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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Happy Sewing

Sue

Maxine Sweater by Dhurata Davis

I first met pattern maker Dhurata Davies at my friend Sal’s ‘Sew2gether’ event last spring and then our path’s crossed again unexpectedly a couple of months later when I made a last minute decision to go to the Threads textiles fair in Farnham. Dhurata was exhibiting there and she offered me a copy of her Maxine Sweater pattern in return for a review. The pattern is intended as a sweatshirt, and I’ve made one in a jersey fabric already, but it also works well in a woven too. It was the diagonal seam lines with pockets concealed in them that appealed to me. The sweatshirt version was for a Minerva fabric blog review which hasn’t appeared yet at the time of writing but now that I’ve made a second top I can tell you all about the pattern here.

I had picked up a modest remnant of ‘Woolsey’, a linen/wool fabric in the Merchant & Mills shop in Rye last August, it’s a lovely deep teal colour which is one of my favourites (although it’s a devil to photograph accurately). When I made the jersey version I made a size 16 based on my body measurements and there’s plenty of room in it so I knew I could risk making the same size in a non-stretch fabric. [If you are making anything more usually intended for a fabric with some stretch you will almost certainly need to go up a size or two, especially if it’s in any way close fitting. Measure the pattern itself if you’re not sure and don’t forget you need to be able to get it on, will it need additional openings like a zip or buttons if there’s no stretch to get it over your head, or your hips?] 

Before I cut anything out I made myself a ‘whole’ sleeve pattern piece, it comes as a ‘half’ sleeve vertically so this needs to be placed on a fold in the fabric (twice as you need two sleeves!) but I always prefer to have a complete sleeve. Just stick the pattern to a large enough piece of paper so that you can fold it down the central ‘place on fold’ line, fold it in half and pin in a few places then cut out a new symmetrical pattern piece. 

I knew I would not have enough fabric for the separate collar, cuffs and hem-band pieces but I could lengthen the body so that it wasn’t ridiculously short. I added about 10-12cms to the bottom of the front and back pieces. I had to decide how to finish the neckline instead of the collar and I came up with a combination of piping directly on the edge first and then a band of jersey ribbing. I didn’t know how, or if, this would work but the piping would look fine on it’s own if the jersey wasn’t any good. 

The instructions and illustrations are nice and clear and straightforward and it’s not as difficult as you might imagine to get the diagonal cross in the centre. The seam allowance is just 1cm so I always highlight the pattern when this is the case so that, when I make the pattern again, I don’t sew it up as 1.5 by mistake and it’s all too small! 

the centre cross close-up on the outside.
and on the reverse.

Once the front was complete I joined it to the back at the shoulders and then made some bias binding for the neck. I had just enough scraps to cut 3 strips which were approximately 50cms long and 4cms wide which I joined to form one long strip. I have a specific piping foot for my Pfaff Quilt Ambition 2 which is really useful but you can usually use your zip foot if it allows you to stitch close enough to the piping cord. Not all zip feet are good at this especially if it’s the generic one which comes with the machine but there are usually adjustable ones you can buy which, in my experience, are better. The piping foot actually sits over the top of the fabric and piping cord rather than just beside it so it’s held more securely and stitches much closer to the piping for a better finish. If you want to see another use of the piping foot pop over to my review of the Simple Sew Lizzie dress.

this is the piping foot actually sitting over the top of the band as well as the piping too.

Once I’d made the piping I sewed it around the neck, raw edges together and making a neat join at the back. I knew I wouldn’t be able to find a matching jersey so I opted for a complete contrast. I bought 50cms each of deep red and dark grey tubular jersey from Backstitch and when I put them together I decided that the red made a more interesting garment. Generally when you’re adding a stretch band you work on the basis of it being approximately 85% of the neckline/cuff/waistband measurement that you’re attaching it to, depending on the stretch of the jersey. I’d made things tricky by adding the piping first so the machine had to go through a LOT of layers of fabric. I must say that the Pfaff sailed through it all pretty easily. The only time it was hard work was over the seam allowances on the cuffs. Because I was making this bit up as I went along I sewed the piping onto the cuff first then sewed the under arm seams, if I were using this finish again I would sew the under arm seam first and then put the binding on ‘in the round’ because it would be less bulky where it crosses the seam. I used my little seam-hopper gadget to help lift the foot to help ease it over the bulky seams, this one came with the machine but you can buy something called a Jean-a-ma-jig or even use a piece of thick folded cardboard.

