After some deliberation I settled on the Maker’s Atelier Asymmetric Gather dress which they generously provided me with free of charge. The article was published a year ago now but if you didn’t see it then I’m sharing some of my thoughts about the pattern here.

I like Maker’s Atelier patterns because they are deceptively simple to look at but many of them have stylish details such as notched hems, interesting seam lines, button-up backs or gathered sections which can elevate the garment out of the ordinary. On their website, and also in their newsletter, they always illustrate how much variety you can create from reusing a single pattern simply by sewing it in different fabric-types. I’ve made numerous iterations of their Holiday Shirt and Top using a number of different fabrics and embellishments for example.

If you’ve seen my various makes of Trend Patterns you’ll already know I’m rather fond of an asymmetric style and although the Maker’s Atelier one is a simple cocoon-shaped shift dress the gathered features really lift it out of the ordinary.

Because the front pattern piece is cut as a whole ‘right side up’ by flipping the piece over you can have the gathered neckline to the right or left depending on your preference. I love how the back is given shape and definition by adding the wide elastic at waist level too. 

I made this first version in gingko-printed crepe fabric bought at least four years ago from Fabrics Galore.

The style works best using a fabric that gathers softly and has some drape which is why the viscose twill kindly given to me by Sew Me Sunshine worked well. I wanted a fabric with a little bit of weight to it so that the elastication looked right, a stiff fabric without any fluidity would not flow nicely over the contours of the body. I really wanted a design that would look interesting whether it was gathered or not. This particular fabric from Mind the Maker contains 100% LENZING™ ECOVERO™ Viscose, which is a sustainably certified viscose fibre by LENZING™ with minimal environmental impact in the production process (compared to production of traditional viscose fibres). Some fibre and fabric production methods can be very damaging to the environment and the work force so this is at least a step in the right direction.

It was very satisfying to see the shape come together once I’d inserted the elastic, I know it probably sounds odd but I do love a bit of understitching on a facing. However I’ve found the back neck facing keeps creeping up though so I need to find a way to fix that.

Viscose often shifts around quite a lot so it’s important to not pull or drag it too much while you’re laying it up so that your pieces aren’t distorted once you’ve cut them out. If you have to cut on a table which isn’t quite big enough make sure the overhanging fabric is at least supported on a chair to prevent it pulling the fabric on the table out of shape. If you can manage to cut on the floor that would probably be preferable. Thankfully there aren’t many pattern pieces though so it isn’t a complex lay-plan.

My measurements at the time fell between a UK 12 and 14 so I measured the front and back pattern pieces to work out what the finished bust and hip sizes would be, from these I opted to sew a UK12. I was happy with the final fit, there’s just enough fullness without becoming too voluminous and baggy. I’m 5’5” tall and a little ‘pear-shaped’ but this style would suit a variety of body shapes because it skims over the waist and thigh area, it isn’t a ‘fitted’ style. The elasticated sections on the hip and back give the slightly-cocoon shape some definition and this could be adjusted to your personal preference. I’ve gained few pounds since I last summer but the dress still looks okay I think.

At Eltham Palace in south London, summer 2021

The one major adjustment I made was to shorten the pattern by 5cms before cutting out. I read a few online reviews before I started which all said they wish they had, or they did, make it shorter. I’m happy with how the finished length looks on me, it would definitely not have looked right if I’d left it as it was. I took the 5cms out horizontally across the front and back just below the hip/knee area, not from the hem. If you shorten it from the hem you will make the shape at the bottom a little wider which might result in it losing a little of its ‘peg’ shaping. The only other thing I did was to slightly raise the position of the elastic channels on the back and hip by approximately 1.5cms so that proportionately they sit a little higher on me, I think it looks better. 

An easy hack would be to use a narrower elastic than suggested, or sew two or more rows of narrower elastic into channels, you could even use shirring elastic. Instead of elastication how about slotting ribbon or tape through the channels, sew buttonholes for the tape and leave the ends dangling so that they are decorative and adjustable, perhaps finish the ends with small toggles to make a feature of them? Leave the sleeves off completely maybe or turn them into full-length sleeves with elasticated cuffs, or a cap sleeve. If you’re feeling adventurous you could even elasticate the hem! What about having fun playing with the grain line, especially if you use a check or striped fabric. There aren’t any pockets so you could add at least one in-seam pocket, probably on the non-elasticated side seam.