On the left the cuff is folded and stitched and then folded again on the right. I ran a row of wide zigzag around the raw edges to keep them together before sewing them onto the cuffs. The neckband is done the same way.
you can see it’s all a bit of a tight area to work in but the finished effect was worth it I think. The jersey has to stretch as it’s sewn onto the woven non-stretch fabric.
this is inside the cuff, as you can see it’s quite messy and bulky but the little plastic gadget will help to ‘leapfrog’ over the seam. With the needle down to prevent it from moving stop just ahead of the seam, lift the presser foot and slide the gadget underneath the foot with its ‘toes’ either side of the needle (it can be from the front or the back depending which you’ve got better access to) and then lower it back down so the presser foot is resting on the gadget. The foot should now be on a better level to sew over the seam, sew forwards a few stitches until you’re clearing the seam then move the gadget around to the front (if you’ve had it at the back) and place it under the foot there. Come slowly forwards a few more stitches until you’re completely clear of the seam and back on level sewing again, always taking care that the needle doesn’t hit the plastic.
the finished cuff

Having told you 85% is the usual amount for a stretch bands I should have made the neck one slightly shorter than that as it doesn’t sit completely flat even after a good amount of steaming. I left it though because it doesn’t look that bad and it would be a lot of work to re-do it. First join the band into a loop along it’s narrow edge then fold it lengthwise in the same manner as the cuffs and then divide it into 4 equal parts marked with pins. Next equally divide the neck (or cuffs) equally into 4 too. Pin the band onto the neck (or cuff) at the marks and stretch the band to fit and stitch in place. You can see from the photos that this was quite tricky because of the number of layers involved, I graded the layers so that it reduced the bulk as far as possible. All these layers plus the piping cord made it too difficult to get the cuffs under the overlocker so I finished the edges using a simple zigzag stitch. Around the neck I used the Coverlock 3.0 to coverstitch which had dual benefit of neatening on the inside and giving an attractive double row of top stitching on the outside. 

the jersey band is very slightly wavy which suggests it’s fraction too long but it was too much hassle to take it all back off again and, frankly, CBA!
this is the coverstitching from the outside, the piping made it really difficult to get closer as the width if the foot wouldn’t let it get any nearer. Incidentally, I tried this out on a small sample piece first so that if it all went horribly wrong I didn’t ruin the whole garment. I strongly recommend that you make samples of any new or unusual techniques you may want to try so that you don’t spoil all your good work, it’s worth the bit of extra time it takes.
the coverstitching from the inside, it served the double purpose of top stitching on the outside and neatly covering the raw edge on the inside. I’d trimmed and layered all those edges first to reduce the bulk.

To finish the hem I just overlocked the edge, turned it up and stitched twice. So that’s it really, I’m very happy with the finished top, I layered it up with a thin RTW T-shirt when I wore it to go to Brighton recently. The fabric doesn’t seem to crease so much as bend, it’s of a double-weave construction the same as cotton double gauze. 

pre-crumpling and modelled by Doris

I’m really happy with the outcome of this top, the fabric has lent itself well to the more smocky kind of shape and although it was bit involved I really like the finished effect of the addition of the stretch cuffs and piping onto an otherwise simple garment. The ‘Woolsey’ fabric does fray a bit because of the loose weave but it’s manageable. Incidentally, this pattern looks great lengthened into a dress or with the pockets left out of the seams if you’re short of fabric.

Thank you Dhurata for the gift of the pattern, in my opinion it’s a goody and if you aren’t adding extras like me it’s a nice quick half-day make. Dhurata has also designed some lovely children’s patterns too which you might be interested in.

Until next time, happy sewing

Sue

Your Sew Over 50 go-to tee-shirt patterns

We asked you another question on @SewOver50 in October-which were your favourite go-to, never-fail, T-N-T T-shirt (tee shirt?) patterns and naturally you came up with a veeeeerrrry long list. I’ve trawled through them all and simply listed them here with a link (if I found one) for each so you can check them out for yourselves. As blogs go, it’s a bit of a dull one but you might it useful and maybe find your next new favourite pattern amongst these. Needless to say there are probably another one or two hundred more patterns which you think ought to be on this list!