As well as viscose-types like I’ve used you could also choose fabrics such as handkerchief or washed linens, crepe, softer types of satin, crepe de Chine, challis and wool crepe. Softer cottons like lawn or chambray-types would all work well too. You don’t want anything overly stiff or thick because you wouldn’t get the lovely definition to the elasticated folds, they could become a bit clunky. Ideally avoid fabrics which crease badly if you might be sitting in it for any length of time, creases would spoil the look of the front. 

I chose to trace off the pattern, I find I’m doing this more and more often even though I’m not a big fan of doing so. Take your time if you’re tracing the pattern, transfer all the markings accurately. Because the neckline is asymmetric make sure you cut the neck facing to match and double check you have a mirrored any pieces that are a pair before cutting into your fabric. Read through all the making instructions before you start and highlight any areas that you think are, or might be, trickier for you. 

The Asymmetric Gather dress isn’t a difficult garment to sew up, I would say anyone from an adventurous beginner upwards would enjoy making it. It certainly took me less than a day to make, especially as there are no openings like zips or buttons to construct. 

I’ve found it entertaining to see my changing hairstyle since I first made this! I was paid for the original article last year but all thoughts, advice and opinions are my own.

until next time

Happy sewing

Sue

Sewing and other bits in 2021

Well that was another weird year wasn’t it!? I’m not gonna lie but I’ll be glad to see the back of 2021. For every good event there seemed to be two or three stinkers which I found made it really hard to see positives anywhere. I know that there were some good things though and I’m incredibly grateful to have the life that I do so I don’t want to dwell on the downside, let’s move into 2022 with an air of cautious optimism!

I entitled my round up for 2020 as ‘sewing in a time of pandemic’ and I’m so glad I didn’t know then that 2021 was going to be ‘part two!’ Anyway, I’ve collected a few photos to round up my sewing and other events I was able to get up to during 2021 although I’m not sure if they are particularly chronological…the length and colour of my hair at any given time will give you a bit of a clue!

I’ve decided that the Trend Utility pants are definitely my favourite trouser pattern of the year-I had made two pairs by the end of 2020 and finished a third, in orange linen, in spring 2021 and I’ve worn them all fairly constantly. I find them interesting to make, they aren’t a completely straightforward sew and need a bit of concentration but they are all the better for that. The leg flaps are their USP and they are a design feature that make me very happy!

I was wearing them in the late summer when we finally escaped with one of our daughters on a week’s holiday, along with another favourite, the Maker’s Atelier Holiday Shirt.

The orange linen pair were perfectly autumnal at Kew Gardens in November, and the colours were absolutely stunning.

This hacked Sewing Revival Heron dress was one I finished in 2020 but wore a lot in 2021, and will do in 2022 as well.

I’m still not convinced about the ribbon bow but I haven’t actually done anything about changing it.

I was looking for new sewing challenges early in the year during the next long lockdown and Mr Y was the lucky recipient of a few items including this Carmanah sweatshirt by Thread Theory. The fabric was kindly provided for me as I’m part of the Lamazi blogger team.

This is the Thread Theory Finlayson sweatshirt I made for Mr Y at the start of the year and he’s worn it on heavy rotation. These items of menswear led to me writing an article for Love Sewing magazine about sewing for men, and by men, in the spring and I joined Maria at Sew Organised Style podcast to chat about it too.

Mr Y celebrated his 60th birthday quietly at home in March, we both wore hand-mades!

…and we celebrated a second wedding anniversary in lockdown too. Cabin fever had taken hold a bit as I dug out my wedding dress and flounced around the garden in it! I really hope our 33rd anniversary this year can be outside of the house!!

Let joy be unconfined because mid-March saw us going for our first vaccination and I wore entirely hand sewn garments to mark the occasion, including a Holiday Shirt, a Nora sweatshirt and my self-drafted rain coat.

I was selected to contribute some articles offering sewing tips and advice for an online sewing project in the early spring but after just two such items they just stopped contacting with me or replying to my emails. Bit rude I’d say, I’ve no idea what was wrong because they never had the courtesy to tell me, and I’ve no intention of wasting more time on them frankly.

Moving on…

Lucy at Trend generously gifted me the kit for the Box Pleat shirt from her capsule shirt collection. Like all her patterns it is so well drafted, I should have gone down at least one size though (my fault for being overly-cautious) There are currently three patterns in the shirt collection but I know there are more in the pipeline.

I only made two Minerva projects in 2021 and this Tabitha dress from Tilly and the Buttons book ‘Make it Simple’ was one of them. I really like the Art Gallery fabric and I’ve had plenty of wear from it.

I was so happy to see my dear sewing chum Claire after far too long at the Alice in Wonderland exhibition at the V&A in the summer. It was an interesting show although I suspect we nattered all the way around it! [it seems there was a ‘wear checks’ memo sent out too!]

As you know if you read my posts I like to reuse patterns if they have lots of options so I’ve sewn several variations of a number of Sewing Revival patterns during the year, including the Fantail top below which I made in an ancient remnant in my stash which I believe somebody once paid 90p for!

The wide elastic casing in the front hem is such an interesting detail.

This is another version of the Fantail featuring jersey cuffs and back hem.

This Sewing Revival Kingfisher top was made using the fabric from a summer dress which I never wore. It’s been a satisfying project because I worn it often (I‘d had a haircut by this point too!)

I enjoyed the challenge that this Heron adaptation presented because I used linen jersey provided for me by Lamazi fabrics. It was a learning experience and I shared lots of hints and tips in the accompanying post. It’s been such a lovely fabric to wear, it’s very comfortable and it has a beautiful sheen which is not particularly obvious in this photo.

I made another pair of Simple Sew Palazzo pants in a linen remnant I bought from Lamazi, they are comfortable and very nice to swoosh about in! That’s a M&M Camber Set top with them.

I sewed a third version of the Trend Bias T-shirt dress which I made specifically for an occasion at Capel Manor College in north London when the Japanese ambassador to the UK came to plant cherry trees. I’ve only had a chance to wear it once so far because the weather was getting colder but I have every intention of wearing it a lot in 2022-you know I love a floaty dress and this pattern is perfect for that!

I managed to get an outing to the Fashion and Textiles in the autumn to see ‘Beautiful People’ and it was well worth it because the colours and fashions were so uplifting.

One of my personal favourite posts of the year was this one where I had rediscovered lots of my college work and sketches from the 1980s. It was so much fun to find them unexpectedly and it seems it was a trip down memory lane for many of you too.

I wrote just three specific Sew Over 50 blog posts in 2021, the first was a summing up of lots of ideas and inspiration for how to sew more sustainably which the followers of the Sew Over 50 account contributed. There was a lot of it and it definitely worth a read.

Judith Staley joined Maria on the podcast to chat about it too.

I was a guest editor on the Sew Over 50 account in the autumn when we chatted about mannequins in our sewing practice. Many of you contributed some brilliant and insightful comments, I wonder how many people have gone on to buy a dress form, or use the one they have differently, or more often, as a result?

Sew Over 50 stalwart Tina generously shared with us the many resources she has gathered together over the last couple of years for sewing and adapting patterns and clothing after a breast cancer diagnosis. It has been one of my most read articles on the blog since it was published in the autumn and I know Tina is happy for followers to contact her via Instagram for any advice or support she can offer them. For me, she very much represents the positive aspects of being a part of this worldwide community.

One of my favourite ‘in person’ events in the sewing calendar, Sew Brum, quietly took place in the autumn and my lovely mate Elizabeth kindly put me up overnight and we had some quality shopping and sewing time together. Our friend Melissa even joined us for a couple of hours for a Zoom sew! Plus I ran in my first (and so far, only) Park Run too! phew, it was a busy and almost-normal 48 hours.