I’m not recommending or endorsing any of these patterns personally, they have all been suggested by you, the enthusiastic followers.

Melissa Breton Tee-Thrifty Stitcher -relaxed drop-shoulder tee with 3/4 sleeves and a bateau neckline

Plantain-Deer & Doefree pattern (if you sign up on the website) loose-fitting tee with a low scooped neckline and 3 sleeve options.

#1366 Cynthia Rowley Simplicity-loose fitting top

Mandy Boat Tee-Tessutifree pattern boat neck drop-shoulder Tee with 3/4 sleeves

Ola-Tessuti-tunic top

#3338 Kwik Sew-I can’t find this one, possibly discontinued?

Astoria-Seamwork-cropped length, fitted long-sleeve top

Classic Tee-Love Notions -close-fitting tee with 3 neck options and 3 sleeve lengths

Laundry Day tee-Love Notions-fitted tee with 3 necklines and 5 sleeves options

Basic Instinct shirt-Secondo Piano-classic simple tee

Freya Agnes Coco-TATB-Tilly has a range of jersey tops and dresses with a variety of necklines and sleeve options.

Moneta-Colette patterns-Moneta is a dress pattern in stretch fabric with a fitted bodice and a couple of sleeve options.

#2805-Jalie Patterns-t-shirt with 4 sleeve and 4 neckline options. It has a huge range of sizes

Statement Tee-Ottobre magazine 2017/2 various options so check the website

Wardrobe Builder Tee-Wardrobe by Me (not many instructions apparently) close fitting tee with 3 body lengths, 5 necklines and 6 sleeve-lengths!

Uvita-Itch to Stitch-dropped shoulder bateau-neck tee with 2 sleeve lengths

Pamela’s Perfect Tee-Pamela’s patterns-longer length fitted tee with several neckline and sleeve options

Green Tee-Greenstyle Creations-longer length fitted tee with scoop or V neck and lots of sizes

Lark-Grainline-a popular pattern with 4 neckline options and 4 sleeve lengths.

Stellan Tee-French Navy Nowfree pattern a boxy tee, not sure how many sizes.

The Astair tee-another boxy tee also from French Navy Now with sleeve variations and a patch pocket.

Renfrew-Sewaholic another classic tee with several sleeve lengths and various necklines

Kirsten Kimono Tee-Maria Denmark-close-fitting cap-sleeved tee

Carine Tee-Elbe Textilesfree pattern cropped tee

Lane Raglan-Hey June-scooped neck raglan tee and sweatshirt pattern

Jade-Made by Rae-scooped neck tee in a wide size range

Concord-Cashmerette-lots of options in curvier sizes

Molly Top-SOI City break eBook classic drop shoulder tee

Eva-Pattern Union-a simple close-fitting tee with long or short sleeves.

Geneva Tee-Named raglan tee with long sleeves

Ruska-Named-Breaking the Pattern-tee shirt/dress with various options

Ultimate T-shirt-Threadcount free gift pattern from a back issue of Love Sewing magazine

Panama-Alina Design-tee shirt with dress-length options

starting top left @debs_sewing_room @sarahguthrie_stitches @loves_knitting @heathersewist
left @spoolriversewing main centre @sewcialstudio right @sewingalacarte
left @sewcialstudio right @mrs_moog
bottom left @damselfly.ca @_mysewingdiary @rocketcitysewing and @seams_sew

Needless to say this is in no way an exhaustive list but they have all been used, and recommended, by you. There are some freebies which might be worth a try, as well as pricier options.

Until next time,

Happy sewing

Sue

Manolo and McQueen

Just a quick update of two exhibits which are in London at the moment in case you’re planning a visit to the capital.

At the Wallace Collection in Manchester Sq just behind Oxford St there are currently many beautiful examples of the shoes made by Manolo Blahnik over the course of his long career. He is a frequent visitor to the museum and over the years has used many of the rooms and their paintings and artefacts for inspiration. It’s easy to see this as you move around the upper rooms in this building which hosted many fashionable parties in its elegant salons. The shoes are displayed within beautiful glass domes and they have been placed in specific rooms and settings by Blahnik himself.