We got VERY wet at the Park Run but we earned extra smug points in our me-made Fehrtrade running kit! [I wrote a post about the Tesselate Tee that we’re both wearing here]

I didn’t even buy any of this green fabric at Barry’s in the end…

I finally made a jumpsuit (or two) at the end of the year, it’s the Cressida by Sew Me Something Patterns.

I made this second one to wear at the first Lamazi open day in November. It was so much fun to be a part of and I really hope there will be the opportunity to hold more events during 2022 because it so good to meet up with people in person and to just chat about sewing all day.

This was fun outing to the V&A that actually happened rather than being cancelled like so many others, it was an in-person talk by Oscar-winning costume designer Sandy Powell and it was absolutely fascinating. I’ve really missed these talks in the lecture theatre and it was great to be back.

Being an actual grown-up at a fun event!

I splashed out on this unusual quilted fabric from Merchant and Mills and sewed it up into their Fielder top plus I wrote up a blog post on how I made the too-wide elastic fit around the neckline.

These Eve pants are also a Merchant and Mills pattern and they became my second-favourite trousers of the year, made in their Elinore checked linen and worn with a long-sleeved Holiday shirt in Swiss Dot.

This second Hug hoodie of the year by Made It Patterns is definitely one of my favourite makes of the year. It looks tricky but is very straightforward to sew and the style lines look very effective.

For quite a while I had wanted to organise an informal sewing event and they were finally able to happen in October and November with #HertsSewcial It was such a joy to be reunited with my Sew Over 50 stalwart friends Ruth and Kate, along with meeting several other online friends like Bev and Elke in real life for the first time. We had so much fun sewing and chatting together, the time flew past far too quickly and I very much hope I can organise some more in the New Year, current situations permitting.

Can you tell that Ruth, Kate and me are happy to see each other again after far too long!?

And my final sewing treat of the year was being able to meet up with Judith Staley in her hometown of Edinburgh!! It was much too brief but absolutely better than nothing, we had so much we could have talked about but that will have to wait until our oft-rescheduled and much looked forward to sewing get together next spring…fingers tightly crossed!

My final personal make of the year was another Maven Somerset top in this celestial jersey I bought at the Lamazi open day. It’s festive without screaming CHRISTMAS!

And so ends another year of sewing and other stuff, as well as the new garments I’ve sewn for myself there were many other occasions when I wore, and re-wore, favourites which didn’t need to be photographed! I fervently hope 2022 brings better times for everyone and that we can adapt to our new or changed ways of living. Sewing will continue be a big part of my life and I hope there will be some new and exciting projects and opportunities during the year. There are so many wonderful people in this community and the support and encouragement that swirls around has been so important during another trying year-I hope I will get a chance to meet up with more of you in person during the next twelve months.

Until then, thank you for reading my wafflings, happy sewing and a very happy New Year,

Sue

Tips for sewing with linen jersey, a new Lamazi post

Did you know that linen jersey was even a thing? It’s an unusual fabric which you don’t see often, we all know knits are available in most other fibre types-cotton, wool, silk or man-mades for example- but I’ve never worked with it before so when Liana invited me to sew my next Lamazi project using it, and to pass on any hints and tips for sewing it, I was up for the challenge. 

This 100% linen jersey comes from Mind the Maker in a range of colours and I picked the Dry Mustard shade which is a lovely vibrant ochre. The fabric has a beautiful lustrous sheen on the right side, the reverse is duller so it makes it much easier to tell the difference between the two. It has lovely light drapey quality too and is slightly sheer.

Linen fabric is not a textile known for its inherent stretch qualities and this jersey does feel slightly different from other knits because it has only a small amount of stretch along its length and quite a lot of stretch across the width but it has very little recovery so once it’s been stretched out it will stay like that at least until it’s washed again. During construction the application of plenty of steam will encourage some of this accidental stretching to be eased back into position so, coupled with its sheerness, this means that you need to think carefully about what garment to sew with it. 