Even if you’re at the Wallace Collection primarily for the shoes don’t neglect the rooms themselves because there’s lots of varied and beautiful art to display including several Rembrandts, Gainsborough and Sir Joshua Reynolds portraits, and The Laughing Cavalier by Frans Hals (more of a smirk really…)

don’t forget to look up at the spectacular chandeliers
This painting shows Maria Camargo, the woman generally regarded as the first ‘ballerina’ because she danced so daintily on her toes.
Madame de Pompadour
The Swing by Fragonard. Vivienne Westwood has said that this was a influential painting for her when she was creating her more structured and sumptuous gowns.
We listened to a very enlightening talk about this deceptively simple painting called The Lacemaker. It’s small but beautifully observed.

So, lots and lots of shoes, some-most-were very impractical, bought by women who don’t have to walk far or travel on public transport…This exhibition is on until September 1st and is free to enter which has to be a very good reason to go.

Also free is the exhibit on the second floor of the Alexander McQueen store in New Bond St, it’s intended for students but as a keen dressmaker I think that counts too.

We had attempted to visit here several weeks ago but it was closed because they were filming so do be aware there’s a possibility it might not be open for some reason. Check the shop opening hours too.

I was practically hyperventilating as we climbed the spiral staircase (with anticipation not lack of exercise!) I have been a long time admirer of Lee Alexander McQueen’s work and that of Sarah Burton since his untimely death in 2010 so to be so close to the garments, samples, inspirations and working processes is an extraordinary opportunity. I visited the Savage Beauty exhibition at the V&A in 2015 a ridiculous eight times and I’m not ashamed of it!! Part of what I admire is that McQueen himself was the whole package-he designed incredible garments which pushed boundaries but he could also cut patterns, sew garments by hand or machine, he was a true visionary.

You’re not left to your own devices once in the exhibition space, there is a member of staff to show and explain anything. Maria was there when we visited and she explained that she works in the Atelier most of the time and at others she is at the exhibit to help visitors to understand and appreciate what they are seeing. Whoever is there if you visit make sure you ask questions to get the most from it.

On the rails are examples of vintage garments which were deconstructed to their bare bones, analysing the techniques underneath in order to create new and original garments.

For example the beautiful black embellished jacket and trousers were inspired by several vintage and antique mens frock coats and jackets, the exposed canvas, pad-stitching and quilting were reinterpreted with a modern twist, including beautiful jet-embellished lace applique. [Take a look at my previous post when I refashioned a two piece suit into a McQueen inspired jacket.]

Some of the inspiration for the fabrics came from an antique Jacquard fabric samples book found in a Parisian flea market.

Inspiration boards including Victorian photographs and fabric samples
A few of the many photographs taken on the house models in the looks at various stages of development.
We were told that some of the jet beads used were salvaged from antique jewellery and repurposed, that’s high-end upcycling!

As well as the black suit there is also a completely contrasting dress which has it’s origins in the John Everett Millais painting of Ophelia (in Tate Britain) the pioneering photography of Julia Margaret Cameron, a Victorian wedding dress and original Victorian corsets which, like the jackets, have been taken apart to analyse their construction.

one of the mood boards accompanying the dress
an original Victorian wedding dress
You can see how the boning sits in pockets semi-exposed just as it did in the Victorian original

In addition to the actual dress there is a full-size and several miniature versions made in printed paper which are like beautiful sculptures.

Fabric to dream of….

There is also an outfit with a hand-painted leather jacket and asymmetric knitted dress underneath, it turns out that our guide Maria was responsible for painting it (in gouache apparently)

Hand-painted leather jacket
happy face…

In addition to the new garments there are a few from previous collections including the iconic high-collared corset made in 1997 by Mr Pearl.

If you’re interested in the ‘bones’ of garments and knowing some of the processes which lead to their creation then you’re bound to find this a fascinating exhibit to visit-I felt incredibly privileged to be able to see the garments so close and to have someone like Maria explain firsthand what we were seeing. As I said earlier, the exhibits will change regularly, this one is due to continue for a few more weeks and then a new one will be installed in September, we asked what it might be but Maria was sworn to secrecy!

Overall, two fascinating short term exhibitions which are worth a visit if you get the chance.

Until next time,

Sue

My first Sew Me Sunshine fabric review.