Plenty of steam will help remove most unwanted bagginess like this

The properties of linen fabric itself [cool in warm weather, warm in cold weather] mean that it would be ideal for loose-fitting leisure or exercise wear, for yoga or Pilates for example. I would definitely say it’s better to avoid anything that is particularly close fitting because areas like the elbows or wrists would become stretched or baggy with little recovery. However the fabric has a lovely drape and its fine gauge allows it to be gathered up successfully so these properties could be exploited instead.

Bearing all these factors in mind I decided to make (another) Sewing Revival Heron dress which I would hack into a blouse. The pattern has a neckline which is gathered using elastic along with raglan sleeves with deep elasticated cuffs. To mix it up further I decided to pull the hemline in onto elastic rather than have a wide smock silhouette.

First things first, I washed the fabric by hand to remove any risk of excessive shrinkage or twisting in the machine. If you want to wash it in the machine then it might be an idea to overlock the cut ends together first to form a long loop and place it into a large washing bag to protect it further. Alternatively you could press it on your ironing board with plenty of steam instead. If at all possible it is better to dry the fabric flat, and certainly don’t wring or twist it. All of this might sound off-putting, and it is clearly not as straightforward as chucking a nice stable cotton into the machine but this is a luxurious fabric and deserves to be treated and handled carefully in the preparation. When it comes to cutting out your pattern pieces lay the fabric as flat as possible, handle it gently and don’t pull it about too much, especially if you decide to fold it. I made a whole back pattern piece for my top so that I could cut it flat, another appeal of the Heron pattern for me is that it has just three pieces so it’s a relatively quick sew usually. 

After cutting all the pieces the first thing I did was stabilise all the raglan shoulder seams using some iron-on seam tape, I did this to prevent any unwanted stretching before I sewed the sleeves in later on. I added small squares of iron-on interfacing to reinforce the bottom of the opening on the centre front seam too. I also decided to press all the folded parts of the casings/ruffles for the neckline, sleeves and hem before sewing anything together, just so that I was handling the cut-out pieces as little as possible, again to prevent unwanted stretching before they got joined together. I also tacked these folded parts into position temporarily. All this might sound excessive but I wasn’t in a rush, and I found the slow and considered processes very soothing at quite a difficult time. 

iron-on stay tape to prevent unwanted stretching of the raglan seams

• 

  the pinned raglan seams showing the slight excess to be absorbed

• 

  the finished seams inside the garment

I pressed and tacked casing/ruffles before joining the sections together later on

reinforcing the bottom of the neck opening with small squares of iron-on interfacing.

Something else I did before commencing was check on fabric scraps which needle and stitch-type would give me the best results. A ballpoint needle suitable for stretch/knits/jersey is essential to prevent snagging which could lead to laddering of this delicate fabric, and I found a short straight stitch was better than a narrow zigzag but you must do what works best on your own machine. You could sew a garment together entirely on an overlocker but be aware of the lack of rebound this fabric has so if it gets stretched or misshapen while it’s being sewn then it’s probably like that permanently. I also tested the overlocker finish before diving in for the same reasons. If you don’t have an overlocker this fabric is fine enough that where possible you could probably sew self-neatening French seams, or a wide zigzag might work but just be careful it doesn’t chew up the edges. If you have an overlock stitch option on your sewing machine and/or a special foot to sew an overlock-style stitch then definitely use them. Test all options before making your choice, the time taken could save you upsets later on. I slipped some folded strips of paper underneath the seam allowances when I pressed them to minimise any chance of the seam showing through on the front

testing stitches and overlocking

I popped two strips of folded paper under the centre front seam while I pressed it so that there was no show-through or unwanted shininess on the right side.

If you have a walking foot for your machine this is definitely a fabric worth using it for, even if you don’t it’s a good idea to use plenty of pins. I’m not a fan of mini-clips because I think they are too heavy and get in the way, this fabric is lightweight and I think mini-clips could distort it while you’re sewing but it’s up to you. Tacking seams is always an option too of course, any technique that prevents the fabric shifting while you sew basically.