When Harriet asked me if I’d contribute a blog post for Sew Me Sunshine I was excited and very happy to help. After I’d had a good look at all their lovely fabrics I settled on the pink colour-way of the Gemma viscose/linen mix, it’s such a pretty shade with a magnolia flower print. When the fabric arrived Harriet has included a helpful card with full fabric details including fibre composition details plus width and quantity purchased. There’s a space to note if you pre-wash or not before it goes in the stash or straight to use.

The print is quite wide spaced and one-way [actually there are one set of flowers which run in one direction and another set which go the opposite way] so it’s worth bearing this in mind with pattern placement, and all your pieces should be positioned one way or the other.

I decided to make a Maven patterns French Dart shift dress which I’ve made twice before because it’s a lovely simple shape with no fastenings which makes it quite quick to make, three sleeve options, side seam pockets and an elegant roll collar.  

Because of the positioning of the print I opted to have the smaller flowers running down the centre rather than the large blooms which would have resulted in a more wasteful lay plan. As I had enough fabric I opted for the long sleeved version which I’ve made both times previously, the gathers at the cuff are so pretty. I cut the sleeves so that similar flowers are on a level with the dress front.

Because the fabric is quite loosely-woven and a linen mix it tends to fray a bit you’ll need to be aware of this. Making a style with lots of gathers may not be wise because it will start to come apart eventually the more you pull the gathers up-the cuffs on this dress were fine as it’s fairly short. The fabric would look lovely in pleats or folds too.

the gathered cuff has a pretty binding

The fabric sews up beautifully, it isn’t overly drapey but it’s nicely fluid and responds well to pressing although like most linen, and linen/mix, there is noticeable but not excessive creasing-this is one of the features of the fabric and you have to accept that as part of it, it isn’t a fault. You could also use it for loose-fitting shirts or trousers, for example the Zadie jumpsuit from Paper Theory would look gorgeous in it or what about the Tilly and the Buttons Seren dress, nothing too tight-fitting though as it will crease badly or ‘seat’. You can always add a soft cotton lawn lining to a fabric like this which might help, this particular fabric isn’t sheer though so you can’t really see through it.

The structure of the fabric lends itself to the roll-neck collar and this one doesn’t have any interfacing in it, it stands well on its own.

I’m really happy with the finished dress, it’s very feminine and in a very unpredictable British climate I think it will be ideal on cooler warm days (does that make sense!?) I’ll wear it with tights in the autumn. Incidentally, I hand finished the hem so that the stitches are invisible, you could machine it up though.

We went to a wedding at Hatfield House just after I finished the dress so what better opportunity to wear it and stand in front of some of the most beautiful wisteria. What you can’t see is the long-sleeved thermal top I’m wearing underneath because it was actually freeeezing cold and I was determined not to wear a coat over the top!
We’re always entertaining wedding guests!
In the beautiful Old Palace Garden, it’s evening now so it was getting a bit dark for decent photos really.

Thank you Harriet for providing me with the fabric and the opportunity to write about it-it also comes in a pale blue colour-way too which is equally lovely if pink isn’t your thing. 

Until next time,

Happy Sewing,

Sue


a new Minerva Crafts blog

I’m really happy with this make, it’s the Dawson Coatigan by The Thrifty Stitcher, Claire-Louise Hardie, which I made in Navy Ponte Roma given to me by Minerva Crafts in return for an honest review.

This pattern was released just before Christmas and I think it would be a useful addition to any wardrobe. It’s a softly tailored edge to edge coat with flattering seam lines and integral pockets. It works well in a structured jersey like Ponte Roma, and it would also look good in boiled wool or felted wool.

And depending when you’re reading this the Dawson also qualifies for the Sew Over 50 #so50Visible challenge too which finishes on March 15th. Read my previous blog posts for all the details on that but you haven’t got long if you hope to win one of the prizes!

I love the darts detail on the back and sleeves on the Dawson.

There’s lots more details and photos of my make over on the Minerva Crafts website, thank you as always to them for providing me with the fabric.

Until next time,

Sue

testing Eden by Tilly & the Buttons

It’s always nice to be asked isn’t it? Doesn’t especially matter what but anyway, it is. So when I was asked if I would help in the testing process of TATB’s new pattern for a jacket/coat to be released in the spring I was both flattered and happy to help.