If you’ve followed my blog for a while you’ll know I’ve made a few Herons before so the construction was straightforward, the only area I did differently was to create the ruffled hem with a wide elastic casing. I couldn’t decide between my planned 2cms or 1cm wide elastic initially so I tested with the two widths to see which I preferred-I chose to stay with the 2cms width as planned. 

testing which elastic width I preferred for the hem, this was the narrow one (the fabric scrap is wrong side out!)

and this is wider width, it’s the one I used at the hem in the end.

using a bodkin to insert the narrow elastic in the neck casing.

checking the gathered neckline on the stand

I used this quilting attachment on my machine so that I sewed an accurate parallel width for the elastic casing

close up of the elasticated hem casing

To sum up, I’m really pleased with how my first experience of sewing with linen jersey has gone, I’ll admit I was a little nervous because Liana was putting her trust in me with an expensive fabric but taking the time to plan and test, and use my existing knowledge of working with knits definitely helped. Because of the sheerness of the fabric Lamazi also provided me with a metre of Atelier Brunette crepe viscose in Ochre to make a camisole to wear underneath, I used the Simone camisole and trousers pattern by Maven which is a very quick make and a very useful garment to wear on its own or underneath other garments. The crepe viscose is a beautiful quality fabric with lovely handle and drape but be aware that there’s a disappointing amount of creasing, you might want to take that into account when planning, for example if you’re making something you’ll spend a lot of time sitting in.

all finished

As always, I hope you find my hints and tips helpful if you choose this lovely fabric, I wouldn’t recommend it to a novice sewer because some experience of sewing with other similar fabrics is definitely an advantage, plus it would be shame to end up with a costly mistake, but if you’re looking for a new challenge to add to your repertoire this could be a good start. I’ll launder the finished garment either by hand or in a wash bag on a gentle cycle in the machine. I’ll dry it flat too and store it that way, I don’t want a coat hanger to make it misshapen. If you’re a person who prefers not to worry too much about their clothes or their maintenance then this might strike you as overkill, and that’s fair enough, but I don’t think it hurts to have a few special things in our wardrobes which were worth the effort to make for ourselves. 

I’m looking forward to wearing this top as autumn is fast approaching (did summer ever arrive!?) thank you to Lamazi for providing me with the fabric to review.

Until next time, happy sewing,

Sue

Simple Sew Palazzo Pants updated

In 2019 I decided to try something different to dresses from the Simple Sew pattern collection for my blog post so I chose 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 midriff area of 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. There is a lengthening/shortening line for the leg length however.

It wouldn’t be a Simple Sew pattern if there weren’t some errors or anomalies 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 point on the waistband, it could have done with a notch for the side seam position though as there isn’t one so it’s a bit of guesswork.

I’m not normally an advocate of overlocking the edges until they’re sewn up [because 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 description for the pocket insertion is a bit vague, I’ve made a second pair since writing this piece originally and found it quite unsatisfactory which is why I have updated my advice.

Neaten the lower edge of the pocket bags first then pin to the trouser fronts matching the ‘opening’ notches. Next stitch in place from the waist to the bottom edge of the pocket bag using a 12mm seam allowance (see my notes on the photo above) Repeat with the trouser backs, then neaten the seam edges all the way down enclosing the pocket edges too. On the front only, understitch the pocket opening. Now you can pin the fronts to the backs and sew the side seams shut using a 1.5cms seam allowance, not forgetting to leave the pocket opening unstitched! Finally, carefully sew the bottom edge of each pocket bag closed otherwise your sweets will fall out 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 were 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] 

With the benefit of hindsight I would make the waistband in two pieces, a front and two backs with the join at the side seam. This is for two reasons, first, it will allow you to make adjustments for fit more easily and, secondly, I’ve found the centre back has become slightly pointy and misshapen both times I’ve made these now. I believe this could be because the length and curve of the waistband means that it the centre back is very off grain, usually the centre back seam would be cut on the straight grain which gives it stability.

The instructions and illustrations for inserting the zip are reasonably 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. Alternatively, use your preferred method of inserting an invisible zip. Before sewing the waistband down I added two hanging tapes to each side seam so that I had an additional means to hang the trousers up if needs be.