I know I have a regular moan about some Indie pattern designers but TATB are one of those who I think do a very good job. The presentation (recently with refreshed new look packaging) and the quality of the drafting and the instructions is, in my opinion, of a very good standard. Tilly doesn’t usually chuck out loads of patterns one after another, they are often in pairs and spaced out through the year.

As is quite often the case with testing there was originally a fairly tight turnaround to return feedback so my first problem was to source the fabric, and quickly. I’m not a great one for buying fabric online unless I’m confident the description and other information is accurate, or I know exactly what it is. This time though I didn’t have time to explore my regular fabric shopping haunts in London and so I had to search t’internet to see what I could find. I’d hoped to get some kind of waterproof or waxed fabric but the ones I found were either very expensive, too boring, too childish (a lot of dinosaurs and unicorns!) or not suitable for the purpose. Next I looked at wool and wool-blends and many of these were also much too expensive as well but in the end I found a really nice felted wool from FabWorksOnline so I ordered that. I was very impressed with the speed it arrived too! It’s a fully lined jacket and I’d got some silky pale pink cloque in the old stash which I didn’t think I’d use for anything else, and I had a cream-coloured open-ended zip which I thought ‘that’ll do’ so I was good to go. One version of Eden is lined with jersey, you might want to consider putting a silky lining in the sleeves, although you could still put jersey just at the cuff ends if you want the contrast roll-up effect.

After a bit of a hold up the pattern arrived but when it did I hit the ground running. In all of Tilly’s other patterns I make myself a size 5 but after checking the finished measurements for the jacket I opted for a 4 this time.

I’m not going to give you a verbatim run through of the pattern here, this time I’ll highlight areas where I used specific techniques which I think work well for this kind of garment.

There are two style variations of the Eden, either a simple longer-length duffle coat style with toggles, or a shorter jacket with ’storm flaps’ and bellows pockets which is the one I opted for. We were asked not to make any drastic pattern hacks during testing but I chose to add 5cms to the overall length of the shorter style, it was shorter than I would wear it but the other was too long.

The next thing I did differently was to use the lining fabric on the underside of the flaps instead of the wool, to reduce the bulk of them when they go into the seams. If you’re using a thinner fabric this step isn’t so necessary but I knew that once all those thicknesses were layered up into the sleeve seams it would because very bulky.

this is the underside of the front ‘storm flap’ with lining instead of double wool.

The next thing I changed (and which hasn’t been altered on the final pattern) is the shaping at the cuff of the sleeve. This is because if you have a deep turn-back but the sleeve continues down straight ie. getting narrower all the way down, when you fold it back it doesn’t lie flat against the inside of the sleeve seam. Look at the photos below and you’ll see what I mean.

I’ve shaped the seam outwards, if you look at the next photo you’ll see why.
when you turn the cuff up inside the sleeve it will sit flush inside now.
I also opted to make the lining shorter to the line I’ve marked so that it wasn’t going to droop out of the end of the sleeve. I felt there should have been a notch to mark where the turn up point was. I made a 5cms turn up for mine.

My other suggestion for the cuff is to use a strip of iron-on interfacing to stop it from stretching, being baggy and to give it some body. This is a technique I’ve picked up after doing numerous sleeve-shortening alterations for people because this is what you will commonly find inside RTW coats and jackets to stabilise it.

Iron-on interfacing applied to the lower edge of the cuff so that it’s just over the folding point of the cuff.
it looks like this when it’s folded back.
After sewing up the sleeve seam I use my ‘clapper’ as a mini ironing board to press the seam open.
Then I turned the cuff back into position to give it a good steamy press. Use a pressing cloth so your fabric doesn’t go shiny. If you aren’t familiar with a clapper, as you can see it’s a wooden tool which can be used in a number of ways. It gets its name from when you whack the steam out of woollen fabrics during the tailoring process, so that it doesn’t remain damp.

I’ve also learned from doing alterations that a few hand stitches inside the cuffs, and also the lower coat hem facing will help hold them in position so that they don’t drop down and spoil the look of your finished jacket. It’s tricky to describe what sort of stitch this should be, it’s a kind of slip-stitch a bit like you might find on handmade curtain hems. The sleeves are raglan so they are easy to insert.