On my second pair I’ve added a small button and loop inside the waistband because I found the zip a bit of a faff to do up without anything at the top of it.

you can also see here how the waistband rises to a slight point on each side in spite of it being fully interfaced. It isn’t the end of the world but I’m a bit cross it’s happened a second time, CBA to fiddle with it too much though…

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’ve made my second pair from a remnant of printed linen/viscose mix I bought from Lamazi recently.

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

Same Camber, different trousers!

I cut this pair slightly shorter overall so that they aren’t so long if I wear them with flat shoes.

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.

I noticed that this particular post gets a huge amount of traffic so I hope this update clarifies any issues you might have had with the pattern. In fairness, it might have been updated and corrected since my copy was produced in which case you may be able to disregard some/all of what I’ve written!

Until next time, happy sewing

Sue

Fantail follow-up!

I published my review of The Sewing Revival Fantail top recently and since then I’ve made a second using an alternative finish which I thought I would share with you.

the first Fantail top

This second version uses a ribbing finish on the neck, cuffs and back hem instead of hemming or elastication. I’d bought some Art Gallery viscose from Sew Me Something with an interesting graphic design and then my fellow @SewOver50er Kate @stitchmeayear generously offered me some grey ribbing, she had more than she needed. It turned out to be the perfect match and I couldn’t have planned it better if I tried.

There are separate pattern pieces for the ribbing cuffs, neck and hem and, although the same front, back and sleeve pieces are used, there are very slightly different cutting lines for the sleeve.

I had bought 1.5m of the graphic print and it has a fairly distinct one-way design which meant I needed to place each pattern piece carefully to try and get a reasonable match whilst not wasting too much fabric. I was able to do this by folding over one selvedge by just enough to position the front and back pieces along the same fold. This left a good sized piece from which I could individually position and cut a pair of sleeves whilst still just about getting a good match.

Sewing the Fantail with ribbing is very slightly different to the woven version. First, the deep ribbing band is sewn on the back in place of the narrow hem [I’m not sure if there’s a small discrepancy in the pattern or my cutting out but on both my versions I’ve found there to be about 5mm too much fabric in the back compared to the front when joining the side seams]

Like the first version I sewed the ribbing band onto the neck after joining the raglan seams and before sewing up the side seams. As I probably explained in the previous post, I always find it’s easier to put a facing, binding or whatever neck finish on whilst everything can still be laid out flat unless there’s a technical construction reason for doing it later.

The main reason for writing this second post is because I want to show you the way I turned the band at the hem-I forgot to take photos as I was making the first one! It’s a really neat way of of finishing the bottoms of the side seams and can be a useful technique in other places when you’re sewing different hems or edges together because it gives a crisp and level finish to an edge with the seams enclosed. The photos will help make more sense.

Pin the side seams together like so first, the raw edge of the deep elastic casing for the front is already pressed up by 1cm and the bottom of the ribbing is lined up against the notch for the casing.

Next, fold up the front so that it sandwiches the ribbing like this, pin in place. Now sew the seam starting at the fold on the hem. If you haven’t used this method before you may want to sew one side first and check it to make sure you’re happy with it, it can be a little confusing initially but it’s worth persevering.

Turn the hem to check it is level and, if you’re happy with it, neaten the seams however you wish. This is before I neatened the side seam but it will look like this on the inside.

The outside will look like this, so neat!

One other slight change I made was to the width of the ribbing cuffs, I cut the UK 12 pieces but they were much too baggy for my wrists so I shortened them by 5cms so they aren’t so wide and gapey.

At the moment I haven’t edge stitched any of the ribbing like I would do normally on knit garments. Because this is a combination of woven and knit fabrics I don’t want the woven fabric, at the neck especially, to end up puckered where its attached to the band so I’ve left it for now [and I don’t want holes if I had to unpick it]

The ribbing is currently not edge-stitched in case it causes puckering

I don’t normally post two of the same thing in such quick succession but I wanted to share the hem tip more than anything. I fully anticipate making a knit version of the Fantail at some point, or a short sleeve one in something really light and pretty…That’s what I enjoy about Sewing Revival patterns, so many possibilities if you have the imagination.

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

 

The 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.

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)

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.

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.

rolled hem finish

there are added small pleats in the back

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