The instructions for putting the zip in are good and the photos are a help here too-there will be an online tutorial although at the time of writing this I’m not sure if it’s available yet. Putting the lining in isn’t actually that complex but it does take time and concentration, and a bit of brute force. Don’t make the opening in the sleeve lining too small because it will make it very difficult to pull everything through, especially if you have stiff or thick fabrics. The gap gets sewn up and is then down inside the sleeve eventually any way. If you’re in any doubt about accomplishing this part my suggestion would be to get the lining sewn by machine to the edges around the front (zip) and hem, pull the lining through and then slip hem the lining to the cuffs by hand.

I chickened out of putting snaps on my jacket even though they would look nice. I haven’t used them on anything else and I didn’t want to spoil my Eden so near the finish line! I opted instead for very large silver press studs which I sewed on by hand.

I finished my Eden in December and I’m really pleased to say that I have worn it loads over the winter months. I’m very happy with my size decision too because there is still plenty of room for jumpers to layer up underneath, I think the next size up would have been too big. I also think the grey and pink look really pretty together as well.

I hope you find the techniques I’ve mentioned helpful, although I don’t think they were carried through to the final pattern, TATB obviously felt that their own methods and descriptions were good enough and maybe I’ve over-complicated things but overall I’m happy with the finished garment. It’s categorised as for ‘improvers’ and I think this is a fair analysis, it would be too complex for a novice sewer although with online tutorials and determination anything is possible!

As you can see from my photos my colour palette is a little more ‘mature’ shall we say than the TATB samples but I think that also proves that it’s a nice casual style which will actually work in lots of fabric and colour combinations. I enjoy the process of testing although there are times when it’s frustrating, I assume I’ve been approached because of what my experience can bring to the party and that isn’t always borne out in the end but it can be rewarding and personally I always take a lot of time over it and try to use my skills and experience to help, advise and improve when possible. I probably won’t be asked again now so I hope you find this post helpful…

Until next time,

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

Dior: Designer of Dreams at the V&A

The last few weeks on the blog have been very much about Sew Over 50 which has all been very exciting but that has meant that I haven’t had as much time to write about the other things which interest me a lot.

If you’ve been reading my blog for a while you’ll know that I’m really interested in the history of fashion and so visiting exhibitions of clothing from across the decades, or even centuries, is something I love to do. Living where I do I’m fortunate to be well placed to get into central London in less than an hour making most galleries and museums very accessible.

London’s blockbuster fashion exhibition this spring is Dior: Designer of Dreams which opened at the beginning of February in the V&A in South Kensington and it is such a beautiful show with literally hundreds of outfits on display. It’s being staged in their newest space, the Sainsbury Wing, which is underground but doesn’t feel remotely subterranean when you’re in it. Each room is different and begins with the single most famous outfit of all, the Bar suit from the first ‘New Look’ collection of February 1947. Nearby are other interpretations of it by the designers who followed Dior himself as head of the house which he created.

Bar suit February 1947

The show is thematic rather than chronological which personally I think makes it more coherent, not less. Whilst each designer has brought their own aesthetic to the label there is an element of timelessness about many of the creations. [It’s quite a fun game to see if you can work out which era a gown comes from, I was wrong a number of times, sometimes I went modern and they were from the 50’s and other times the opposite was true] The show takes you through a series of rooms which contain gowns of every shape and hue. Early on you come across the gown created for Princess Margaret for her 21st birthday ball in 1951. She and her mother continued to be Dior fans even after Princess Elizabeth became Queen in 1952, she herself has only ever worn British designers since.

The rooms are cleverly arranged because you move from one to the next and they all feel quite spacious and different to the previous one, some have dark backgrounds whilst others are light and airy. Some gowns are behind glass but many are not so you can get a good view of the exquisite workmanship and skills that have gone into each of them.

When he was alive Christian Dior made full use of the allure of Hollywood film stars to promote his collections and he dressed many leading ladies including Rita Hayworth and Jane Russell, their shapely figures were perfect for showing off his womanly designs. In fact Coco Chanel was very critical of his New Look because she saw it as a step backwards for women in terms of having to wear restrictive garments like corsets again, this coming after the relative freedom she had created with her boyish shapes in the pre-war years.

The pastel colours in the next room are beautifully lit and there are gowns by many of the designers who have come after Christian himself including the 21 year old prodigy Yves Saint Laurent, John Galliano, Raf Simons and Maria Grazia Chiuri. I loved this room…

Moving on from this room to the next there is a marked contrast with the gowns or ensembles being influenced by or referencing travel around the world. Several of John Galliano’s most fantastical creations are here alongside more wearable dresses by the other designers.

At various points there are also smaller cabinets and display cases containing other items of interest including beautiful perfume bottles, and photographs from Christian Dior’s beloved garden.

It might not look like it but this is dress is only about 30cms high
a perfect miniature dress embellished with flowers
A Raf Simons gown in front of a Christian Dior original
the setting in this room is stunning with thousands of papercut flowers and petals cascading from the ceiling
Lily of the Valley were one of Christian Dior’s favourite flowers and they featured regularly in his collections.

I actually wish that perfume had been wafted into this room to enhance the beautiful ambience…a hint of Miss Dior perhaps (named for his sister Catherine) or the scent of lily of the valley from Diorissimo?

The talents of all the Creative Directors are show-cased in the next room starting with Yves Saint Laurent’s brief tenure (he left to do his National Service in the army) Marc Bohan who served for the longest time and is still alive at the age of 93. After him came Italian Gianfranco Ferre followed by the notorious and flamboyant Gibraltarian John Galliano. When his reign ended abruptly under a cloud he was eventually followed by Belgian Raf Simons, and finally the first woman to hold the role, Italian Maria Grazia Chiuri.

Raf Simons
I love this pleated skirt by Raf Simons
This could only be John Galliano in his pomp
Maria Grazia Chiuri’s ‘Tarot’ coat looks as if it has been made from pieces of Medieval ecclesiastical embroidery

The next room is of particular interest to keen dressmakers because it is entirely filled with toiles of gowns, jackets and ensembles. It’s snowy whiteness is a stark contrast to all the bright colours and embellishment in the previous rooms and it heightens the drama of the superlative cutting and construction skills of the all-too-often unsung atelier staff or ‘petit mains’ as they are usually known. These are where the ideas are tried out, where the unusual cut of a sleeve is experimented with, or a dart on a collar attempted. It doesn’t waste costly and precious fabric and it helps visualise unusual proportions or new concepts. These toiles are about way more than just checking the fit on a garment.

Moving next through a narrow space displaying hundreds of magazine covers over the decades featuring Dior fashions old and new on one side, and a glass cabinet on the other side containing many shoes, bags, scarves, jewellery and other accessories and miniature versions of gowns and ensembles perfect in every detail like the full-size originals.

And finally you arrive at the best room of all. I had no idea what was coming so to round the corner and emerge into a huge ballroom space with lighting, music and special effects was breathtaking to say the least. There are literally dozens of gowns to look at, including three iterations of the J’Adore gowns worn by Charlize Theron in the perfume adverts.

J’Adore gowns
gowns worn by Lupito Nyong’o and Nicole Kidman.

You need to spend as long as you can in this room to fully experience it, there are places to sit too so you can rest and take it all in.

There’s only one more gown to see before you leave and it’s set between mirrors so you get the sense that there are many dresses, not just one.

The final gown was created by Maria Grazia Chiuri and it harks back to Christian Dior right at the beginning. It is soft and feminine and it references the New Look with its full pleated skirt and elegant lines. It could be from 1947 but it is very much of the now.

I absolutely love this exhibition! I’ve been able to go twice so far, as well as attend a talk between exhibition curator Oriale Cullen and Harper’s Bazaar editor Justine Picardie. As I keep mentioning in other posts, I’ve had such good value from my Membership of the V&A and this year will be no different. In April a retrospective of the work of Mary Quant also opens too. I purchased my own membership and all views expressed here are entirely my own.

You have until July 14th to see this exhibition and if you have any chance of being in London I urge you to try and get a ticket. I believe there are 500 additional tickets available every day but they sell out very quickly, check the website for updates would be my suggestion. I hope I’ve been able to give those of you who can’t get to London a small taste of the show, and for those of you who hope to get here my photos in no way do it justice and you’ve definitely got a lot to look forward to!

Until next time,

Sue